Kitaro's universally acknowledged as the founding architect of new age music. The Grammy and Golden Globe Award-Winning Kitaro has achieved global acclaim over a more than three decade long career with a signature sound and a pioneering fusion of cultures, techniques and spheres of consciousness that are truly his own.

North, Elvis Costello's 20th album of new material, follows the deliberately classicist When I Was Cruel by a mere year, but it feels more the sequel to 1998's Burt Bacharach collaboration, Painted From Memory, or even 1993's roundly ignored classical pop experiment, The Juliet Letters. Costello has abandoned clanging guitars and drums of Cruel – abandoned rock & roll, really – to return to a set of classically influenced songs, all "composed, arranged and conducted" by the man himself (on The Juliet Letters, he was merely the composer and voice).

Vocalion favourite Paul Mauriat makes a welcome return with a further two albums, El Bimbo (1975) and Toccata (1973), which presented the complete original stereo and quadraphonic mixes of 24 titles culled from his back catalogue. Originally produced for the Japanese 4DX series, this reissue makes them widely available for the first time.

Rhino closes its five-volume rock instrumentals series with an 18-track outing devoted to surf guitar. This fast-paced, prickly, and frequently exciting form may not be among the most diversified structurally, but if does offer some surging playing from its practitioners. They range from founding father Dick Dale to its most popular bands, the Surfaris, Belairs, Ventures, and Chantays. While not particularly a hardcore surf collection, this disc certainly outlines its virtues, and the tunes were long enough to display guitar proficiency, but short enough to prevent self-indulgence and repetition.

Few bands have come to single-handedly rule a genre as well as Stereolab. The only question remaining is which genre. The band's machine-funky grooves, oddball synthetic washes, and disturbingly flat vocals suggest a futuristic disco where the survivors of nuclear war have settled for alienation anthems that recall the "space-age bachelor pad" music of the distant innocent past. But this is all conjecture. No one knows what the music of the future will sound like. (Heck, we once thought by the year 2000 we'd all be walking around in Lost in Space outfits.) Stereolab, however, are certainly what we think of.

Volume 3 of the Chill Brazil series is compiled by the legendary Brazilian singer/songwriter Gilberto Gil, 'Chill Brazil 3' blends classic Soul Bossas culled from the Warner archives with the freshest voices in contemporary & electronic Brazilian music today. Classic artists such as Tom Jobim, Joao Gilberto, Gilberto Gil, Elis Regina, Chico Buarque, to name a few, combined with contemporary "Bossaists" Bebel Gilberto, Maria Rita (Elis Regina's daughter), Marcelinho Da Lua gives the perfect blend of the harmonic & rhythmic richness of these Brazilian Soul Bossas past, present & future.

Marc Collin, the creator of Nouvelle Vague, never anticipated producing a fifth album for the project, originally envisioning it as a one-off tribute to post-punk through bossa nova. However, the unexpected success of their debut album, featuring unique covers of songs by XTC, Public Image Limited, Josef K, and Joy Division, propelled Nouvelle Vague into unforeseen popularity.

In 1954, Capitol Records released the 10" LP collection Eight Top Pops, compiling eight songs that had appeared on singles by Nat King Cole during 1952. The first two, "Somewhere Along the Way" and "Walkin' My Baby Back Home," were the biggest hits, both reaching number eight in Billboard. "Because You're Mine," Cole's cover of the Mario Lanza movie song (done in a far more relaxed style than Lanza's, of course), was also a major hit, reaching number 16. "Faith Can Move Mountains" and "The Ruby and the Pearl" were somewhat less successful, but still lodged in the Top 30, as did the B-sides "Funny (Not Much)" and "I'm Never Satisfied." The only one of the eight songs not to earn a chart placing was "A Weaver of Dreams," the B-side of the single "Wine, Women and Song." In 1963, Capitol expanded Eight Top Pops into the 12" LP Top Pops by adding two tracks at the end of either side of the original release. These four songs all came from an EP recorded by Cole in 1954, on which he covered hits by other performers, including Doris Day's "If I Give My Heart to You," the De Castro Singers' "Teach Me Tonight," and Perry Como's "Papa Loves Mambo".

As an Australian, guitar virtuoso Tommy Emmanuel doesn't seem to be much bothered about musical categories. Is his music jazz, folk, bluegrass, new age? Depending on the track, it can be any one. Like his mentor, Chet Atkins, Emmanuel is simply a guitar player, and on Little by Little, a two-CD set, he sticks mostly to acoustic guitar, playing mostly originals, tunes that he has used in concert but not recorded before. He is also mostly solo, although the double-disc length allows him room to share space with guests including singers Pam Rose (on her co-composition "Haba Na Hava") and Anthony Snape (on the folk-rock "Willie's Shades"). Among the covers are two versions of "Moon River," one with a bass countermelody, the other with an Emmanuel vocal, Carole King's "Tapestry," Atkins' "Mountains of Illinois," and "The Tennessee Waltz." Emmanuel plays fast runs, slows down for delicate passages, and adds harmonics on tunes that evoke players including Will Ackerman and John Fahey. He also likes folk-pop; "Papa George" needs only a James Taylor vocal to fit into that category. But Little by Little is a tour de force by a musician who usually leaves categories behind.