Composed of 10 new tracks and cocking in at 42 minutes, 'Pink Elephant' is produced by Win Butler, Régine Chassagne and Daniel Lanois. When experienced in its entirety, 'Pink Elephant' invites the listener on a sonic odyssey - a quest for life - that exists within the perception of the individual, a meditation on both darkness and light, the beauty within. The layers of this condensed epic unfold to reveal new dimensions with each successive listen.

In this dazzling comedy by Rameau, the ugly, frog-like, nymph Platee believes she is Jupiter's chosen one. The latter, in a succession of disguises, mocks her in a game of seduction that is as cruel as it is entertaining, while the gods, complicit in the farce, feast on her illusions. Rameau's music is both rich and virtuosic, transporting us into a whirlwind of laughter and beauty, while offering a fine reflection on pride and vanity. With its bewitching arias and numerous burlesque scenes, Platee is a theatrical delight, a veritable jewel of the Baroque repertoire to which Valentin Tournet and his Chapelle Harmonique return all its spice!

These soulful Spanish and Argentinean songs arranged by violist Kim Kashkashian and pianist Robert Levin are well suited to their expressive and expansive playing. Most of the songs, ranging from works by Granados, de Falla, and Montsalvatge to early Ginastera, are written in a late romantic to early modern idiom, and many incorporate a strong folk element. The selections include rowdy, rhythmically charged dance-like songs, tender lullabies, and many flavors of love songs, from the exultant to the despairing. In addition to the better-known composers, Argentineans Carlos Guastavino and Carlos López-Buchardo make extraordinarily fine contributions. The choices of repertoire are excellent; each one of these songs is a jewel, and the ordering of the selections artful, including the surprisingly effective repetition of two songs at different points in the program. The transcriptions are inventive and imaginative, with the vocal lines idiomatically adapted for the viola's expressive capabilities.

Field Songs is the fifth solo album by Mark Lanegan, released in 2001. The two largest instrumental contributors are Mike Johnson and Ben Shepherd. The album also features Duff McKagan of Velvet Revolver (ex-Guns N' Roses) as well as Lanegan's ex-wife, Wendy Rae Fowler. The album represents a departure of sorts for the singer. While retaining the acoustic atmosphere of his previous solo efforts, Field Songs incorporates Middle Eastern influences ("No Easy Action") as well as experimental musical landscapes ("Miracle," "Blues for D") which elicited comparisons from critics to Tom Waits.[citation needed] Lanegan's gravelly, gin-soaked vocals on "Don't Forget Me" and "Fix" is balanced out by his delicate delivery featured on "Kimiko's Dream House" and "Pill Hill Serenade," which could be the saddest song the singer has ever written. "Blues for D" was co-written by Lanegan and Soundgarden bassist Ben Shepherd. Chris Goss sings on "She Done too Much".

Classical music influences like choral passages and Wagnerian horn work are never far away from Laibach's palette, so it's fitting that they'd now turn their vast energies to a symphony of sorts. Alamut is the culmination of a collaboration with A/POLITICAL and two Iranian composers, Idin Samimi Mofakham and Nima A. Rowshan. It's based on an 11th century Persian tale whose modern retelling by Slovenian writer Vladimir Bartol has influenced such cultural heavyweights as William S. Burroughs and Hawkwind; it also inspired the video game Assassin's Creed.

The Tragically Hip - "Phantom Power (25th Anniversary)" / Phantom Power, one of the best Hip records, is now a true double album with 5 brand-new, never-before-heard tracks - 17 tracks in all. Also included in this 25th Anniversary Edition is a live 1998 show recorded at the Metropol in Pittsburgh, 8 alternate tracks curated by the band.

The Tragically Hip’s commemorative boxset of their debut album, Up To Here, is the latest installment of special deluxe packages. Up To Here was originally released on September 5, 1989 as The Tragically Hip’s first full-length studio album, an introduction that brought them breakthrough success, including two Canadian rock radio #1 singles, “Blow at High Dough” and “New Orleans Is Sinking,” as well as earning the band a JUNO Award for Most Promising Artist in 1990.

With 29 #1s, 11 BILLION streams, 52 million singles & 13 million albums sold, country superstar Blake Shelton, who embarked on his "Friends & Heroes" Tour in early 2025, is releasing his new album, For Recreational Use Only, on May 9. Featuring his lead single "Texas," the Grand Ole Opry member & CMA Entertainer of the Year winner delivers an album that runs the gamut of the human experience, exemplified by "Let Him In Anyway," the powerful preview track that anchored the album announce in March.

This 1991 tribute album reveals the broad range of Cohen's talent as composer in its dazzling variety of voices and styles. Following the prayer Who By Fire by House of Love, Ian McCulloch soars through Hey That's No Way To Say Goodbye, adding his own melancholy twist to the song's sublime sadness; The Pixies storm through I Can't Forget at their characteristic fast pace, whilst That Petrol Emotion poignantly render Stories Of The Street and James perform a meandering but moving So Long Marianne. Stephen Duffy of The Lilac Time gently caresses Bird On A Wire, followed by the Ugandan singer Geoffrey Oryema whose Suzanne, embellished by flute and a trio of guitars, fades out on a click-filled chorus. Quite brutal is David McComb's exploration of the sleazy Don't Go Home With Your Hard-on which shakes, rattles and rolls along with the best of the psychotic beats, while Dead Famous People, produced by Serge Gainsbourg, make a surprising success of a bubblegum singalong rendition of True Love Leaves No Traces. The star of the show is John Cale as he paints a truly great soundscape with only voice and piano in Hallelujah, a classic which would have remained buried in Cohen's own rather monotone version.

Song of Innocence is the debut album of American composer and producer David Axelrod. It was released in October 1968 by Capitol Records. Axelrod sought to capitalize on the experimental climate of popular music at the time and composed the album as a suite-like tone poem based on Songs of Innocence, a 1789 illustrated collection of poems by William Blake. It was recorded at Capitol Studios in Los Angeles with an orchestra and a variety of studio musicians, including keyboardist and conductor Don Randi, guitarist Al Casey, bassist Carol Kaye, and drummer Earl Palmer. Song of Innocence is an instrumental jazz fusion record that incorporates elements of classical, rock, funk, pop, and theatre music. It is arranged for bass, drums, and string instruments, written in the rock idiom with tempos centered on rock-based patterns by Palmer. Axelrod used contrast in his orchestral compositions and interspersed the album's euphoric psychedelic R&B form with dramatic, harrowing arrangements to reflect the supernatural themes found in Blake's poems. The music's reverent, psychedelic overtones evoke their themes of innocence and spirituality.

Rare 1970 album produced by Johnny Otis featuring the stinging guitar of his son Shuggie – with two previously unissued bonus tracks Bluesman Slim Green made very few records in a career that started in 1948 and ended with this LP in 1970. Born Norman G. Green in Bryant, Texas in 1920, he grew up in Oklahoma and played guitar in Las Vegas before settling in Los Angeles in the late 1940s. He made his first records in 1948 for local labels. Listening to them suggests a player full of country influences, updating them for a modern urban audience. He reappeared a decade later in a group called the Cats From Fresno, who made two singles for Johnny Otis’ Dig label, a contact he renewed in the late 60s. Johnny Otis, a pioneer of post-war R&B, had scored hits as a producer and recording artist as well as being a renowned talent-spotter. Having dropped out of sight for much of the 1960s, he returned to the studio in the latter part of the decade and released a series of records for the Kent label, distinguished by the guitar playing of his teenage son Shuggie.

After signing to Capitol, the band recorded 1981's Completion Backwards Principle, an album based on an actual sales training instruction manual; both "Talk to You Later" and "Don't Want to Wait Anymore" earned significant radio play, and the LP became the Tubes' first Top 40 hit. Thanks to its provocative video, the single "She's a Beauty" reached the Top Ten, and pushed the 1983 LP Outside/Inside into the Top 20 Albums chart. After 1985's Love Bomb stiffed, however, the Tubes disbanded, and Welnick later joined the Grateful Dead (long suffering from depression, he committed suicide in June 2006). In 1993, the Tubes reunited; consisting of Waybill, Steen, Anderson, Prince, and new keyboardist Gary Cambra, they toured the U.S. and Europe before releasing a new LP, Genius of America, in 1996. Spooner also issued his own solo record, Mall to Mars. In 2000, the Tubes embarked on another extensive tour, issuing the live greatest-hits album Tubes World Tour to commemorate the event. The band appeared at London's Shepherd's Bush Empire in December 2004, and the show was documented on the CD Wild in London, released the following year. Bassist Rick Anderson died on December 16, 2022, at the age of 75.

Counting Crows' first full-length album in more than a decade feels like a bit of a cheat—nearly half of the songs were released on the 2021 EP Butter Miracle: Suite One. But "Spaceman in Tulsa" proves the band still has the chutzpah and pop chops that made them inescapable in the '90s. Just glam enough, and boasting an insidiously catchy chorus, it's cocksure with revved-up guitar and piano and frontman Adam Duritz's most rock 'n' roll growl. In many ways, it feels like a book-end to "Mr. Jones," the band's debut single that shot Counting Crows into the culture (and made them, right away, a love-or-hate band for most). In that 1992 song, Duritz came on like a big dreamer—a guy who wanted to be a "lion" and Bob Dylan: "We all wanna be big stars/ But we don't know why and we don't know how.

Sacred Steel is a trademark in the metal scene: all Metal with attitude, never everybody’s darling - and damn proud of it! For more than 25 years, they have offered the metalhead a deadly trend-free alternative to bloated trigger drums, cheesy keyboards and boring cliché sounds that are hyped year after year as "the next big thing in metal". "Ritual Supremacy" marks their 10th album, a refreshing true metal masterpiece full of hymns and headbangers.

"Songs For Evolution" the only album recorded by the group Anglo-Saxon Brown, considered a much sought-after collectable LP among rare groove music buyers and DJs alike. An expanded edition with one bonus track (the lone 1976 single, "Straighten It Out" released by Atlantic), "Songs For Evolution" was produced & mostly written by the Philadelphia team of Joseph Jefferson & Charles Simmons, who had penned a number of classic ‘70s hits for the Spinners including "Games People Play," "Mighty Love" and "Love Don’t Love Nobody") and recorded at famed Sigma Sound studios in Philly with string arrangements by Jack Faith, featuring the Don Renaldo Strings along with guitarist Bobby Eli. An accomplished ten member band based in Richmond, Virginia.