The tenth Grand Magus album and their first concept record, Sunraven is a return to the heavy metal might of Wolf God and Sword Songs, but with an underlying story adding greater depth to the Swedes' earthy bombast. Made manifest via a grandiose production, inspired by the revered Old English epic poem of Beowulf.
In true heavy metal style, these nine new songs dive deep into heroic fantasy, but with the same real-world resonances that are scorched into the genre's calloused skin.

34-year old guitarist, composer, and bandleader Jacob Young hails from Oslo, Norway, making him a natural for Manfred Eicher's ECM label. Young was educated at the New School for Jazz and Contemporary Music in New York, where he studied under Jim Hall and privately with John Abercrombie. Young's warm, rounded tone indicates a debt to the former while his wide harmonic palette owes to the latter; but his extended melodic vocabulary, gorgeous phrasing, and notions of group interplay are his own. What is immediately startling about Evening Falls is its lyricism; it doesn't sound like a guitarist's date. Young's compositions reflect song, paying careful attention to nuance and dynamic. There is plenty of room for improvisation and group interplay - with veteran drummer Jon Christensen, trumpeter Mathias Eick, bass clarinettist and saxophonist Vidar Johansen, and bassist Mats Eilertsen - around melodic invention…

From 1975 until 1978, Embryo played at the Vlotho ”Umsonst und draussen” festival every year. Their concert from July 1977 on the sports ground, figuring as festival site, in front of about 26,000 people was recorded professionally by Ulrich Wilkening, operating the soundboard. The recording has been preserved till this day. In fact unreleased, except for the track, ”Getalongwithasong”, which appeared on the double LP ”Umsonst und draußen - Vlotho 77” back then, and later as well on the 4CD box “Aufbrüche”. Here is now the whole Embryo gig of that festival, in the well-known Embryo style: jazz-rock influenced by world music. The sound is excellent, as is to be expected from an expert.

Exile is probably the first album to see him firmly on the path, following-up the career reviving and direction-resurging Sacrifice. Musically dark and moody with touches of techno and goth, it's the lyrics here that truly set the tone. It's a far cry from some of his earlier work. After his innovative and coherent music of the late '70s and early '80s, Numan had taken up residence in the musical doldrums with album after album of little consequence. 1994's Sacrifice proved he wasn't too far gone, and was a wonderful return to relevance. Exile, meanwhile, took it all a step further, and is likely where he would have ended up had he never gone astray in the first place. By far his darkest album up to that point, and a wonderful contrast to the dark-in-its-own-right Replicas from 18 years earlier.

Glitz, nostalgia, and deep emotional resonance - Elvis' last show at the Memphis Coliseum was a whirlwind rendition of the icon's hits and testament to just how important a musical icon he is. Still an unmatched showman, there were signs of his declining health, which provided a poignant undertone to the performance. Elvis's voice remained a powerful and emotive instrument, capable of stirring the crowd either through his raw energy or tender emotion. Homespun brings you this WCBS-FM live radio broadcast of his show at Mid-South Coliseum, Memphis, Tennessee on July 5th 1976 for your listening pleasure.

James Brown -Stars Ballroom, The Hotel Bradford, Boston, MA December 18th 1977.
James Brown's performance at the Stars Ballroom at the Hotel Bradford in Boston on December 18, 1971, is a quintessential display of his talent as "The Godfather of Soul." By 1971, Brown had solidified his reputation as a cultural icon, especially in the Black community. His performances carried weight beyond entertainment, serving as a celebration of pride and resilience during a turbulent era in American history. This show was part of a nationwide tour and took place during an era when Brown's music was transitioning towards funk, with hits like "Get Up (I Feel Like Being a) Sex Machine" and "Soul Power" dominating the airwaves. Brown was known for his high-energy shows, and this performance is no exception. Backed by the J.B.'s, his tight-knit band, Brown delivers electrifying renditions of his hits. Homespun brings you this live radio broadcast from WBCN-FM for your listening pleasure.

Vent’anni di musica separano l’esordio discografico di Remo Anzovino da questo album registrato nell’Atelier di un artista italiano di fama internazionale, Giorgio Celiberti. Due magiche serate per riportare a casa il meglio del suo repertorio eseguito per piano solo. Dalle hits di album come “Nocturne” e “Don't forget to fly” alle pagine più popolari delle colonne sonore per i grandi film d’arte arricchite dal brano inedito “Chaplin”, Anzovino compie un viaggio straordinario confermandosi uno dei compositori di punta della scena classical contemporary. Limited Edition autografata in esclusiva per Amazon. Contiene la riproduzione di un’opera di Giorgio Celiberti.

Nei cinque anni dalla scomparsa precoce di Ezio Bosso escono per Sony Classical i suoi ultimi inediti di musica da camera, registrati per la prima volta dopo accurata revisione delle partiture, nell’interpretazione magistrale di quattro grandi solisti in due diverse formazioni cameristiche: il pianista ed intellettuale salentino Francesco Libetta, ormai capofila dell’eredità artistica del grande torinese; il violoncellista e direttore d’orchestra Luigi Piovano, già collaboratore di Bosso come primo violoncello dell’Accademia Nazionale di Santa Cecilia; la violinista Grazia Raimondi e la giovane star del violino Aylen Pritchin, tra gli artisti più quotati sui migliori palchi internazionali. Entrambi i brani segnano momenti cruciali della vita di Bosso: la Sonata per violino e pianoforte N.1 Unconditioned è la versione originale da cui poi fu estratta la celeberrima Following a Bird. Il Trio per violino, violoncello e pianoforte N.2 Missed Steps composto nel 2013, racconta del suo reimparare a camminare ed è ispirato al cammino mistico dei Dervisci Rotanti. Con questo album si celebra dunque il primo quinquennale dalla morte di Bosso, completando il ciclo delle sue composizioni, mentre tutto l’anno sarà ricco di eventi a lui dedicati.

This live radio broadcast from NHK Radio comes after the release of Here, My Dear (1978), a deeply personal album, and just before In Our Lifetime (1981), reflecting a transitional phase in both his music and life. Gaye's performance at Budokan was a masterclass in soul music. Known for his rich, emotive voice, he delivered a setlist that balanced intimacy and exuberance. The show featured a blend of his greatest hits and newer material. Classics such as "What's Going On," "Let's Get It On," and "I Heard It Through the Grapevine" form the backbone of the set . Romantic ballads such as "If I Should Die Tonight" and "Distant Lover" showcase his vulnerability and vocal control, and are paired with funkier tracks like "Got to Give It Up" which reflect the danceable, joyous side of his repertoire.

Steve Kilbey's second solo album, a musical companion to his first book of poetry by the same name. 20 instrumental tracks, covering many moods but invoking a magical time and place through their dreamy melodies and atmospheric treatments. Now with 25 minutes of SK reading from his book. Let yourself be carried off into another realm by SK's velvet voice, giving a further link from the music to the book… Includes eight newly found tracks of Steve Kilbey reading from the book Earthed, which are simply stunning. All music digiatlly remastered from original source material.

Since the first cave paintings, the first fireside stories, art has been a vehicle of escape from the stressors of the world. Philip Wilkerson and Chris Russell’s newest collaboration, Imaginary Realities, was written with that escape in mind. Wrought in bright drones and glimmering flourishes, this album is a portal to another place, a reprieve from the mundane in the realm of the extraordinary. While prior collaborations Vague Traces and Dark Measures took inspiration from our world, Imaginary Realities is quintessentially dreamlike, from the opening chimes of “Liftoff” to the closing chords of the title track. “Dissipation” shimmers and warbles like polarized magnets drawing closer and then receding. “Revealing the Concealed” begins with sparse piano before blooming into a shifting nebula of harmonic textures. “Abandoning Desire” hums with contemplation, with shades of Russell’s dark ambient solo work in its vibrating drones. Gentle strums add a percussive heartbeat to the drone’s sonorous breaths, ritualistic in their rhythm. Then, the piece brightens, carried by a sun-washed texture from the caverns to the skies. Back and forth, it compresses and releases, a seamless dance between darkness and warmth: the sound of all the needs for earthly possession, one by one, held to the light and let go. The closing title track is a sonic image of aurorae, colors swimming in the night sky.

Um der Besonderheit unseres Albums für WEST Ausdruck zu verleihen, wollten wir die „FÜR DICH“ Vinyl-Edition einzigartig machen und holten uns dazu den weltbekannten PopUp-Künstler Simon Arizpe ins Boot. Gemeinsam mit dem NewYorker entsteht in den kommenden Monaten ein noch nie dagewesenes Schallplatten-Kunstwerkt, das euch beim Aufklappen der Vinyl in eine, aus visuellen Erinnerungen der letzten 20 Jahre kreierte HÄMATOM Welt mitnimmt.

Mozart was the only composer to successfully conquer this hybrid form. For him, an orchestral serenade meant a large work (often nearly an hour long) combining all of the parts of a symphony with several aspects of the concerto. There are marches, minuets, and sections featuring a solo violin or horn. Karl Bohm was a Mozart specialist–his interpretations have just the right combination of discipline and spontaneity. This is music from an era when the pace of life was much more leisurely than it is now. So sit back, relax, and enjoy.

Until Charpentier, the myth of Orpheus had never provided the subject matter for an opera in French. He repaired the omission with this fascinating little gem on the margins of the large-scale tragédie lyrique. Charpentier offers us here a myth left in suspension, without a resolution, a carefree and happy ‘descent’ that consecrates Orpheus’ song and the enchanting power of music. A poetic experience amid the depths of night, which inspire Sébastien Daucé and his Ensemble Correspondences more than ever!

Premiered at the King's Theatre, London during May 1739, this is not a familiar Handel opera, although its music certainly will be. It is a pasticcio opera cobbled together by Handel using an existing libretto and music he plundered from the little known Francesco Araja (c1709-1770).