Labyrinth are considered as one of the leaders of the entire New Wave Of Italian Power Metal. Formed in the early 90’s with the release of their 1998’s album “Return To Heaven Denied”, considered as a milestone for the genre, they caught the attention of the entire European scene, gaining success and building their important career made of great albums and tours. Labyrinth, together with acts like Rhapsody Of Fire, Lacuna Coil helped the entire Italian heavy metal scene to reach the next level globally.
Over the years the band went through difficult times and several lineup changes, taking a break from 2010 to 2017 when in the spring of 2016, the band’s founding members Andrea Cantarelli and Olaf Thorsen received a call from Frontiers, asking them to discuss with singer Roberto Tiranti the possibility of a comeback for the band…

This deluxe release from the classy (but long defunct) Artists House label, as with all of Art Pepper's recordings of his comeback years, is easily recommended. This album has lengthy versions of "So in Love," "Stardust," "Straight No Chaser" and two Pepper originals ("Diane" and "Blues for Blanche"). Assisted by two equally talented rhythm sections (pianists Hank Jones and George Cables, bassists Ron Carter and Charlie Haden, and drummers Al Foster and Billy Higgins), Pepper is in excellent form throughout the album, giving these songs heart-wrenching interpretations.

Space Debris hail from the Odenwald region in Germany. The members' main concern is to play improvised music reminiscent to 70s krautrock and psychedelic bands. The group started as a trio comprised of Tommy Gorny (guitar), Tom Kunkel (Hammond organ) and Christian Jäger (drums). Supported by many friends having guest appearances they already could produce seven albums starting with the year 2002. Their first one was the self-released double LP 'Krautrocksessions 1994-2001' consisting of early impressions mainly deriving from 1998/99 recordings. The Hammond is the main reason for a wide range of styles given within their explorations, also including bluesy and jazzy themes as well as heavy prog. Another double LP named 'Kraut Lok' followed in 2005…

The complicated rhythm patterns and diverse sonic textures on Olé Coltrane are evidence that John Coltrane was once again charting his own course. His sheer ability as a maverick – beyond his appreciable musical skills – guides works such as this to new levels, ultimately advancing the entire art form. Historically, it's worth noting that recording had already commenced two days prior to this session on Africa/Brass, Coltrane's debut for the burgeoning Impulse! label. The two sets complement each other, suggesting a shift in the larger scheme of Coltrane's musical motifs. The assembled musicians worked within a basic quartet setting, featuring Coltrane on soprano and tenor sax, McCoy Tyner on piano, and Elvin Jones on drums, with double-bass chores held down by Art Davis and Reggie Workman. Added to that are significant contributions and interactions with trumpeter Freddie Hubbard and Eric Dolphy on flute and alto sax (although Dolphy's contract with another record label prevented him from being properly credited on initial pressings of the album). The title track is striking in its resemblance to the Spanish influence heard on Miles Davis' Sketches of Spain.

Although electronica had its fair share of chillout classics prior to the debut of Air, the lion's share were either stark techno (Warp) or sample-laden trip-hop (Mo' Wax). But while Air had certainly bought records and gear based on the artists that had influenced them, they didn't just regurgitate (or sample) them; they learned from them, digesting their lessons in a way that gave them new paths to follow. They were musicians in a producer's world, and while no one could ever accuse their music of being danceable, it delivered the emotional power of great dance music even while pushing the barriers of what "electronica" could or should sound like. (Never again would Saint Etienne be the only band of a certain age to reveal their fondness for Burt Bacharach.) The Modulor EP had displayed astonishing powers of mood and texture, but it was Air's full-length debut, Moon Safari…

With their second album Rides Again, the James Gang came into their own. Under the direction of guitarist Joe Walsh, the group – now featuring bassist Dale Peters – began incorporating keyboards into their hard rock, which helped open up their musical horizons. For much of the first side of Rides Again, the group tear through a bunch of boogie numbers, most notably the heavy groove of "Funk #49." On the second side, the James Gang departs from their trademark sound, adding keyboard flourishes and elements of country-rock to their hard rock. Walsh's songwriting had improved, giving the band solid support for their stylistic experiments. What ties the two sides of the record together is the strength of the band's musicianship, which burns brightly and powerfully on the hardest rockers, as well as on the sensitive ballads.