This well-rounded set (released posthumously) features the highly influential pianist Bill Evans in a set of typically sensitive trio performances. With his longtime bassist Eddie Gomez and his drummer of the period, Eliot Zigmund, Evans explores such songs as "We Will Meet Again," Jimmy Rowles's classic "The Peacocks" and the "Theme from M*A*S*H." It's a solid example of the great pianist's artistry.

Early heavy Italian progressive rock with enough great hammond, electric guitar and drum courtship to ensure you never sleep well again. J.E.T. were known as a four piece ensemble who performed heavy yet classically influenced guitar and keyboard dominated prog rock. Their music exudes a clever and truly emotional listen never getting to loud or crazy for the listener. Although no shortage of harder rock driven moments, J.E.T. wind out into some simply gorgeous calm and spiritually uplifting melodies throughout. In many ways this is a very complete album reaching a vast range of moods and tempo changes. Vocals are well done with lots of compelling emotion.

The Blues Don’t Lie is the amazing new album from Buddy Guy, and is the legend’s 34th studio album, and the follow up to 2018’s Grammy winning album The Blues Is Alive and Well. Produced by songwriter/drummer Tom Hambridge, The Blues Don’t Lie features guests including Mavis Staples, Elvis Costello, James Taylor, Jason Isbell, and more. The album will be released exactly 65 years to the day that Buddy Guy arrive in Chicago on a train from Baton Rouge, Louisiana in September of 1957, with just the clothes on his back an his guitar. His life would never be the same, and he was born again in the blues. The Blues Don’t Lie tells the story of his lifelong journey. Reflecting on this body of work, Buddy says “I promised them all: B.B., Muddy, Sonny Boy as long as I’m alive I’m going to keep the blues alive.” He has indeed proven that again, and proclaims, “I can’t wait for world to hear my new album cause The Blues Don’t Lie.”

Rod Modell is a sound designer / electronic music producer from the Detroit area. He began producing music in the mid-80's using analog synthesizers and drum machines. Rod's work was focused on electro-acoustic experimentation in the early years, making musique concrète compositions with a 4-track cassette machine and field recordings, then branching into industrial soundscape work. More recent recordings utilize more structure and beats, but still retain the atmospherics that Modell is known for. Mood is of paramount importance in a Rod Modell recording (often created with field recordings). Sadly, this element seems to be lost in much of the "clicks & cuts" DSP music of today. One of Modell's favorite pastimes is making middle-of-the-night recordings with his portable DAT machine and dummy-head microphone…

Not only does this LP feature a "new quartet," but it marks the beginning of Gary Burton's longtime association with ECM. In general, Burton's ECM dates were more introverted and laid-back than his more diverse Atlantic releases, but they always had their moments of interest. On this set, the vibraphonist, guitarist Mick (then known as Michael) Goodrick, bassist Abraham Laboriel, and drummer Harry Blazer perform numbers by Chick Corea ("Open Your Eyes, You Can Fly"), Keith Jarrett ("Coral"), Gordon Beck, Carla Bley, and Mike Gibbs, in addition to Burton's "Brownout." Intriguing if not essential music.

If Boccherini was mischievously dubbed “the wife of Haydn”, then Arriaga must have been his second cousin or so. These three quartets are lovely works. Particularly noteworthy is the Quartet in E-flat major (No. 3), with its charming “Pastorale” second movement, but they are all rewarding pieces. The Guarneri Quartet plays them beautifully. Because they are marginal pieces in the quartet repertoire, and because this disc appeared in the mid-1990s when the classical glut was in full “glutitude”, it was easy to overlook these performances. However, if you enjoy Haydn and his school, you won’t find a better release than this one—and it’s extremely well recorded too. It’s good to see it back.

Benediction have been steadfast representers of old school death metal since 1989 and reached a new height of success with 2020's "Scriptures". In 2025, the quintet drops the merciless and even stronger follow-up "Ravage Of Empires" supported on tour with Jungle Rot and Master on time with album release! With tremolo riffs and hammering grooves in spades, tracks like 'Engines of War', 'Genesis Chamber', 'Crawling over Corpses', 'In the Dread of the Night', and 'Psychosister' show a remarkable consistency and Scott Atkins, who produced the record at Grindstone Studio once again, ensures with a crisp and massive sound that the aforementioned impact leaves no bone unshattered. Garnered with artwork by Wolven Claws Artist, 'Ravage of Empires' continues Benediction's flawless discography on Premier League level and promises to become one of 2025's undisputable old school death metal highlights!

Simple Minds signed to Chrysalis for Néapolis and saw the return of Derek Forbes on bass. Néapolis signals a return to form while remaining on the cutting edge. Unlike U2, the band they have been most often compared to, Simple Minds have not lost themselves in techno beats and processed samples. Longtime fans will embrace this album; from the opening track, "Song for the Tribes," through the two singles, "Glitterball" and "War Babies," one immediately recognizes that classic sound. Other standout tracks include "Tears of a Guy," "Superman V Supersoul," and a potential third single, "Killing Andy Warhol." The biggest surprise on the album is "Androgyny," a welcomed instrumental in the tradition of their earlier works (see Empires and Dance, Sister Feelings Call, and Sons and Fascination). It's nice to know that in the 1990s, one classic new wave band hasn't forgotten what it is all about. Unfortunately, Chrysalis felt there was not enough of a following outside of Europe to justify the worldwide release of the album.