Titanic, the project spearheaded by Mabe Fratti and Hector Tosta (aka I. la Católica), return with a sumptuous and life-affirming new album.

Pianist Peter Friis Johansson has brought together renowned musicians, including violinist Johan Dalene and soprano Sofie Asplund, for a programme that juxtaposes three generations of Swedish composers. The vocal and chamber works performed here testify to the special place these genres occupy in Swedish art music and to the vitality of musical societies in the early twentieth century, which sparked an interest that went far beyond easily digestible music.

Shrunken Elvis is a Nashville-based instrumental trio formed by Spencer Cullum, Sean Thompson, and Rich Ruth—three seasoned musicians bonded by a shared instinct for exploratory, genre-defying music. The group began on a 2022 European tour supporting Cullum’s solo material, composing on the move in a VW Passat packed with guitars, pedal steel and synths. Back home, they recorded in a makeshift shed studio during winter sessions, capturing the spontaneity and intimacy of their travels.

In his first studio album, legendary singer John Katokye shines an unprecedented light on the rich vocal music of the Banyankore and Bahororo people of Western Uganda, bringing to the fore two singing styles intimately anchored in their century-long practice of cattle herding. When still a young boy, Katokye ran away from home to immerse himself in the traditional songs of his region. Herding cattle in different farms to earn a living, he roamed his homeland singing for several decades, refining his art form one performance at a time. Now approaching his 60th birthday, Katokye has become arguably the most talented and popular traditional singer alive in his region today.

No matter what stylistic path they take, GREEN CARNATION have never shied away from grand, gloomy statements.

Several years ago, Grant-Lee Phillips was wandering the elegant halls of the Norton Simon Art Museum in Pasadena, California. Amid a collection of highly detailed paintings from India, some dating back to the 1800s, one particular work caught his eye. The accomplished singer, songwriter, and painter opened up his notebook and made a note of both the imagery of the painting and the ominous implications of its title. This notebook entry would one day come to inspire the title of Phillips’ 12th solo album, the self-produced In the Hour of Dust.

"El primer llanto" ("The First Cry") is the debut solo album from Spanish flamenco guitarist Alejandro Hurtado. The album's title is a metaphor that refers to birth and the foundational elements of the art of flamenco. It is a highly personal and mature work in which Hurtado showcases not only his virtuosic technique but also his deep understanding of tradition. All the compositions on the album are his own, crafted within the framework of traditional flamenco styles (palos) such as the taranta, seguiriya, and granaína, among others. "El primer llanto" is a tribute to the classic masters of flamenco guitar, performed with contemporary sensibility and impeccable artistry.

Last Night I Heard the Dog Star Bark is a hybrid of the ancient and the futuristic, where the arcane etchings of occult folk horror fuse with the unfathomable equations of the cosmos. A big bang, yes, but also an atom cleaved. On her latest album, this celebrated new champion of the finger-picked guitar looks upwards, outwards. somewhere beyond. Now the landscape is mapped – its knotted woodlands, its aurora-crowned mountains, its tangled undergrowth – Gwenifer Raymond hears the stars call.

Steven Harlos: Benniana; Robert Nelson: Suite of Characteristic Dances; Balentine: Strange Loops; Douglas, Bill: Suite cantando; Wolking: Trane's Thang.

Yusuf/Cat Stevens has announced a definitive and first ever career-spanning collection. On the Road to Findout: Greatest Hits presents highlights from a nearly 60-year recording career with songs from his debut 1967 LP, Matthew & Son, through to his 2023 King Of A Land album. The collection features timeless tracks like “Where Do The Children Play?,” “Wild World,” “Moonshadow,” “The Hurt,” and “Father And Son.”

Mezzo-soprano Anna Lucia Richter interprets Gustav Mahler's Wunderhorn Lieder and Kindertotenliederwith great emotional depth and subtle creative power - two cycles that illuminate human fate in all itsfacets like few others.In the Wunderhorn Lieder we encounter tender childhood memories and bizarre stories - a worldbetween irony, folk song and deep melancholy. The harrowing contrast is provided by theKindertotenlieder, in which Mahler sets the pain of the loss of a child to music with poignant clarity andtouching restraint.Together with the Gürzenich Orchestra Cologne under the baton of Jordan de Souza, Anna Lucia Richtergives these songs a new, very personal dimension with her highly nuanced voice.

All the works on this CD are either arrangements of vocal repertoire or inspired by song in the course of their composition.Whether because they owe their origin to that period or on account of their style, the pieces are closely related to the Romantic era, when cantabile character was an essential element of musical expression. All these pieces were recorded on a Spanish guitar built in 1925 in Málaga by Antonio de Lorca Ramírez (1875–1929), a representative of one of the most notable guitar-building dynasties. This instrument is thus celebrating its centenary in the year this CD was made.

Ten years. Ten years of listening, searching, digging, sharing. Ten years of putting out records we felt mattered—because they told a story. Of a place, a moment, an impulse. Ten years of believing that music, especially the kind that doesn’t fit into any box, deserves more than just attention: it deserves care, time, and deep listening.

Mike del Ferro and Femke Smit have known each other for a long time, but a special musical connection was forged during a meeting in Rio de Janeiro in April 2023. Their shared passion for Brazilian music, combined with a classical background (both have opera singers as fathers) and a foundation in jazz and improvisation, formed the ideal foundation for an inspiring collaboration.

A quick recap on Louise Farrenc: she started to learn piano aged six, studying with Hummel and Moscheles, two great Romantic piano virtuosi. It was Anton Reicha who taught her composition, though. and provatey as females could not at that time enter the Paris Conservatoire to study composition. She went on to become Professor of Piano at that very institution, the first woman to hold the chair - a position she held for three decades.