We could call Lands End the first "aquatic progressive" band. The fact that they live on the shores of the Pacific Ocean seems like it has quite inspired these musicians and we find many allusions to the sea in their albums. Starting from rather simple neo Progressive rock, they built their own style made of energetic guitar assisted by keyboards, over which added vocals. Their music is very progressive, somewhere in the middle between Pink Floyd, Genesis and Yes, and the musicians don't hesitate to adventure themselves into long instrumental jams.

Canterbury knights is a compilation album containing previously unreleased archive recordings by the band The Polite Force which was active on the Canterbury scene between 1976 and 1978. It was released by Voiceprint Records in 1997. Tracks 2, 3, 4, 5, 8, 9 and 12 were recorded in 1976 in Joe Gubay’s house. Tracks 1, 6, 7, 10 and 11 were recorded in 1977 in Vince Clarke’s basement studio in Downs Road in Canterbury with one re-mix and overdub at John Murphy’s place in Herne Bay. The album contains very few overdubs and was recorded as “live performances” to a Teac 4-track recorder. Engineer and producer on all tracks was Jeremy Darby. Executive producer was Rob Ayling.

Wagner’s medieval romance of the Swan Knight comes to life in a lavish production by August Everding, filmed live at the Metropolitan Opera in 1986. James Levine conducts a stellar cast led by Eva Marton, Leonie Rysanek and Peter Hofmann in the title role.

An international affair from the get-go, Honest Truth, boasting a British rhythm section and a Dutch guitarist, lit up German stages in the late '60s before calling it a day. Drummer Stuart Fordham and bassist Ray Brown promptly returned to their island home, but were coaxed back across the North Sea in 1971 by guitarist Rob Terstall and his new musical companion, German keyboardist Jeff Beer. Dubbing themselves Odin, the group's ferocious shows quickly caught the attention of the Vertigo label, which released the band's sole album, this 1972 self-titled set. From the opening track, the quartet's breathtaking musical skills are on display, with Terstall and the teenaged Beer trying to one-up each other's consummate solos.

Although countless Mud compilations have been released over the years, none of them managed to cover every phase of the group's career. This was remedied in 1997 with the release of The Singles '67-'78. This overwhelmingly generous collection spans two discs and includes the A- and B-sides of each single the group released. Of course, the most impressive tracks are the hits from the group's stint at RAK Records: the combination of pop hooks and guitar firepower utilized for stomping glam classics like "Tiger Feet" and "Dynamite" still sound fresh and exciting today. However, this set also unearths some surprisingly good tracks from the group's oft-overlooked periods at Private Stock and RCA Records: "L'L'Lucy" is a full-throttle rock tune built on a smile-inducing vocal stutter hook and the languid yet catchy "Slow Talking Boy" is unlike anything else in the Mud catalog.

It had to be a train. The name of Victor Wainwright's new band - and the sleeve image of their debut album - is also the most fitting of metaphors. In music folklore, the train might have associations with the freight-hopping bluesmen of yore, but with this restless boogie-woogie innovator stoking the furnace, this project is a charging locomotive - surging forward, crashing through boundaries of genre, sweeping up fresh sounds and clattering headlong past the doubters. At a sweet-spot in his career, where most established stars would rest on their laurels, Victor Wainwright & The Train instead rips up all that has gone before. These twelve tracks are originals in every sense, written by Wainwright, pricking up ears in a sterile music industry and stretching the concept of roots in bold directions. The result is an album that walks a tightrope between scholarly respect and anarchic irreverence. On this white-knuckle ride, only The Train could keep the material on the tracks. "I ended up with a hit-squad of downright amazing musicians," he reflects, "that shared my curiosity for all corners of the roots genre. We wanted to capture how we feel performing, right smack-dab on this record, and I believe we've done that. Now I just try to keep up…"

“A cubicle for you, a cubicle for me….but not together…” The Year 2020 was not a year for a band to 'get things together in the country', or gather in a room to write songs. This statement certainly applied to the Legendary Pink Dots with two members in The Netherlands and one in the UK. The pandemic reared its ugly head as the Dots’ criss-crossed Europe on the second stage of their 40th Anniversary Tour. Just a few days before much of Italy locked down the band was in Milan. A few days later, the destination was Cologne where they opted for a hotel in the countryside… it turned out that the resting place was one village away from the most lethal outbreak of the virus in Germany. The tour eventually finished in a sold-out club with a worryingly low ceiling in London. There were hugs, a real feeling of togetherness with a truly lovely audience. Then the World stopped.

Reggae Film Star is Damien Jurado’s 18th full length studio album and the second on his own record label Maraqopa Records. 25 years since his debut album Waters Ave S. came out, Jurado is more prolific, driven and creative than ever. The twelve mystical songs on Reggae Film Star are gorgeously cinematic and feature rich production and diverse sonic textures. Reggae Film Star was produced by Damien Jurado at Sonikwire in Irvine, CA, with invaluable help from the dream team of multi instrumentalist Josh Gordon and recording engineer Alex Bush. The album was mastered by Greg Calbi at Sterling Sound.

In an age seemingly built to overwhelm, the concepts of directness and clear intention are being lost. Exhausting maximalist concepts have become the norm in many of the arts. It can be refreshing to hear music that has purpose and clarity. That is what Guillermo Klein and Los Guachos hope to provide on their new, suite-like recording, Cristal.

The disc is the thirteenth volume in the famous Hyperion 'Romantic Piano Concerto' series; it also follows on from Stephen Coombs's four-volume set of Glazunov's music for solo piano, meaning that Coombs has now recorded all of Glazunov's music for piano soloist.

Even though the ALIEN debut is 31 years old now it has lost nothing of its magic. In particular the two anthems “Only One Woman” and “Tears Don’t Put Out The Fire” are still a wet dream for any AOR fan. This reissue contains the original Scandinavian version with Jim Jidhed on vocals as well as the later US-version with new singer Pete Sandberg on vocals on some songs. Furthermore the re-release contains the two bonus tracks “Feel My Love” and “Touch My Fire” which make this album even more essential.

Selim Palmgren, a student of Busoni, was one of the leading Nordic composers during the first decades of the 20th century. His wide-ranging music for piano was performed and recorded by some of the greatest artists of the day. This third volume in the first complete cycle of Palmgren’s piano music on disc includes a varied cross-section of works written over a 50-year period. It includes the youthful Lyriskt intermezzo, Op. 8, romantic miniatures of great charm – as well as one of his greatest achievements, the atmospheric suite Kevät (‘Spring’), in which impressionist elements fuse with rich Finnish folk melody.

"Go and Ask Peggy for the Principal Thing" is the fourth album by German rock band Fool's Garden, released in 1997. It contains a cover of the Beatles' song "Martha My Dear".

Sync might be envisioned as a modified sax/bass/drum trio, where the bassist has been replaced by Jerome Harris on either acoustic guitar or acoustic bass guitar, and where the drummer’s role is taken by Samir Chatterjee on tabla and dumbek. With Rothenberg moving among alto sax, clarinet, bass clarinet, and the Japanese shakuhachi and composing looping ribbons of melody with odd rhythmic contours, the trio has found a most palatable merger of jazz and Asian music. The uncommon instrumentation is enhanced by a shared sense of purpose that gives Sync its winning character. Each player displays both the techniques and the sensitivity required to function as both soloist and accompanist, allowing Sync to maintain its three-way conversations after Rothenberg has finished soloing. This is not simply a matter of the leader’s ability to sustain extended melodic and rhythmic variations at lower volumes through circular breathing; it also results from the assurance that allows Harris to sustain a pronounced rhythmic underpinning in his guitar work and rare melodic fluency on bass. Chatterjee, who can sing and then play back the most complex patterns in the manner of the great tabla masters, also senses how to highlight more compact, swing-oriented parts through shifts in accents and dynamics.

This programme brings together aesthetic and musical elements of East and West. Zhou Long captures the essence of the Chinese plucked ch’in, and Cambodian aesthetics are preserved in Chinary Ung’s expressive Spiral III. Tan Dun’s Eight Colors combines the exotic timbres of Peking Opera with Second Viennese School tonalities. Gao Ping’s Bright Light and Cloud Shadows has been admired for its ‘long-breathed brush strokes’ (Washington Post). Taking its inspiration from James Joyce’s Finnegans Wake, Toru Takemitsu’s beautifully crafted A Way a Lone evokes a shimmering sound world.