The WAEVE, a collaborative project between Graham Coxon, the guitarist of Blur, and Rose Elinor Dougall, ex-member of The Pipettes, release their eponymous debut album on Transgressive Records. Produced by The WAEVE and James Ford (Arctic Monkeys, Florence & The Machine, Foals, Haim) and recorded in London earlier this year, The WAEVE is a collection of 10 new tracks from songwriters Graham Coxon and Rose Elinor Dougall. Joining creative forces in The WAEVE gave the duo the opportunity to push past their instrumental comfort zones.

Barefoot On Diamond Road is the third album from the Netherlands’s Amber Arcades, the recording persona of Annelotte de Graaf. Away from music, her work as a lawyer has brought a role in the international war crimes tribunal.
Previously, her music was a form of Eighties-ish indie with touches of shoegazing.

Jan Garbarek's icy and haunting tones on tenor and soprano are in the forefront during much of this set. He performs six originals (which have simple but picturesque titles such as "Blue Sky," "Windows" and "The Red Roof") with the assistance of guitarist Bill Connors, pianist John Taylor, bassist Eberhard Weber and drummer Jon Christensen.

As one of ECM’s most passionate and prolific contributors, Jan Garbarek has left us with a varicolored, sometimes watery, archive. For All Those Born With Wings, the Norwegian saxophonist went solo, painting an evocative album of relic-laden vistas. The result is a six-part session filled with a variety of instruments and tastes. The hammered dulcimer is a welcome sound to the Garbarek palette, and is used tastefully in the 1st Part, where Garbarek’s saxophone refracts into a flock of large-winged birds. An army of chants floods the 2nd Part, as martial drums resound like the introductory sequence of a classic martial arts film.

A little-known Italian band from Naples, KRAKEN IN THE MAELSTRÖM released one album in 1993 on Mellow Records, "Embryogenesis (bioregulator heat emission)."

Jack DeJohnette has played with almost all the architects of modern jazz history, from the members of the AACM to Coltrane, Miles, Rollins, Ornette Coleman and Bill Evans and is, of course, currently a member of the world's most celebrated piano trio, Keith Jarrett's "Standards" band. For a quarter-century the drummer has also been a bandleader in his own right. Oneness joins a line of distinguished groups that includes New Directions and Special Edition and is perhaps Jack's most all-embracing unit to date: its members share the leader's utopian vision of a multi-directional music that includes, but is not limited to, jazz. The heart of the band is the uncanny rhythmic alliance between DeJohnette and Don Alias, first tested on Miles's innovative On The Corner and revitalized on the road with Herbie Hancock's The New Standard project.

"In the Meantime" was a huge hit, and Resident Alien went gold, but Spacehog's debut earned them no critical respect. At any other time, the group's glitzy revival of Bowie, Roxy and Mott the Hoople would have earned kudos, but it arrived at the height of Brit-pop, when other, more celebrated (and, frankly, better) bands were dominating the media spotlight. So, when it came time to deliver their second record, Spacehog knew they had to make a big splash, and The Chinese Album delivers on that promise. A faux song cycle layered with details and hooks, The Chinese Album is a big album conceptually, but the band doesn't quite have the gravity required to make it the sweeping achievement they desire.

Discipline are an independent rock band from Detroit. They have performed and recorded together for over 25 years on their indie label, Strung Out Records. Chaos Out of Order (1988) was Discipline's first full length release. During its twenty-five years out-of-print, the album became the most sought-after and elusive of the band's recordings. This twenty-five year remastered edition includes an earlier track, Peacemaker, recorded by the same lineup in 1987. The line-up was Matthew Parmenter on vocals and multiple instruments, Jon Preston Bouda on guitars and Woody Saunders on bass.Fantastic Neo/Symphonic Prog with darker passages and Classical/symphonic influences all over, similar to early IQ, and the biggest surprise comes from the consistent use of acoustic piano and organ over the synths, we are talking about 1988 here!