Dirkschneider & The Old Gang (DATOG) was originally launched in 2020 as a one-off charity project, but quickly developed a momentum of its own and formed into a band consisting of Udo Dirkschneider (vocals, Accept/U.D.O./Dirkschneider), Peter Baltes (bass, vocals, Accept/U.D.O./Dirkschneider), Stefan Kaufmann (guitar, Accept/U.D.O.), Mathias Dieth (guitar, Sinner/U.D.O.), Sven Dirkschneider (drums, U.D.O./Dirkschneider) and Manuela Bibert (vocals). Between 2020 and 2021 the first three singles attracted a lot of attention, whereupon the band wrote more songs and recorded their debut album. With a unique vocal concept of three voices, powerful riffs and stylistic complexity, DATOG combines classic heavy metal with a modern, powerful production.

Movie Music with the Mancini Sound, a prime package of film themes complimented by the musical touch of Henry Mamcini.

Mancini’s first long play in its entirety, the 1957 "Driftwood and Dreams" (Liberty LRP-3049), later reissued as The Versatile Henry Mancini (Liberty LST-7121). It features Mancini’s outstanding music, plus the wonderful guitar of Laurindo Almeida and vocals by the soprano Loulie “Lulu” Jean Norman, who would later achieve fame with her singing on the theme for Star Trek.

Saxophonist Greg Osby attacks a varied mix of jazz standards on St. Louis Shoes with results that sound both well within the "tradition" and utterly modern. Reminiscent of midcareer Wynton Marsalis, Osby seems to want to mix the Cotton Club-style swing of Duke Ellington with the angular bebop and calculated arrhythmia of Thelonious Monk. Backed by a stellar ensemble including trumpeter Nicholas Payton, bassist Robert Hurst, pianist Harold O'Neil, and drummer Rodney Green, Osby crafts interesting arrangements of songs including the barely recognizable Gershwin chestnut "Summertime" and the Dizzy Gillespie classic "Shaw 'Nuff" that are both harmonically challenging and rhythmically unique. Check out the quirky and angular Raymond Scott meets Monk written solo that Osby and Payton play in the middle of Ellington's "East St. Louis Toodle-Oo"…

Consider this a primer, because there is no way a career spanning 25 years can be summarized justifiably within the cramped space of an 80-minute disc. The Best of Depeche Mode, Vol. 1 takes a very selective skip through the group's past, and it leaves no room for anything off Black Celebration - an album many fans (albeit the most depressive ones) cite as a favorite. While the relatively thorough Singles 81>85 and Singles 86>98 can be seen as the proper entry route, they don't have the benefit of covering 2001's Exciter or 2005's excellent Playing the Angel, so this disc - as of 2006, at least - is very nearly the best possible way to get a feel for the whole daunting discography. Tending to stick to the singles that made the greatest impact on the mainstream and club charts, the selections do signify that the group hasn't lost any traction. Just compare the difference between 1981's "Just Can't Get Enough" and 2005's "Precious"…

John Carpenter’s soundtracks for the most recent Halloween trilogy, made alongside his frequent collaborators Cody Carpenter and Daniel Davies, marked the legendary director and composer’s return to film scoring after nearly two decades away. 2018’s Halloween, 2021’s Halloween Kills, and 2022’s Halloween Ends were all directed by David Gordon Green, who engaged Carpenter early in the pre-production process, ultimately enlisting him as both an executive producer and soundtrack composer for the trilogy.

John Carpenter’s soundtracks for the most recent Halloween trilogy, made alongside his frequent collaborators Cody Carpenter and Daniel Davies, marked the legendary director and composer’s return to film scoring after nearly two decades away. 2018’s Halloween, 2021’s Halloween Kills, and 2022’s Halloween Ends were all directed by David Gordon Green, who engaged Carpenter early in the pre-production process, ultimately enlisting him as both an executive producer and soundtrack composer for the trilogy.

With their eighth studio album, Feed The Fire, Pigeons Playing Ping Pong unveil a triumphant new chapter. Building on their signature blend of funk, rock, and jam, the band pushes forward with inventive arrangements, unique time signatures, and an ever-expanding sonic palette. Pigeons Playing Ping Pong's 12-track expedition ventures into uncharted territory while staying grounded in the improvisational spirit and funk-fueled roots that have defined their sound for over 15 years. "