There's a very telling moment in Yeule's "Eko," the sweetest-sounding song you've ever heard about obsession. Disguised as a perfect little dance-riffic candy shell with hype-pop touches and disco bass, it details "a living, breathing unreal being who lives inside my head." But the bitter inside is revealed after the singer and producer coos, "Inside my head/ Oh she echoes in my …" Suddenly there's a scream, muffled low in the mix and sounding like torture. Who is that? Yeule, who uses them/they pronouns, is such a Gen Z digital native it's hard to know if they would even exist without the internet.

After highly successful recordings of works by Brahms, the Schumanns, and Chopin, Imogen Cooper plunges into the world of another great romantic, Franz Liszt, and places him alongside that other giant, Richard Wagner. This is an evocative programme of original compositions and intimate transcriptions, ranging from poetic movements from the Années de Pèlerinage: Italie to darker and deeply elegiac pieces, including Liszt’s La lugubre gondola I and Wagner’s Elegie. It also features a transcription by Zoltán Kocsis of the intensely passionate prelude to Tristan und Isolde. The famous pianist and conductor died prematurely in November 2016. It was his work that inspired this recording to begin with, and Imogen Cooper dedicates the disc to his memory. Breathtaking music in unique interpretations: romanticism without melodrama, virtuosity without fuss.

Gottfried Stölzel was a highly skilled, sometimes exceptionally inventive composer among whose gifts was the ability to devise extremely economical yet musically involving, textually illustrative, structurally refined, motivically fluent cantatas. It’s nowhere near great music, but much of it is quite good, clearly written for singers of some accomplishment, with leanly-scored yet often imaginatively colored orchestral accompaniments. Here are six cantatas from cycles written in 1735/36 and 1736/37, first performed together in pairs for Pentecost services in 1737. Added to the end of the program is another, earlier work that shows a marked stylistic contrast to the later pieces. Most of these cantatas begin with a short chorus, sometimes containing what sounds like a full-fledged fugue that dissolves as quickly as it begins, and then proceed through a couple of arias and recitatives, ending with a chorale.

Limited Edition. Covering recordings from July 1956 to July 1961, here are early stereo spectaculars on Mercury, under the inspired baton of Antal Doráti: classic albums of Haydn, Tchaikovsky, Stravinsky and many more in a new 'Original Jackets'. Eloquence has been making a systematic and critically acclaimed survey of the Mercury legacy of recordings made by the Hungarian conductor Antal Doráti. Boxes of his complete recordings with the Minneapolis Symphony Orchestra and the Philharmonia Hungarica have revived albums from the 1950s and 60s which set new standards for lifelike sound and intensely engaged performances in the recording studio. Volume 1 of Doráti's London recordings covers sessions from July 1956 to July 1961. Conductor and orchestra met for an intensive fortnight each year after the end of the concert season. Both the conductor and the Mercury engineers were demanding in their pursuit of perfection, in terms of orchestral attack, ensemble, balance, colour and all the disparate elements which contribute towards the kind of repeatability that made these albums such artistic and commercial successes.

After three acclaimed solo piano programmes for the label, here Anna Gourari widens the instrumental spectrum with the Lugano-based Orchestra della Svizzera italiana under Markus Poschner’s direction in striking performances of Alfred Schnittke’s Concerto for Piano and String Orchestra and Paul Hindemith’s The Four Temperaments. Gourari’s pianistic command is one of “virtuoso polish and with flawless action”, to quote the German daily Süddeutsche Zeitung, and her holistic, wide-reaching grasp of the instrument is on full display in Schnittke’s shape-bending polystylistic concerto. The orchestra furthermore shines in a powerful interpretation of Hindemith’s Symphony Mathis der Maler.

Volume 2 of Antal Doráti's London recordings for Mercury covers sessions between June 1960 (Tchaikovsky's Pathétique Symphony) and August 1966 (Tchaikovsky's Orchestral Suites). By way of a bonus, the set concludes with a rarity issued on Philips and scarcely seen since, an album of neoclassical works by Julian Orbón (Cantigas del Rey, sung by Heather Harper) and Manuel de Falla (the Harpsichord Concerto, with Rafael Puyana). Dorati's ear for color, his rhythmic discipline and knife-edged attack were complemented by the high-definition, pin-point detail of Mercury's 35mm stereo engineering. Works by Doráti's countryman Bartók came to life on record as never before. The versions of the Concerto for Orchestra, Divertimento for Strings and Music for Strings, Percussion and Celesta have scarcely been equalled since for atmosphere and accuracy. No less valuably, the box brings together the Mercury/Doráti versions of Bartók's principal works for the stage, Bluebeard's Castle (now with the spoken introduction included on CD for the first time) and The Miraculous Mandarin, as well as a definitive recording of The Wooden Prince.

ABBA's self-titled third album was the one that really broke the group on a worldwide basis. The Eurovision Song Contest winner "Waterloo" had been a major international hit and "Honey, Honey" a more modest one, but ABBA was still an exotic novelty to most of those outside Scandinavia until the release of ABBA in the spring of 1975. "I Do, I Do, I Do, I Do, I Do," a schmaltzy tribute to the sound of '50s orchestra leader Billy Vaughn, seemed an unlikely first single, and indeed it barely scraped into the Top 40 in the U.K. But in Australia, it topped the charts, causing the Australian record company to pull its own second single, "Mamma Mia," off the album. This far more appealing pop/rock number followed its predecessor into the pole position Down Under and also topped the charts throughout Europe.

The voices of Ella Fitzgerald and Louis Armstrong are among the most personal and beautiful that the history of music has given us, transcending eras, genres and languages. In this wonderful 6-CD box we can find the legacy of this immortal duet including all their key tracks and also some rarities that connoisseurs will surely appreciate. With remastered sound and beautiful cover art, The Complete Anthology is the definitive album of Ella & Louis, which should be on every music collection.

McCartney II is the second solo studio album by English musician Paul McCartney, released on 16 May 1980. It was recorded mostly alone by McCartney at his home studio in 1979 shortly before the dissolution of his band Wings in 1981. The album is a significant departure for McCartney, as much of it relies heavily on synthesizers and studio experimentation, while its music style ranges from synth-pop and new wave to electronica. The album was initially released to mostly unfavourable reviews by critics, though reception has been more positive over the years and the album has become a cult favourite.

Filmed at London's Forum Theater in 2014, Live from London is electronic violinist, dancer, and YouTube sensation Lindsey Stirling's first concert DVD/CD. Filmed and recorded during her 2014 tour in support of her second studio album Shatter Me, which reached number two on the Billboard Top 200 album chart, the 16-track collection features dynamic performances of some of Stirling's most resonant classical-pop confections, including "All of Me," "Crystallize," "Beyond the Veil," and "Stars Align."

Human Wheels is the 12th album by American singer-songwriter and musician John Mellencamp. Released on Mercury Records in 1993, it peaked at No. 7 on the Billboard 200. The single "What If I Came Knocking" was Mellencamp's last No. 1 single on the Album Rock Tracks chart, staying atop for two weeks in the summer of 1993.

This compilation by Santana, reissue in Canada in 1994 as part of the Prime Cuts Rock Legends series.

Willie Nelson Als een songwriter en artiest speelde Willie Nelson een belangrijke rol in de post-rock & roll country-muziek. Hoewel hij pas in het midden van de jaren 70 een ster werd, bracht Nelson de jaren 60 door met niet alleen het schrijven van nummers die hits werden voor sterren zoals Ray Price ("Night Life"), Patsy Cline ("Crazy"), Faron Young ("Hello Walls") en Billy Walker ("Funny How Time Slips Away") maar ook het uitbrengen van een aantal platen bij Liberty en RCA die hem een kleine, maar toegewijde cultaanhang opleverde. Aan het begin van de jaren 70 voegde Willie zich bij Waylon Jennings en de bloeiende outlaw country-beweging die hem in 1975 tot een ster maakte.

Chromatica is the sixth studio album by American singer Lady Gaga. It was released on May 29, 2020, by Streamline and Interscope Records. Originally scheduled for April 10, 2020, the album's release was delayed for several weeks, due to the COVID-19 pandemic. Chromatica marks a departure from Gaga's fifth studio album, Joanne (2016), with the singer intending the album to be a reminder of her "absolute love for electronic music". Incorporating elements of dance-pop, EDM and other pop-focused genres, many commentators compared it favorably to earlier works. Gaga collaborated with various producers on the record, including BloodPop, BURNS, Axwell and Tchami. Lyrically, the themes of the album revolve around mental health, healing, and finding happiness and love through hardship. It also features guest vocals from Ariana Grande, Blackpink and Elton John.

Includes the following albums - Herbie Mann and Sam Most Quintet, Flute Flight, Flute Fraternity, Sultry Serenade, Flute Souffle, Yardbird Suite, Just Wailin', Flautista