South Londoner Wu-Lu’s stunning new album contains post-genre war dubs that speak directly to these richly troubled times. The twelve simmering tracks from the producer, multi-instrumentalist and vocalist are made of depth-charged post-punk, thrashed-up skate-park screamo, and the gauzy hip hop that Knwxledge might make if he’d got lost round the back of The Windmill on Brixton Hill.

Country songs celebrating the summer life are a dime a dozen, but few tackle the trials and tribulations of the season like Zach Bryan’s “Summertime Blues.”

Artificial Countrysides is Athens, Georgia-based Elf Power's 14th album and first for Yep Roc Records. The band expand their sound on this record to glorious effect, adding marimba, harpsichord, synth bass, distorted drum machine loops, and mellotron to their time tested mix of fuzz guitars, moog keyboards, pummeling drums, and layered acoustic guitars, achieving a satisfying and unique synthesis of traditional and futuristic sounds.

Arp, a.k.a. Alexis Georgopoulos, makes his anticipated return to Mexican Summer with the second chapter in his ZEBRA trilogy. New Pleasures advances the narrative begun with 2018's acclaimed ZEBRA; pastoral in mood, expansive in style, the record acted as a dawn on a nascent, Edenic landscape, reminiscent of a beautiful, long-lost Fourth World album. Now, Arp drops us deep into the grid of the city. New Pleasures fast-forwards a few centuries, locating listeners in a post-industrial Sprawl (to borrow an expression from William Gibson's Neuromancer) of concrete and glass, imbuing the album with the flinty glow of commerce, the sleek rhythms of industrialization, and the cool finesse of brutalism.

Bahraini-British performer, Yazz Ahmed, is transforming what jazz means in 2017. This trumpet and flugelhorn-playing artist has worked with Radiohead and These New Puritans, experiments with electronic effects, and combines sounds from her shared heritage to author a new narrative for the genre. Part of the new wave of artists credited with stirring up the sound, including Kamasi Washington, Yussef Kamaal, Sons of Kemet and The Comet is Coming, Yazz Ahmed is thrilled by the possibilities of making something new. “I feel like I’m a part of modernising jazz and connecting it with audiences today,” Yazz says. “It’s exciting.”

This album is a celebration of female courage, determination and creativity. In 2015, the Tomorrow’s Warriors commissioned me to write an extended work, to be performed by members of their Nu Civilisation Orchestra, for a concert at the Women of the World Festival, in London’s Southbank Centre, on International Women’s Day.

US-based, Grammy-nominated Rwandan and Ugandan singer-songwriter Somi’s Zenzile: The Reimagination of Miriam Makeba lovingly celebrates the musical contributions of the late "first lady of African song." With intergenerational contributions by Seun Kuti, Thandiswa Mazwai, Ladysmith Black Mambazo, Nduduzo Makhathini, and Angelique Kidjo, a pan-Africanist thread runs through this 17-track commemoration, released on what would have been Makeba’s 90th birthday.

Although Weill found fame in theatre-focused collaborations with Bertolt Brecht that produced the era-defining The Threepenny Opera, the onetime pupil of Ferruccio Busoni straddled the worlds of music-theatre, jazz, and the concert hall with music of daring aplomb and dazzling achievement.

Takuya Shinnomi [1988-] is an up-and-coming resident of Budapest.After graduating from International Christian University and Hitotsubashi University Graduate School, I studied at the Liszt Conservatory of Music.

Marenzio spent much of his later career in the service of influential ecclesiastical patrons in Rome, in particular Cardinal Luigi d’Este, a member of the ruling family of Ferrara, important patrons of the arts. After the cardinal’s death he was for a time in Florence in the service of Ferdinando de’ Medici, Grand Duke of Tuscany. He was a prolific composer of vocal music and is best known today for his madrigals, although he wrote a considerable quantity of sacred music.

This series marks the 200th anniversary of the birth of Anton Bruckner, which falls in 2024. It’s dedicated to Bruckner’s symphonies, most of them recorded in new transcriptions for organ by Hansjörg Albrecht.

La combinaison de l'orgue et du violon remonte à l'époque baroque. De nombreuses sonates pour violon et basse continue peuvent être jouées à l'orgue aussi bien, voire de manière plus colorée, qu'au clavecin.

Sandy Nelson was a rarity in early rock music: a popular Los Angeles session drummer with a punchy Gene Krupa-inspired style, he also managed to become a star in his own right thanks to the instrumental solo hits "Teen Beat" (1959) and "Let There Be Drums" (1961)…

Pour fêter le 150e anniversaire de la naissance de Ralph Vaughan Williams, le très intéressant label SOMM poursuit la publication d'archives rares.

Earl McGrath was the ultimate ’70s jet setter, an art collector and comic bon vivant who stumbled into the record business between legendary parties in New York and LA and discovered Daryl Hall and John Oates and then Jim Carroll. Atlantic founder Ahmet Ertegun gave Earl his own label, Clean Records, in 1970; Mick Jagger hired him to run Rolling Stones Records in 1977.