Majestic proudly announces the release of a new double CD space odyssey titled Epsilon. Building off the success of their 2012 V.O.Z release, Epsilon promises to deliver what progressive rock fans will call a favorite of 2014. Jeff Hamel is joined by the amazing Mike Kosacek on drums to create a sonic landscape rich in texture and depth. Jeff and Mike are supported by a very talented cast. Beginning with the artwork, french graphic artist Jonathan Maurin (Aeon Lux) handles visuals. Joining us for vocals is V.O.Z alumni David Cagle (Liberty & Justice), Celine Derval (Scythia) and Chris Hodges (Every Living Soul). Majestic veteran Jessica Rasche returns to make a special cameo appearance. Finally, they introduce Marc Atkinson (Riversea, Nine Stones Close, Mandalaband) who contributes his amazing voice to Majestic…

The new album from Ryley Walker "Deafman Glance" is out on the 18th May 2018 via Dead Oceans.

A professional musician at a very early age, Alain Caron is a considerably accomplished bass player. He attended the Berklee College of Music. One of his first excursions into jazz was playing with the Vic Vogel Big Band during the 1970s. In 1977 he co-founded the group UZEB. Their first album, Live in Bracknell, was released in 1981. The following year saw the group putting out Fast Emotion. The next album was 1984's You Be Easy. 1985 saw them release Between the Lines. Two more live albums, Live a l'Olympia and Absolutely Live came out in 1986. The group released Noisy Nights and Live in Europe in 1988. The following year saw the release of UZEB Club. World Tour '90 was released in 1990. In 1992, Caron formed his own group, le Band and released the first album by that group, Alain Caron – le Band.

Joshua Rubin's debut solo recording, "There Never is No Light" (TUN 002) features landmark works representing forty years of electronic exploration in contemporary music. The album highlights music by Suzanne Farrin and Olly Wilson, newly commissioned works by New York-based composer/performer Mario Diaz de Leon and Mexican composer Ignacio Baca Lobera, alongside world-premiere recordings of computer music pioneer Mario Davidovsky and a new electroacoustic work co-composed with pianist Cory Smythe.

Crimson's Top 40: '60s Pop offers up 40 radio hits from the decade, including familiar favorites like "Eight Miles High" (the Byrds), "Aquarius/Let the Sunshine In" (the 5th Dimension), "Green Tambourine" (the Lemon Pipers), "The Lion Sleeps Tonight (Wimoweh)" (the Tokens), "Everybody's Talkin'" (Harry Nilsson), and many more.

Kino have announced the release of their new album ‘Radio Voltaire’, arriving 13 years after the band’s much-loved debut ‘Picture’ back in 2005. Out on the 23rd March 2018, it sees John Mitchell (Arena, It Bites, Lonely Robot) & Pete Trewavas (Marillion) teaming up once more, with Craig Blundell (Steven Wilson) on drums & John Beck (It Bites) guesting on keyboards.

Joe Pass, Catch Me. One of the greatest jazz guitar albums of all time, Catch me captures guitar legend Joe Pass, with pianist Clare Fischer. The two were a match made in heaven. Mostly, this album just has Joe Pass and crew swinging standards, but they make them sound so fresh and new. The beautiful rendition of Catch Me, is so vibrant, bright, and melodic. Pass plays great at those up-tempo tunes. The group swings down home on Summertime. Pass struts his blues side of him on this one, and the outcome is tremendous.

Combining elements of horror-film soundtracks, psychedelic doom, and atmospheric noise, Insect Ark is comprised of Dana Schechter (bass, lap steel guitar, synthesizers) and Ashley Spungin (drums, synthesizers). Insect Ark’s intensely visual music weaves interludes of fragile beauty with crushing passages of swirling doom, spinning like a backwards fever dream. “Marrow Hymns” is a wordless song, a hypnotic voice that screams and whispers from a place deep in the furrows, from the bones, from the blood. Defying easy categorization, Insect Ark’s uncommon sound is in part the amalgamation of these two women’s passions: Schechter’s sinister bass lines and unconventional use of lap steel guitar (and her complete omission of electric guitar), and Spungin’s lucid, exacting drumming and synth work with her own hand-built analog noise pedals (Ormus Electronics).

Two very obscure series of recordings, both featuring singer Bon Bon (George Tunnell), are reissued in full on this intriguing CD. Bon Bon is best-known for his stint with Jan Savitt's orchestra during the late 1930s/early '40s. On the first 16 selections, he is heard as a pianist-vocalist with the Three Keys, a group also featuring guitarist Slim Furness and bassist Bob Pease; all three musicians sing together. The music is enjoyable jive although not as creative as the Mills Brothers or the Spirits of Rhythm. Among the better selections are "Someone Stole Gabriel's Horn," "Nagasaki," and "Oh By Jingo." Also on this CD are the six surviving selections from two dates by Bon Bon and his buddies during 1941-42…

Kurtz Mindfields is a new artist keen on electronic music & vintage synthesizers, in the lineage of early Tangerine Dream, Klaus Schulze, Vangelis, Robert Rich.

Released just a year after East India Youth's distinctive indie electronic debut, the Mercury Prize-nominated Total Strife Forever, Culture of Volume presents another blend of Eno-inspired synth compositions and thoughtful electropop songs. However, where the former was mostly instrumentals with a few songs, Culture of Volume offers the reverse for a poppier and more melodic, but equally hypnotic and well-crafted sophomore LP. While East India Youth had been essentially a solitary project for multi-instrumentalist William Doyle, he brought in Graham Sutton to mix this time, George Hider recorded Doyle's vocals, and Hannah Peel provided acoustic strings. Their work polishes an adventurous landscape where, without changing the record's pensive tone, tempos, complexity, and pitch range shift regularly. This variability begins right from the contrasting opening two tracks. "The Juddering" serves as an instrumental takeoff, both as the album's opener and in the sense of sound; its slow-building, mechanical, turbine effect mingles pitches and noise until a simple melody coalesces. It's followed by the sparse song "End Result" ("The end result is not what was in mind"), melodic and vocal-led with welcoming, blunt bell tones. The record never settles into a full-on catchy, Pet Shop Boys-type affair, or settles in at all, though moments are remindful of '80s British dance-pop, such as the trance-infused "Beaming White" with a far-reaching, Erasure-like melody.