Welcome to another selection of modern progressive music for you to enjoy, with the latest Prog cover CD (18/06/2018). Subsignal, 3RDegree and many more.

At its best, Samira Winter’s Ethereality recalls the songwriting of Weezer’s blue album and the feeling of Last Splash-era Breeders and Malkmus’s pop distortions. On the song “Blue Eyes, ” she even explores some of the terrain mapped by Beach House. Utilizing soaring, anthemic dynamics and universally relatable topics of young adult insecurities and struggle, she’s pushing the limits of her guitar playing and stretching the conventional confines of what a pop song is supposed to be. It’s easy to describe this as “dreamy” or “sun-drenched” pop … but there’s something more elusive happening. While this album might seem easy to interpret at first, repeated visits reveal a melancholy undercurrent masked by bright arrangements. Really, Ethereality is based on an artful examination of post-millennial emotional confusion.

The Neal Morse Band's triumphant double-album, The Similitude of a Dream, is the most acclaimed release that Morse has helmed to date. The 2017 tour was their largest yet, including new continents for the band. At the O13 in Tilburg, Holland, the stars aligned for the most commanding performance of the run, captured for live release in stunning quality. "An epic night on an epic tour," proclaims Neal.

The collection is produced by the band, with all surviving members contributing to song selection. Ocasek also supervised digital remastering of all the audio with Ted Jensen at Sterling Sound. The collection features the band s big hits along with a rare, single mix for I m Not The One, as well as a live version of Everything You Say, and a new mix by producer Philippe Zdar of Sad Song, a track from the band s last album, 2011 s Move Like This.

Maeba is the 74th studio album of the Italian singer Mina. It was released on March 23, 2018 by the record label PDU and distributed by Sony Music.

An icon of French Romanticism thanks to the enduring popularity of his operas Faust and Roméo et Juliette, Charles Gounod competed three times for the prestigious Prix de Rome between 1837 and 1839. Thus he composed three unpublished cantatas for soloists and orchestra, including Marie Stuart et Rizzio and La Vendetta, which he never had the opportunity to hear in performance. Revealed for the first time, these three cantatas, fine examples of French Romanticism, show a young composer with a remarkable flair for opera. In the end Fernand won him the coveted prize, carrying with it the privilege of a three-year stay (from 1840) at the Villa Medici in Rome. While there he produced several sacred compositions, which have also remained unknown until now. His splendid Messe vocale for unaccompanied choir, written in a neo-Palestrinian style, deserves a place on the programme of every vocal ensemble.

Gravitational Waves is a dating story. The pianist Bruno Ruder and the saxophonist Rémi Dumoulin know each other for a long time and have very early maintained more than friendly relations (Bruno Ruder calls Rémi Dumoulin his brother). When the idea of starting a group together germinated, the choice of the drummer was quickly stopped, so great was the desire to rework with the legendary Billy Hart . There is also little suspense about the rest of the cast: Aymeric Avice (Radiation 10, Jean Louis, Circum Grand Orchestra) and Guido Zorn (Rockingchair, Pierre Durand Roots 4tet), two musicians among their favorites. Ruder and Dumoulin share voluntarily very open compositions (sinuous and fragile for the pianist, more direct for the saxophonist). The decision is to leave the maximum space to the American drummer so that it colors the score as it sees fit.

Though it was technically a surprise drop, Jay Z and Beyoncé’s joint album Everything Is Love was a long time coming. It’s no secret fans have spent the last several years holding their collective breath for the collaborative project, enduring countless rumors, teasers, and the occasional letdown. But just when many of us started losing hope, the Carters came through and abruptly dropped the long-awaited project exclusively on Tidal, reminding their battalion of stans that “all good things come to those who wait.” And god knows we’ve waited long enough.

Brass Construction continued to avoid the scrap heap, turning out another better-than-expected album. There were two more good singles in "Walkin' the Line" and "We Can Work It Out," and the production, arrangements, instrumental support, and vocals were all more inspired than they had been in the past.