Formed in the 1994 in the back province of West Saxony (Germany) and based in Leipzig since 2001, Disillusion quickly matures to something of an underground institution. Already at the very beginning the band around mastermind Schmidt is enclosed by a unique charisma which leaves no doubt about the fact that this band could become a real high-flyer on their hard way to uncompromising music.
After 18 months' time of production in April 2004 "Back to Times of Splendor" is released and is rightly being hailed internationally as one of the best debut albums in progressive metal genre. In interviews the band themselves here and there compare their work in a tongue-in-cheek comment to the opulence of Peter Jackon's "Lord Of The Rings"…

Nonetheless is the fifteenth studio album by English synth-pop duo Pet Shop Boys, released on 26 April 2024 through the band's own label x2 and Parlophone. It was produced by James Ford and mostly recorded at his East London studio. The band's first album for Parlophone since Elysium in 2012, its four-year gap with Hotspot (2020) marks their longest period between studio albums to date. It was preceded by the single "Loneliness", released alongside the album announcement. The album was released on 26 April 2024 in a variety of formats, including digitally, and physically on CD and multiple variants of coloured vinyl. The 2-CD and double white vinyl editions include a four-track EP titled Furthermore, featuring new recordings of "Heart", "Being Boring", "Always on My Mind" and "It's a Sin".

Humanoid is the seventeenth studio album by German heavy metal band Accept, released on 26 April 2024. It is the band's first studio album on Napalm Records, with whom Accept had signed with in February 2022, and also marks the first time since 2017's The Rise of Chaos that they had recorded as a five-piece band rather than a six-piece. Humanoid has received positive reviews from critics. Dom Lawson of Blabbermouth.net gave the album a rating of seven-and-a-half out of ten, writing, "For those who enjoyed the previous five, there is absolutely nothing here that fails to live up to expectations. Accept are, and have always been, exceptionally good at heavy metal. It's their thing", and added that the album "can be devoured as another generous serving of fresh metal anthems." Lawson also referred to "Unbreakable" and "Mind Games" as "among the finest songs that the band have written since 2009", and "Straight Up Jack" as "so unapologetic about its debt to AC/DC that resistance is useless."

The new focus on Bohemian classicism in the second half of the 18th century, manifested in recent recordings and articles in professional journals, has amply demonstrated the calibre of these composers and the quality of their music. Among them, Josef Mysliveček enjoyed considerable fame during his lifetime. He was known to such important figures as the soprano Caterina Gabrielli and was a friend of Mozart’s, who esteemed him.

Deep Purple have never quite been placed in the revered 1960s canon that includes the Who, Pink Floyd, Led Zeppelin, or any of the other British rock bands who continue to reunite in various configurations to tour and even periodically release new albums, but given that the group has always been a riveting and brilliant live act, part prog, part heavy metal, part funky R&B, and imminently theatrical, that second-tier designation seems like both an oversight and a shame. Returning with this set, the band's first since 2005's Rapture of the Deep, and featuring a near-classic lineup of vocalist Ian Gillan, guitarist Steve Morse, bassist Roger Glover, drummer Ian Paice, and keyboardist Don Airey (Jon Lord, whose distorted organ parts were so much a part of the classic Deep Purple sound, left the band in 2002 and died in 2012 of pancreatic cancer), one can only marvel at how timeless it sounds, as if it were actually recorded in the early '70s and not tracked a little more than a decade into the 21st century.

In 2013, over a quarter century removed from his first album, Joe Satriani uses his solo albums as a way to stretch himself, both to flaunt his skills and perhaps to move him into areas where he's not quite comfortable. Unstoppable Momentum, his first album since 2010's boogie- and prog-heavy Black Swans & Wormhole Wizards, finds the guitarist occasionally indulging himself in a bit of swing, letting him ride an elastic beat ("Three Sheets to the Wind" has a supremely delicate touch), and he also digs into a bit of a nasty ZZ Top groove on "Jumpin' In," a boogie he turns inside-out on its immediate successor "Jumpin' Out." This is a pretty good indication that this is the work of a virtuoso who enjoys playing with his surroundings, tweaking tempos and arrangements to coax out unexpected wrinkles…

This was Ammons' final recording before "being made an example of" and getting a lengthy jail sentence for possession of heroin; his next record would be cut over seven years later. The music is surprisingly upbeat, with Ammons joined by two guitars (Bucky Pizzarelli and Kenny Burrell), a fine rhythm section (pianist Hank Jones, bassist Norman Edge, and drummer Oliver Jackson), and the bongos of Al Hayes for a set of Latin-flavored jazz that was masquerading as bossa nova.

In January of 2008, the Japanese Arcangelo label re-released all the albums by Swedish avant-proggers Samla Mammas Manna/Zamla Mammaz Manna originally issued between 1971 and 1980: 1971's Samla Mammas Manna featuring keyboardist Lars Hollmer, bassist Lars Krantz, drummer Hans Bruniusson, and percussionist Henrik "Bebben" Öberg; 1974's Måltid and 1975's Klossa Knapitatet, both recorded after the departure of Öberg and the addition of guitarist Coste Apetrea to the lineup; 1976's Snorungarnas Symfoni, written by Gregory Fitzpatrick and performed by the Måltid/Klossa Knapitatet lineup with guest appearances by trumpeter Kalle Eriksson and saxophonist Ulf Wallander; and 1978's Schlagerns Mystik/För Äldre Nybegynnare and 1980's Familjesprickor (Family Cracks), both recorded after guitarist Apetrea had been replaced by Eino Haapala…

Never one to do things timidly, with Vulnicura Björk delivers a breakup album that isn't just sad - it throws listeners into the total devastation of heartbreak. Starting with the album cover's wound/vulva imagery, she explores the tightly linked emotional and physical pain the end of a relationship brings with an intensity that has been missing from her music for too long. As expertly as she wedded feelings and concepts on Medúlla, Volta, and especially Biophilia, hearing her sing directly about her emotions is a galvanizing reminder of just how good she is at it. For the first time in a long time, the conceptual framework of a Björk album feels like it's in service of feelings she must express, and as she traces the before, during, and after of a breakup, she links Vulnicura to the most emotionally bare parts of her discography…

"Nicholas Harnoncourt's venture into the late 19th-century repertory tends to provoke ideologically-motivated reactions, either for or against, "historically-informed" performance practice. I think it's more rewarding to approach his outstanding recording of the Bruckner 7th symphony, done with the Vienna Philharmonic, as stemming from a strong interpretive vision of the 7th, one that is allied to some of the performance practices that Harnoncourt has advocated in his career."

American pianist and academic Michael Kaykov follows his first Odradek release, Liszt: Unrivalled, with Unrivalled Volume 2, an album devoted to the composer's extraordinary late piano works.

Chopin's Etudes Op. 10-3, Lullaby, Nocturne No. 2, No. 7, Waltz No. 2-15, No. 19, No. 18, Cello Sonata (w/Tortellier), etc. Recorded in 1957-1968.

Warner Classics brings you the for the first time for streaming, a remastered recording of Paavo Berglund with the Bournemouth Symphony Orchestra and composer & pianist John Ogden. Ogden was a fierce promoter of the works of Richard Yardumian (1917-1985) who was an Armenian-American composer, and whose post-Romantic music was popularized by his close partnership with Eugene Ormandy and the Philadelphia Orchestra. Ogden had a particularly close connection with the Passacaglia, Recitative and Fugue featured in this album, this piece is still very rarely put on record, it's rich yet easily accessible. This recording also features Glazunov's Piano Concerto No. 1.

Audrey Powne's stunning debut album, From The Fire, is set to be one of those must have LPs in any music lover's collection. Something of an auteur release it features nine tracks all composed by Audrey, with all string arrangements and all produced by her. Audrey's decision to produce the whole album herself came from a desire to take creative control of her music and apply techniques developed from the influences of the producers she had previously worked with. If all of the above were not enough Audrey also wrote the lyrics for those tracks on which she sings, and as a multi-instrumentalist contributes piano, Rhodes and organ. She also features as a trumpeter with dextrous and soaring solos as evidenced by the two single releases so far; Feed The Fire and the title track, From The Fire.