The first of Rolf-Ulrich Kaiser's exploitive cosmic space rock albums is also the best, and certainly kicks the seat out of the many jam bands that arose in the '90s. Unlike most "super groups" who collapse under the weight of their own hubris, the Cosmic Jokers, who were never really a proper group anyway, almost improve upon the sound of their precursors, namely Manuel Göttsching and Klaus Schulze from acid-jam-supreme Ash Ra Tempel, and Jurgen Dollase and Harald Grosskopf from blitzkrieg psychedelic Wallenstein.

The second Cosmic Jokers album, though originally not released under their name, offers another pair of sidelong roller-coaster rides into the cosmic void from the same musicians as the first album, with added vocals from guitarist Göttsching's girlfriend, Rosi Muller, and producer Kaiser's girlfriend Gille Lettmann. Whereas the Ash Ra Tempel elements were more dominant on the earlier record, this one relies more heavily on the conventional psychedelic sounds of the Wallenstein faction, though not to the point where it loses that loose Ash Ra vibe.

The second Cosmic Jokers album, though originally not released under their name, offers another pair of sidelong roller-coaster rides into the cosmic void from the same musicians as the first album, with added vocals from guitarist Göttsching's girlfriend, Rosi Muller, and producer Kaiser's girlfriend Gille Lettmann. Whereas the Ash Ra Tempel elements were more dominant on the earlier record, this one relies more heavily on the conventional psychedelic sounds of the Wallenstein faction, though not to the point where it loses that loose Ash Ra vibe. Side one, "Kinder des Alles," begins with a funky driven beat before collapsing into a strange synth-saturated sound, falling deep into ambient space until eventually the track propels back into another galloping rhythm.

To celebrate the thirtieth anniversary of the legendary Quatuor Habanera (Paris), the Swiss-Slovenian saxophonist Maja Lisac Barroso presented the formation with an immense but fascinating challenge. To rehearse a work that is actually seen as the ‘epitome of a chamber music work for strings’: Schubert’s famous String Quintet, D.956. The artist spent two years listening to Schubert’s masterpiece every day, researching the work and its genesis, before finally arranging it for five saxophones. The result? Something seemingly impossible…

A fascinating electroacoustic reworking of the New World Symphony! In keeping with their desire to democratize classical music, the Chamber Orchestra of Toulouse and its musical director Gilles Colliard revisit Antonin Dvořák’s masterpiece. One hundred and thirty years on, this music is reborn in an entirely original and surprising form.

His life, shrouded in mystery, offers plenty of room for speculation and fantasy: Large parts of Giovanni Antonio Pandolfi Mealli's biography lie in unexplored and now probably also unexplorable darkness; he appears in various places, first secured in Innsbruck in 1660, then in Upper and Central Italy, he is preceded by a legendary reputation as a violin virtuoso, he publishes violin works, apparently without worrying about a stringent opus narrative, and it probably comes to a dramatic climax when he kills a fellow musician in a dispute in Messina in 1675 and then flees to France and finally to Madrid. His sonatas are no less fascinating: To many they did indeed seem 'baroque', i. e. overloaded and bizarre, but today we recognise in them a fascinating link between the virtuoso Italian and the southern German-Austrian baroque instrumental style, with it's typical harsh contrasts and surprise effects. Daniel Sepec and his colleagues present them with their usual precision.

Although not released until 1993, Le Berceau de Cristal was originally the soundtrack to Philippe Garrel's 1976 film of that name, providing an appropriately hallucinatory backdrop to Nico's musings and her oneiric encounters with various pseudo-mythological characters. Le Berceau de Cristal shows continuity with 1975's Inventions for Electric Guitar, enveloping listeners in analog ambient-minimalist soundscapes that anticipate the work of subsequent generations of electronic musicians.

Over the course of three decades as a professional performer, Kaeshammer has developed a style that weaves threads of classical, jazz, blues, boogie-woogie, stride, and piano pop into a signature sound. Kaeshammer has been nominated for seven Juno Awards, has received the West Coast Music Award for Musician of the Year and Entertainer of the Year, and has represented Canada at numerous Olympic ceremonies. With The Warehouse Sessions, Michael Kaeshammer and his trio, bassist David Piltch and drummer Johnny Vidacovich, are captured with live off the floor performances in Bryan Adams' recording studio in performances that are electric and spontaneous. The trio are battle tested: Countless gigs all over the world, hundreds of kilometers traveled and thousands of happy listeners. And on this album, you hear these three friends finding joy in making music with each other.Songs like "Bourbon Street Parade" and "You Got it In Your Soulness" show a group having so much fun it's infectious.

Originally, this was not a Cosmic Jokers album, but rather a sampler to promote various releases from Kosmische Musik, the record label ran by Jokers mastermind Rolf-Ulrich Kaiser. With a track taken from each of the other four Cosmic Jokers releases, as well as from Ash Ra Tempel's Starring Rosi and Seven-Up, Wallenstein's Cosmic Century, and Walter Wegmüller's Tarot, which all included some members of the Jokers, it's not too far off to consider this with other Cosmic Jokers releases.

On March 8, 2024, the Canadian artist and winner of the Juno Award will release a new album. She is returning to the origins of her career and this time devoting herself more to traditional Celtic music.

The ultimate chemical reaction between "rock & jazz" roots of Muzuki Kinugi and "classical & contemporary music" roots of Daisuke Suzuki. 15 Fruits, the culmination of 17 years of The DUO.

The Violin Sonata No. 8 in G major, Op. 30, No. 3, by Ludwig van Beethoven, the third of his Opus 30 set, was written between 1801 and 1802, published in May 1803, and dedicated to Tsar Alexander I of Russia.

Following his acclaimed 2020 collaboration with American synthesist Michael Stearns (CONVERGENCE, PRO371) renowned Norwegian ambient / electronic artist Erik Wøllo returns with 2021’s RECURRENCE. An intensely detailed fusion of elegant compositions and deep atmospherics, it’s a gleaming sonic journey — a timeless dreamlike pilgrimage revisiting the sound and feel of past moments with an essence of eternal renewal.

Renowned Norwegian ambient / electronic artist Erik Wøllo's «NORTH STAR» evolved from layers of sustained guitars inspiring infinite space and a minimal essence, creating a spell of slow, melodic soundscapes.

The long-awaited new album by Jamie xx In Waves is the next chapter in the career of one of the most in demand producers of his generation. With In Waves, Jamie replicates the emotional crescendos and thrilling volatility of an almost mystical night out– one where you return home in the cigarette ash dawn, the specifics of the last eight hours already blurring, but aware that these feelings will remain a crystalline memory.