Aussie rock legend Ian Moss will release a new live acoustic album in May with a whopping 17 songs including solo performances of his own hits and Cold Chisel classics.

To All the Ones That I Love is the fourth album from Melbourne-based four-piece Press Club and follows 2022's Endless Motion. Recorded at their own studios by guitarist Greg Rietwyk, the album sees the group continue with their blend of propulsive punk and post-punk. The track "Tightrope" is included.

Elsie Lange has released her first single of 2025, “Heatwave”, and it’s no wonder it’s an introspective song.

World premiere performance: 5 May 2025, Barbican Hall with pianist Jean-Yves Thibaudet and the Royal Philharmonic Orchestra conducted by Robert Ziegler, with London Voices, The City of London Choir, singer Tom Ball and the ALAN team musicians including Matthieu Eymard. Digital album release: 2 May, 2025 on Decca Classics.

Voyage' is the debut album by super group led by pianist Jan Gunnar, a quartet with guitarist Nguyen Le, bassist Per Mathisen, and drummer Gary Husband. The album crosses many different landscapes and is both electric and acoustic, with elements from jazz and jazz-rock, classical, prog rock, world music and folklore.

Describing Mei Semones' Qobuzissime-awarded debut album, Animaru, might suggest it's incoherent—opener "Dumb Feeling" starts with a sweep of classical guitar before moving to bossa nova-style folk and ends with a rocking outro. Following track "Dangomusic," while similar structurally and acoustically, is sung in Japanese and features a soothing violin flourish. You could go on defining and redefining the sounds here—there's also jazz (both vocal and non-vocal), chamber pop and indie rock—but the unifying, coherent element is Animaru making full use of Semones' wealth of talents.

‘If You Asked For A Picture’, the second album from Sabrina Teitelbaum aka Blondshell, is a no-skips, triumphant record that captures the unresolved process of figuring out who you are, too wise to suggest that it has a definitive answer. The album brims with an urgency, ambition, and devastating potency, hinted at on 2023’s self-titled debut - the specificity, self-examination, and nonchalant humour of which turned her into one of the most lauded new artists in recent memory.

The programme here covers a century of music (the earliest is Holbrooke from 1906), much of it little known, including several first commercial recordings. Add these pieces to all the other wonderful bassoon repertoire from the eighteenth century to the present day which explores every aspect of the instrument, and we will be that much closer to an ‘equal amongst woodwinds’ perception of the bassoon which—even in the twenty-first century—is still surprisingly elusive.

Experience the Fantastic Four's unforgettable home show in all its sonic power: ‘Long Player On Tour’ will be released on 2 May 2025.

“After paying dues for over a decade, The Fifth are putting the pedal down in an all-out push for higher ground with their debut full-length album from RFK Media “We Are One,” releasing May 2nd, 2025, on CD and all digital platforms worldwide. This potent collection contains twelve songs that clearly celebrate the band’s strengths – strong anthems with blistering guitars and powerful vocals – while weaving classic rock roots with strands of modern melodic hard rock.

"If you make a new album you should call it: DREAM SEQUENCE!" That's what my good friend and pianoplayer Irvin Rocklin from Chicago said to me quite some time ago. Irvin passed away in 2020 but I remembered his words, so as a hommage to an old friend, here it is. When I listen to jazz music, performing or I'm creating music in general, I always feel that it's a great way to escape from the everyday reality. Most of the ideas you hear on this recording where on my mind for quite some time. After putting all the pieces together, I felt it was time to make this new album. I hope 'Dream Sequence' brings you into a personal space of sound, groove and beauty.

Norwegian musician, artist and novelist Jenny Hval announces her new album, Iris Silver Mist, out on 2 May, the lead single/video ‘To be a rose’, and a UK/EU tour. Iris Silver Mist is named after a fragrance made by the nose Maurice Roucel for the French perfume house Serge Lutens. It’s described as smelling more like steel than silver. It is cold and prickly, soft and shimmering, like stepping outside on an early, misty morning, your body still warm from sleep. A perfume, with its heart notes and scented accords, shares its language with music. Both travel through air, simultaneously invisible and distinct.

The Scandinavian project Arcanum brings together four artists all well-known to followers of directions in music at ECM: Arve Henriksen, Trygve Seim, Anders Jormin and Markku Ounaskari. They've played together in many permutations over the years, but this is their first album as a quartet. Compositions by Anders Jormin and Trygve Seim, the Finnish traditional "Armon Lapset" (Children of Mercy), and Jormin's arrangement of Ornette Coleman's "What Reason Could I Give" are slotted into a programme of graceful collective improvisations distinguished by lyrical imagination, reflective soloing and sensitive group interaction. Arcanum, recorded at Village Recording Studio, Copenhagen, and mixed in Munich in January 2025, was produced by Manfred Eicher.

Yuja Wang here gives characteristically dynamic and expressive performances of Shostakovich's contrasting 'Piano Concertos', written 24 years apart, with the BSO's principal trumpet Thomas Rolfs playing the obbligato trumpet part in the first. The new album also features 6 solo piano pieces from Shostakovich's '24 Preludes and Fugues, Op. 87 & Op. 34'.

"The Brahms project with the Orchestre Revolutionnaire et Romantique in 2007 was a thrilling undertaking - a thorough reappraisal of Brahms's sound world, both in terms of period instruments and a study of the surviving evidence of performance practice. So why then a second recording 18 years later? First, because these symphonies are evergreen - miracles at the time of their inception and super-challenging every time one encounters them. Second, because I sensed a need and a personal challenge to build on that seminal earlier experience and to extend its findings and interpretations to/in working with a modern instrument orchestra - especially such a distinguished, flexible and immensely accomplished one as the Royal Concertgebouw Orchestra - in search of a fresh synthesis of styles and approaches.