Recorded in New York between Reservoir Studios in New York City and Dreamland in upstate New York, the album was co-produced by Christian Lee Hutson and Jonathan Low. It stands as an ode to Maya's musical community, created alongside close friends and collaborators Benjamin Lazar Davis, Will Graefe, Michael Riddleberger, and Odessa Jorgensen. The album's packaging draws from Maya's own watercolour paintings, developed in collaboration with Shane Gelinas.

As-Shams Archive Vol. 2: Super Jazz from Joburg & Soweto 1974–1978 is the second major anthology drawn from the catalogue of the legendary Johannesburg independent label As-Shams/The Sun, founded by producer Rashid Vally in 1974. Where the first volume offered ten representative peaks of the label's output, Vol. 2 broadens the map considerably, bringing into circulation artists and ensembles that had remained in the shadows even for devoted followers of the scene.

Nostalgia has proven a highly potent force in rock music of late, with the likes of Greta Van Fleet, Dirty Honey, and The Struts rising to prominence by largely rediscovering a sound that hit its original zenith more than half a decade ago. But in the specific case of the Pottsville, Pennsylvania-born quartet Crobot, it isn’t the only factor in how the glory days of a seemingly bygone era have been enjoying a noteworthy renaissance in recent years. Originally cutting their teeth in the mid-2010s under the same Wind-up Records banner that propelled the likes of Creed and Evanescence into the stratosphere and a subsequent stint under the umbrella of Mascot Records (former home of Black Label Society, Fozzy & Volbeat), they’ve since struck out on their own with a signature blend of 70s heavy rock and 90s alternative influences and hit critical pay dirt with their 2024 self-released opus Obsidian.

This release showcases the dual soul of Marcus King: the fiery guitar slinger and the sensitive, old-school soul crooner. Transitioning from his early years with The Marcus King Band to his more experimental solo work, these tracks capture an artist who is comfortably redefining the boundaries of Southern Soul and Blues-Rock. "Darling Blue" is a masterclass in atmospheric songwriting. It leans into a hazy, psychedelic R&B vibe where Marcus’s voice floats over a bed of vintage organ and tasteful brass. In contrast, "No Room For Blue" (often appearing in live sessions and as a hidden gem in his catalog) brings the grit back to the forefront. It’s a showcase for his "howling" vocal style and his ability to make a guitar solo feel like a direct extension of his heartbeat. Together, these tracks represent the bridge between the raw energy of his youth and the sophisticated, world-weary artist he has become.

Prize at the Queen Elisabeth Competition in 2025, are captured on this live recording. His artistic maturity is revealed in Mendelssohn’s deeply felt Variations sérieuses, Liszt’s visionary and impassioned Dante Sonata, and the imaginative Etudes of Ana Sokolović. The programme is completed by Mozart’s Piano Concerto No. 9 “Jenamy” with the Orchestre Royal de Chambre de Wallonie under Vahan Mardirossian. These recordings capture the clarity, imagination and expressive freedom that mark Meeuwsen as one of the most compelling voices of his generation.

German composer Johanna Senfter was a student of Max Reger, who recognised her musical talent and encouraged her to pursue advanced studies in his composition class in Leipzig, which she completed with distinction in 1909. In 1910, she was awarded the Arthur Nikisch Prize for the best student composition of the year. Born into a well-to-do industrial family, she was financially independent and able to devote herself entirely to her creative work throughout her life. In addition to numerous chamber works, she left behind nine symphonies. From the youthful ‘̛Sturm und Drang’ of her first symphony (1914) to the thoughtfully moving ninth (1949), composed after two world wars, the development of her musical language can be discovered here with these world premiere recordings.

HOPE – 12 Prayers for Cello and Orchestra is a charity music project and album involving composer Peter Hauser, Swiss cellist Andreas Graf, and the London Symphony Orchestra.

Following his critically acclaimed recording of Galina Ustvolskaya's five symphonies (BIS-2304), conductor Christian Karlsen, together with the Swedish Chamber Orchestra, now takes on the orchestral and concertante works of Anders Hillborg, Sweden's most performed living composer.

The legendary Slovenian group’s first original studio album since 2014’s Spectre, Musick - intensely pop, yet intensely Laibach. Available via Mute on limited edition neon pink vinyl and CD.

Composer, flautist and producer Allison Loggins-Hull is a musical “powerhouse” (The Washington Post). Her genre-defying style is characterised by unique sonic effects that echo contemporary music production techniques, creating a vibrant and kaleidoscopic aural palette.

With Projet 8, André Moisan clarinetist and saxophonist with the Montreal Symphony Orchestra presents a bold project bringing together eight Canadian composers around a strong concept: eight works of about eight minutes each for bass clarinet and octet.

"Blood In The Water" is a Stax Records-inspired blues song by British artist Alice Armstrong, released in April 2026. It serves as the title track for her live EP, which was recorded during her 2025 tour of Belgium and Germany.

Halsey is putting the final punctuation on her The Great Impersonator era. On April 27, the singer announced via Instagram that a deluxe edition of her 2024 album would arrive May 1 via Columbia Records, just four days after the surprise reveal of new cover art on social media.

Nashville-based singer/keyboardist Jarrod Lawsonreturns with third album featuring exciting collaborations exploring new musical avenues from his established soul/jazz roots.

Tōru Takemitsu’s Quatrain and A Flock Descends into the Pentagonal Garden exemplify his synthesis of Western avant-garde techniques and Japanese aesthetics. In Quatrain, scored for clarinet, violin, cello, piano, and orchestra, Takemitsu evokes the Japanese concept of ma—the space between things—through fluid shifts of timbre and atmosphere. He likened the work to an emaki, a picture scroll unfolding scene by scene, where each musical idea is independent yet interwoven.