Milestones is a cross-genre project by violinist Hugo Ticciati and the O/Modernt Chamber Orchestra, bringing together music by Josquin des Prez, Igor Stravinsky, and Miles Davis. Conceived around shared anniversary years, the album reflects O/Modernt’s practice of placing music from different periods and traditions into direct conversation. Instrumental arrangements and collaborative performances draw attention to common ground between Renaissance polyphony, early modernism, and jazz, particularly in approaches to rhythm, texture, and improvisation. Recorded in Germany and the UK in 2021, the project documents an ensemble-led approach that emphasises attentive listening, flexible roles for soloists, and collective music-making across stylistic boundaries.

Gianni Bismark's album is a masterful blend of hip-hop and rap, showcasing his unique style and lyrical prowess. With features from notable artists like Emma Marrone and Tedua, the album is a testament to Bismark's ability to collaborate and create something truly special. The acoustic tracks add a touch of intimacy to the album, highlighting Bismark's vocal range and emotional depth. Overall, "Nati diversi - Ultima cena" is a must-listen for fans of Italian hip-hop and rap.

This first part of Fanny Hensel's collected works for piano reveals much about her character: her development from a young girl with her very first pieces full of poetry, which at the same time radiate her determination and strength, which were later to be the hallmarks of the mature composer. The years of creative freedom with daring harmonic experiments and the breaking of conventional boundaries, as in the Largo con espressione H322. The highly virtuosic, turbulent piano exercises, the C minor Sonata and the Easter Sonata, both rousing, formally mature works. Fanny's universe always leaves me in awe and admiration. (Ana-Marija Markovina)

Stevie Wonder is a soul music giant, a beloved American icon, and an indisputable genius of popular music. The musician's heightened awareness of sound – a consequence of his blindness – has helped him create vibrant music teeming with joyous positivity, even when he's written about heartbreak and addressed issues of race, spirituality, and society in general. Wonder's recordings are a richly eclectic and singular brew of soul, funk, rock & roll, Broadway/Tin Pan Alley-style pop, jazz, reggae, and African elements. Combined with his elastic voice, peerless melodic facility, gift for complex arrangements, and taste for lovely ballads, his broad appeal over the decades has been unmatched.

Italo Disco - The Lost Legends Vol. 34 is part of the long-running archival compilation series dedicated to rediscovering obscure and cult favorites from the golden era of Italo-Disco. Released in 2020, the collection gathers rare dancefloor tracks characterized by analog synthesizers, melodic hooks, dramatic vocals, and energetic electronic rhythms that defined the European club scene of the 1980s. Featuring artists from both well-known and underground corners of the genre, the compilation captures the nostalgic atmosphere and melodic charm that continue to make Italo-Disco influential among collectors, DJs, and retro electronic music fans.

Coupled with more than 40 posthumous releases since his death in 1993 at 52, figuring out where to start in Zappa’s vast, genre-leaping catalog can be daunting. ZAPPAtite – Frank Zappa’s Tastiest Tracks, out now on Zappa Records/UMe, collects some of Zappa’s best known and beloved compositions, from his early psychedelic rock beginnings to his avant-garde experimentation, jazz-rock explorations, symphonic suites and satirical send-ups, compiling them into one easily digestible collection and offering key entryways into the many musical worlds of the visionary musician. Available on CD and digitally, with vinyl to come at a later date, the album is divided into three courses – Appetizers, Entrees and Desserts – and the food-centric theme oozes throughout the album art, which features Zappa in a diner on the cover, a track list that resembles a menu and some of Zappa’s favorite eats.

This two-disc set represents almost all of Frank Zappa's concert on January 20, 1976, at Hordern Pavilion in Sydney, Australia. The only problem is that there was only one reel-to-reel machine to record the concert, necessitating missing portions of several songs to change tapes; these gaps were replaced by excerpts from a pitch-corrected bootleg from the same tour, with an obvious drop in sound quality but little loss in continuity. This particular band – with tenor saxophonist Napoleon Murphy Brock, bassist Roy Estrada, drummer Terry Bozzio, and keyboardist Andre Lewis (in his only tour with Zappa) – has only been represented sporadically on Zappa's earlier releases. It's a great opportunity to hear songs in early incarnations, such as "Canard Toujours" (which went through a series of revisions before appearing as the lengthy "Let's Move to Cleveland"), the blistering instrumental "Filthy Habits," the hilarious "The Illinois Enema Bandit," and several tracks which first appeared on Zoot Allures in different form ("Zoot Allures," "Black Napkins," "Wind up Workin' in a Gas Station," "Find Her Finer," and "The Torture Never Stops"). One song, "Kaiser Rolls," makes its first appearance with two versions, a concert rendition with a missing portion added and a rehearsal recorded just prior to the tour.

Steven Wilson ist ein dreifach Grammynominierter Produzent und Songschreiber und bekannt als Frontmann der britischen Band Porcupine Tree. Sein letztes Solo-Album „Grace For Drowning“ ging auf # 22 in die deutschen Charts, die aktuelle Live-DVD „Get All You Deserve“ auf # 2 in die DVDCharts. Das nun erscheinende dritte Solo- Album „The Raven That Refused To Sing“ wird den Status dieses Ausnahmekünstlers weiterhin festigen. Es wurde vom legendären Produzenten und Sound-Engineer Alan Parsons aufgenommen. Auf sechs Songs mit einer Spieldauer von knapp 60 Minuten beweist der Meister erneut sein Gespür für zeitlosen Prog Rock mit Einflüssen aus Jazz und Alternative. Das Album erscheint als Jewel Case CD im Slipcase, als Ltd. CD+DVD Edition im Digibook, Ltd. Blu-ray mit drei Surround-Mixen des Albums sowie als Deluxe-Doppel-LP. Visions: „Wenn es noch einen Beweis brauchte – hier ist er: Steven Wilson ist das größte Prog-Genie seiner Zeit.“

GRAMMY® Award–winning R&B powerhouse Kehlani announces the arrival of her highly anticipated new self titled album, Kehlani, set for release on June 12. The self-titled project marks a defining moment in her career - an intimate and fearless body of work that reflects her clarity, confidence, and creative freedom.A self-titled album is often an artist’s most personal statement, and Kehlani is no exception. The project captures her at her most honest, blending soul-baring storytelling with the lush, genre-bending sound that has made her one of modern R&B’s most influential voices. Exploring themes of love, transformation, vulnerability, and growth, the album presents Kehlani fully in her element - raw, reflective, and unapologetically herself.

Steven Wilson Known for an intense work ethic, Steven Wilson is among the U.K.'s most acclaimed and prolific artists. As a songwriter, multi-instrumentalist, and bandleader, Wilson made a gradual transition from cult status with Porcupine Tree, Bass Communion, No-Man, and Blackfield to mainstream success as a charting solo artist in the 21st century with 2011's Grace for Drowning, 2013's The Raven That Refused to Sing and Other Stories, and 2015's Top 40 prog-pop concept album Hand.Cannot.Erase. He followed with 4½, a six-track mini-album, and in 2017 released To the Bone, a collection that reflected his love of progressive pop. He continued that exploration with a meld of varying pop genres on 2021's The Future Bites, following with an album recorded in isolation, 2023's The Harmony Codex.

Oscar Peterson was one of the greatest piano players of all time. A pianist with phenomenal technique on the level of his idol, Art Tatum, Peterson's speed, dexterity, and ability to swing at any tempo were amazing. Very effective in small groups, jam sessions, and in accompanying singers, O.P. was at his absolute best when performing unaccompanied solos. His original style did not fall into any specific idiom. Like Erroll Garner and George Shearing, Peterson's distinctive playing formed during the mid- to late '40s and fell somewhere between swing and bop. Peterson was criticized through the years because he used so many notes, didn't evolve much since the 1950s, and recorded a remarkable number of albums. Perhaps it is because critics ran out of favorable adjectives to use early in his career; certainly it can be said that Peterson played 100 notes when other pianists might have used ten, but all 100 usually fit, and there is nothing wrong with showing off technique when it serves the music.

Flo Milli's debut album is a bold statement, showcasing her confidence and charisma. With tracks like Beef Flomix and Like That Bitch, she proves herself to be a force to be reckoned with in the rap scene. The album's production is sleek and modern, with heavy, pulsing beats that complement Flo Milli's fierce flow. Overall, Ho, why is you here is a strong debut that establishes Flo Milli as a rising star in hip hop.

Robbie Basho was one of the big three American acoustic guitar innovators, John Fahey and Leo Kottke being the other two. Basho was the least commercially successful of the three, but his influence and reputation has steadily grown since his untimely death in 1986 at the age of 45. And with good reason; for Basho's deeply spiritual approach, intellectual rigor, and formal explorations (among his goals was the creation of a raga system for American music), present a deeply compelling, multi-faceted artist. Basho was actually a college friend of John Fahey, and his early recordings (like Kottke's) were for Fahey's Takoma label. Following Fahey 's move to Vanguard, Basho followed suit, and released Voice of the Eagle and Zarthus for the label in 1972 and 1974, respectively (his most commercially successful records were made for the Windham Hill label later in the decade).

Hand. Cannot. Erase. (2015) was recorded at London’s AIR Studios and saw Steven Wilson reuniting with Guthrie Govan (guitar), Adam Holzman (keyboards), Theo Travis (flute/sax), Nick Beggs (bass/stick), and Marco Minnemann (drums)."Hand. Cannot. Erase. is an album rooted in sonic and spiritual modernity… an inventive blend of bleak and brooding industrial soundscapes." — The Guardian

Grace for Drowning is more experimental and more eclectic. For me, the golden period for music was the late sixties and early seventies, when the album became the primary means of artistic expression, when musicians liberated themselves from the 3 minute pop song format, and started to draw on jazz and classical music especially, combining it with the spirit of psychedelia to create journeys in sound I guess you could call them. So, without being retro, my album is a kind of homage to that spirit. There's everything from [Ennio] Morricone-esque film themes to choral music to piano ballads to a 23 minute progressive jazz inspired piece. I've actually used a few jazz musicians this time, which is something I picked up from my work remixing the King Crimson records." - Steven Wilson