Another in the long line of soundtracks by Tangerine Dream is actually one of the strongest in concept for any film they have done. The movie has a high degree of tension and the score by T.D. does just the trick. They use mostly hard driving sequencer rhythms to maintain the tension of the film. Listeners will find that this is nearly how all of the music is composed. There is very little melody within the structures of the music. But even with this lacking, the score is very well suited and very listenable. A couple of nonsequencer tracks are also on the album and break up the hard rhythms pieces.

Formed by Phish drummer Jon Fishman as a kind of all-star experiment from local players in Burlington, Pork Tornado delivers a mismatched set of solo noodles, tight rhythm jams, spacy synth pads, saloon laments - songs set in styles that have nothing much in common other than the spirit of the musicians as they hopscotch from genre to genre. Their authenticity on country cuts like "Home Is Where You Are" and "Blue Skies" makes it almost impossible to believe that the same guys are responsible for the funk track "Kiss My Black Ass," which they execute with a street energy, crisp backbeat, virtuoso stuttering bass, and collage mentality that reach back to James Brown and War for inspiration. There are enigmatic moments as well, which range from Dan Archer's somewhat stiff solo guitar fragment "Fellini" to a few seconds of Fishman goofing around on the keys in "Organ"…

This superior reissue combines together two sessions led by vibraphonist Milt Jackson. Actually, although Bags is in fine form (and contributed four of the seven selections), he is often overshadowed by rather inspired solos from his sidemen. The first side of Plenty, Plenty Soul, which features a nine-piece group, is highlighted by the contributions of the exuberant altoist Cannonball Adderley, while the flip side has a sextet that is not hurt by the solos of tenor-saxophonist Lucky Thompson. With pianist Horace Silver helping out on both sessions, these all-star dates still sound fresh and enthusiastic decades later.

As good mods, the Jam always had a healthy respect for R&B and soul - even the first album featured the revved-up Northern soul of "Non-Stop Dancing." With The Gift, however, Paul Weller seems to have become completely absorbed in it, and more specifically, in Stax-style soul with more than a hint of psychedelia à la "Psychedelic Shack." An uneven album marked by overindulgences like the instrumental "Circus" and unnecessarily long songs, The Gift still has no shortage of terrific songs, like the simply sublime "Ghost," "Town Called Malice" (the hit), and the funk workout of "Precious." Weller can obviously do "soulful" - his voice has never sounded better - but unfortunately, The Gift, with its excesses and marginal tracks, doesn't show his talents in the proper light. Points for ambition, but ultimately, this is their least consistent effort since This Is the Modern World.

One of the rarest albums by Frank Rosolino - and a surprisingly great vocal set as well! The tunes are short, but Frank manages to both sing and turn in his usual trombone solo work here - and while the latter is great, we especially love the former! Frank's vocals have a raspy, playful quality that's a bit like Jack Sheldon's singing - and as with some of the later Sheldon albums, this one's a great illustration of the under-recorded side of some of the talents of players on the LA scene - their "entertainer" personas that were often used when working the bandstand in a live environment. And if you're suspicious about the vocals, don't be - because Frank is really great here, and manages to transform the tunes heavily - taking old standards and playfully inflecting them with new life and a rough edge - a bit similar to work by Bob Dorough or Johnny Watson (for his Chess session) on similar material…

Digitally remastered edition of the classic 1978 album by the British Prog folksters. These Canterbury stylists featured leading lights of the genre. Comprising former Soft Machine members Hugh Hopper on bass and Elton Dean on saxophone, former Hatfield & the North drummer Pip Pyle, and Gilgamesh keyboard player Alan Gowen, the group recorded this sole album for Charly Records in 1978, drawing stylistically upon each member's musical pedigree producing a record of excellence. Soft Heap is a classic of the Canterbury style and this remastered edition is sure to be a much sought after release by all aficionados of the genre.

The 54-minute concept album "The Lost World" is a gem of cinematic ambient music which sees accomplished ambient sound painter Michael Stearns deliver another stunning piece of sonic art. Inspired by a trip into The Lost World of Venezuela, this highly textural work is acts as a time capsule, being able to paint a vibrant picture of grand natural surroundings with the many sounds collected during the journey and assorted electronic sounds. The outcome is an impeccable sounding, vast and overall rich sonic tapestry interweaving complex synthesizer layers, assorted percussion, flute, voice and diverse natural soundscapes, in which the Mighty Serge is also clearly present. The expert merging of acoustic and electronic sources into impressive ominous and highly cinematic atmospheres of grand design is fascinating and at times breath taking…

Karin Krog is one of Europe's leading jazz singers with a career stretching back to the 1950s. She is a unique song artist with a great international reputation possessing her own recognizable style and voice. Her constant creative approach towards contemporary jazz has never been bound by tradition, even though her music bears a deep respect for its forms. Karin is equally at home with jazz standards, blues or electronic experimental techniques. Originally released by Sonet Records this reissue of a 1966 session features an all-star line-up. A young Jan Garbarek is featured on two tracks and the stellar rhytm section is made up of Kenny Drew on piano, Niels Henning-Orsted Pedersen on bass and Jon Christensen on drums.

The Vision Bleak return in grand style: The German duo's seventh full-length "Weird Tales" constitutes a monumental tribute to the eponymous American pulp magazine and other tales of mystery and dark imagination. The album consists of a single track that is divided into internal chapters, which are each inspired by weird tales, poems, and other literature of horror and the macabre. On "Weird Tales", The Vision Bleak are referring to eminent writers of the legendary magazine such as H. P. Lovecraft and Clark Ashton Smith, but also allude to authors that were never featured in the magazine, for example Edgar Allen Poe and Lafcadio Hearn, whose "Fantastics and Other Fancies" was very influential for this album. The Vision Bleak are pulling every register of their enormous musical prowess…

Mr. Corea, a jazz pianist, composer and band leader of enormous repute and success, was commissioned to write his septet by the Chamber Music Society of Lincoln Center, six of whose members joined him in this performance. The composer’s gifts were abundantly evident, both in his manipulation of the instruments and in his own keyboard work, which was characterized by powerfully insistent rhythms and rich embroidery.

Golem is widely regarded to be a lost psychedelic masterpiece among the sorts of people who are interested in such things, numbering David Tibet, Steven Stapleton, and Julian Cope among its more outspoken champions. This German band was produced by Klaus Schulze. Their sole album Golem, was released in 1974. The music is somehow folk, but also cosmic rock inspired, reminiscent of Ash Ra Temple and Cosmic jokers, thanks to Schultze's influence who mixed it using "Artificial Head Stereo Sound", the aim was "to get an illusion of perfect surrounding space. The idea was brilliant but unfortunately not the sound." The album has indeed been pressed again three times, as the band was not satisfied with the result.

Blancmange's first ever instrumental album, Nil By Mouth was originally released on 25 September 2015. The album consists of 12 tracks, all written and performed by Neil Arthur except for the 2005 re-record of Holiday Camp from the Irene & Mavis EP (1980) which features original member Stephen Luscombe.
In many ways Nil By Mouth goes right back to the roots of the band when they experimented with art student film soundtracks and improvised music created by primitive synths and cassette recorders. But there's also a melodic flair throughout the album, and a palpable sense of freedom.