The “Diamond Cuts” Collectors CD Box Set includes discs of the band’s classic studio albums: "Running Wild", "No Guts. No Glory", "Black Dog Barking", plus the brand new “Diamond Cuts - The B-Sides” CD featuring 2 previously unavailable tracks (“Money” & “Heavy Weight Lover”; a bonus DVD of the new band documentary “It’s All for Rock n’ Roll”, all encased in a slipcase box with original “Diamond Cuts” art.

Diego's Umbrella is an American gypsy rock band consisting six male members from San Francisco, California, celebrated as San Francisco's Ambassadors of Gypsy Rock. Edjka is the fifth studio release by Diego's Umbrella. Their new material is some of the most exciting to date, tipping a hat to the raucous Croatian dance parties the band played in their early days. With a quest to fulfill and broadcast the true meaning of Gypsy Rock, Diego’s Umbrella continues to tour the world.

"Aromanticism is a concept album about lovelessness as a sonic dreamscape," Moses Sumney stated in a blog post. "It seeks to interrogate the idea that romance is normative and necessary." It’s also a debut album that establishes its author as a very special voice. The exquisite “Quarrel”—all foreboding bass, levitating harp, and trippy soul—is spine-chilling, “Make Out in My Car” glides by suggestively with a chemtrail of flutes, and on the acoustic “Indulge Me,” Sumney is sincere, vulnerable, and quietly devastating.

'Armide' is in the form of a tragédie en musique, a genre invented by Lully and Quinault, and was their last collaboration. It was a new form of opera that combined elements of classical French drama with ballet, French song and a new form of recitative. Critics in the 18th century regarded 'Armide' as Lully's masterpiece and it continues to be well-regarded, featuring some of the best-known music in French baroque opera and being arguably ahead of its time in its psychological interest. The subject, chosen for Lully by King Louis XIV, is the enchantress Armide’s unhappy love for the knight Renaud, drawn from Tasso’s 'Gerusalemme liberata'.

Lipstick On Your Collar presents 100 Rock n’ Roll & Classic Love Songs from The Fifties & Sixties. The biggest songs from Buddy Holly, Fats Domino, Chuck Berry, Connie Francis, Eddie Cochran and many more.

Just over two years after releasing their debut trio album,​These Human Beings (AlfaMusic), Pericopes 1 return with an inventive and compelling sophomore release,​ Legacy​.Throughout 2015-16,​These Human Beings ​earned Pericopes 1 attention from jazz greats and international media alike. Dave Liebman described the album as “wonderful music with a very diverse repertoire, played flawlessly,” and Downbeat Magazine praised them as “exhibiting power and intention, a good indication for this young group.” The album opened doors to new international stages ​​and ​​resulted ​​in ​​five ​​tours ​​throughout​​ Europe,​​ the​​ UK​​ and​​ USA. Legacy ​finds Pericopes 1 embracing a new musical palette inspired by alternative and popular culture of the past several decades: dynamic grooves, rhythmic focus, Rhodes and electronic effects enhance clever compositional devices without distorting Pericopes 1’s acoustic sensibilities.

Hiroshi Yoshimura was a Japanese musician and composer. He is considered a pioneer of ambient music in Japan. Music For Nine Post Cards is the debut studio album by Hiroshi Yoshimura, released by Sound Process in 1982 and rereleased by Empire of Signs in 2017.

The Big Fun Trio (Elvin on guitar and vocals, Willy Jordan on cajon and vocals, and Bob Welsh on guitar and piano) forges a new blues and R&B sensibility, colored by the distinctive, stripped-down instrumentation and shot through with Elvin’s exuberant, down home vibe. There are seven Bishop originals here (including a remake of the title track from his Ace In The Hole release), plus Lightnin’ Hopkin’s Honey Babe, Fats Domino’s Let The Four Winds Blow, Sunnyland Slim’s It’s You, Baby, and Bobby Womack’s It’s All Over Now. Charlie Musselwhite, Rick Estrin and Kim Wilson guest.

Supremes A' Go-Go was the group's first number one pop album, propelled to that place with help from a chart-topping single ("You Can't Hurry Love") and a marketing ploy that generated an irresistible song lineup. And along with The Supremes Sing Holland-Dozier-Holland, Supremes A' Go-Go has held its value better than almost any of the trio's most successful albums (which excludes We Remember Sam Cooke) in fact, back in the days when vinyl was the only game in town, used copies of this record sold faster and better than any of their other common '60s LPs, and for good reason.

This portrait album of composer Colin Riley is a charmer: fun name, fun cover art, opening track a taut and wonky disco called Purl. But it’s more than that, too, and there’s something very endearing (and possibly very British?) about the way Riley deflects the beauty and sincerity at the heart of his pieces by giving them names such as Bob or A Cool Carfuffle, and framing his serious moments with music that fools around. Inspirations include Genesis, John Martyn and ; there’s a delicate set of Lyric Pieces, and a closing piano solo in dreamy soft-grain called . The title work is a collection of six miniatures, whose lopsided rhythms are cut with snippets of gentler stuff. The performances (violist Jessica Beeston, clarinettist Tom Lessels, pianist Kate Halsall and others) get the right balance of wry, fond, understated and slightly bonkers.

For the kids (6+) & family play MaiTé, the girl and the bird, Bruno Vansina was inspired by the famous exotica of Martin Denny and Les Baxter. His compositions, rearranged by colleague Pierre Vervloesem, remained true to the originals, but have a very contemporary feel to them as well, and soon started to lead a life on their own. This resulted in a new band - the 7-piece Orchestra Exotica - that performs the playful and multicolored music of Denny and Baxter with a healthy dose of humor, cunning craft and an infectious drive.

The violinist Chiara Zanisi works with the finest early music ensembles, notably the Amsterdam Baroque Orchestra under Ton Koopman, with whom she has just finished a long tour performing the Six Brandenburg Concertos. She now devotes her first solo recording to Johann Sebastian Bach’s Six Sonatas for Harpsichord and Violin. Alongside her is Giulia Nuti, among the most brilliant harpsichordists and scholars in Italy, whose solo CD Les Sauvages: Harpsichords in pre-Revolutionary Paris (DHM) won a Diapason d’Or, among other awards. The kernel from which this project grew is their strongly shared idea that, in addition to great stylistic richness and invention, Bach’s music possesses an aura of magic and an almost divine form.

This is the kind of band that dares to go beyond limit, embarking a journey into the ‘unknown’ part of music that probably would only exist in the darkest part of the parallel universe. Their music, especially this new album titled “TRANSISI” is one of the most ‘provocative’ jazz recordings we have ever heard. It’s so provocative that we even have to use ‘brutal’ as the one of the words to describe their music. And of course, we just have to feature them in our event. We want our jazz community members to see how far can jazz go if they don’t go against the word ‘crazy’, how borderless jazz really is in the mind of free-spirited musicians and how exactly skill is needed in order to accomodate the creation from a dangerous mind.

Controversial and fascinating, Italian band VERGANTI bring a fierce and uncompromising creationist fervour to their music. Formed in 2015 and with a sound firmly rooted in a wide range of Italian and worldwide prog-rock influences, its members hold firm beliefs about the history of the world and what they consider its extra-terrestrial origins to be. The founders of the project were initially intrigued by theories offered in Giuseppe Alaimo's book `The Atlantis Enigma' (which proposed that founders of the fabled city of Atlantis were in fact a colony of aliens from outer space), and a second work `The Bible Does Not Talk to God'. Written from a historical and scientific perspective by Mauro Biglino, a scholar and translator of ancient languages, the latter presented a re-telling of the Bible in the original language in which it was written, but from the perspective of a `historical' book instead of a religious or spiritual one.