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Igor Stravinsky (1882-1971) became a pivotal figure in musical modernism with the works he wrote for Serge Diaghilev and the Ballets Russes, of which Le sacre du Printemps caused a scandal due to it's fierce, brutal, and openly sensual character. The quintessential nature of Le sacre is pianistically conceived - those pounding chords and unpredictable accents that fit under the fingers - and Stravinsky no less than Beethoven is a composer who self-evidently both thinks and writes at the piano. Yet Stravinsky's solo output for the instrument is relatively modest - surveyed here by Emanuele Delucchi within 50 minutes. Even here, Delucchi finds space for a real rarity, an arrangement of a section from the Symphonies for Wind instruments which, in the ineluctable progression of it's heavy and dense chords, once more reveals it's keyboard roots in this transcription. 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They also share first single 'Pieces Of You' - a defiant cut of alternative rock: roaring with clouds of distortion that bring a bite and rawness to it's chiming melodies. Fresh and inspired from a sold-out tour across Thailand and China in December, and with an unexpected line-up change: 'Hum' is the work of a group rejuvenated, driven by their innate passion for music - even when the going gets tough - and sounding more confident than ever, whilst juggling the challenges of maintaining a grassroots indie band on their fifth album. Speaking on the track, lead singer Austin \"Ozzy\" Williams adds: \"I had found a new writing partner at the full-time bar job: there stood J.J. Buchanan by the barrels of beer kegs we were hauling. A sharp songwriter and a soaring guitarist, who brought something fresh to this song and the whole sonic landscape that would shape 'Hum'. Thematically, 'Hum' continues the life journey of 'There's A Big Star Outside', which captured a transformational period for Williams - preparing for the arrival of his first child, but also the departure of his wife's father. The songs on 'Hum' detail the aftermath of that spell, exploring loss, family and our responsibilities to those we build a life with. \"I've now got someone to inspire,\" he explains. \"It's like, 'Yeah, your dad works at a bar to make rent, but this is what he actually does, this is what the dream is, and we'll all live on it together. That's the ethos on this album.\" With 'Hum', Swim Deep turn struggle into momentum and personal upheaval into collective uplift. 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In New York captures the moody prince of cool stepping into the East Coast hard bop ring - and holding his own with charm, tone, and those impossibly lyrical lines that seem to float above the beat like cigarette smoke in a club basement.Chet Baker didn't play the trumpet. He seduced it. His tone? So velvety, you might try spreading it on toast. His solos? Like a conversation with someone who never raises their voice - but always gets the last word. On In New York, Chet proves that his famously fragile persona belied a rock-solid sense of melody, timing, and understated swagger.Chet may be the name on the cover, but he came to town with some serious firepower. Johnny Griffin (tenor sax), known as the 'Little Giant' brings a big sound and a bebop bite, pushing Chet into edgier territory - and yes, it works. Al Haig (piano), is bebop royalty. Cool, crisp, and a perfect harmonic foil for Baker's phrasing. Paul Chambers (bass), is from Miles' first-call list. He doesn't just walk the bass - he struts. Lastly, Philly Joe Jones (drums) swings so hard, it's a wonder the studio walls didn't cave in. This lineup turns In New York from a moody trumpet feature into a full-on jazz heavyweight bout, where elegance and energy shake hands for 42 glorious minutes.Among the tracks, 'Fair Weather' opens like a sigh and builds to a gorgeous melodic statement. Chet's tone is so pure, you'll swear it's whispering secrets. 'Solar' is the Miles Davis tune. Chet steps into the master's world and makes it his own. Confident, cool, and swinging. 'Polka Dots and Moonbeams' is a ballad done Baker-style: Romantic, vulnerable, and smoother than a vintage Cadillac. These are just a taste of the treasures that await on In New York.This vinyl reissue is par excellence: Mastering by Kevin Gray and Steve Hoffman at Acoustech Mastering, double LP cut at 45 RPM and pressed on 180-gram vinyl at Quality Record Pressings! 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Oddisee builds the entire album as both architect and resident: producer, rapper, observer, and participant. His beats float with that unmistakable D.C. breeze-warm Rhodes keys, subtle basslines, crisp drums, and melodies that hum with the everyday poetry of working life. Nothing is flashy, everything is intentional.Lyrically, Oddisee moves like a craftsman. He raps about rent due and dreams deferred, missed connections and small victories, the tension between wanting more and appreciating what you already have. It's introspective without drifting into abstraction-philosophical but grounded, like a journal written on train rides between responsibilities. His voice is calm, steady, unhurried; he sounds like someone who's learned to breathe through chaos and still find clarity.The album's title is it's thesis: dreams aren't meant to float above life-they're meant to be shaped, held, and lived. 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With releases on Madhouse, Toy Tonics, Neo Vinyl, and Traxx Underground, as well as remixes for the likes of Waajeed, Tender Games, and Joey Negro, Black Loops continues to be in high demand and has resulted in a packed DJ schedule taking him from South Africa to Australia, from the US to Asia as well as playing regularly in Europe and his home city of Berlin.For his 'Something Special' release Black Loops treated us to three original tracks (with a fourth added for the digital package, now on the 2026 vinyl repress) which will pleased his regular followers whilst showing a development to his sound. His trademark shuffling beats, warm bouncing basslines and analog pads are all present and correct. Tracks that feel deceptively simple and minimal enough to sound lovely on big sound systems, but which also offer enough depth and musicality to touch the soul and connect with on a deeper level. 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As their second album with David Rodriguez at the mic, it solidifies the vocalist’s partnership with drummer Marc “Meggers” Eggers and guitarist Jake Kolatis. “It’s like a new era for the band,” Meggers says. “It solidifies that Dave is here to stay.”\u003c\/p\u003e\r\n\u003cp\u003eAs the follow-up to 2018’s Written in Blood and their first record for Hellcat Records—the Epitaph subsidiary curated by Tim Armstrong of Rancid—Detonate sees this new version of The Casualties locking into place. “We were in the studio for Written in Blood about eight months after I joined,” Rodriguez says. “With this new record, we really grew together. 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While sonatas of Tapray have been recorded on a modern piano, there is no recording of them on the harpsichord; all the more significant because Tapray stands as a pivotal figure in the history of French keyboard music, positioned at the crossroads between the harpsichord and the fortepiano.Born in 1738, Jean-François Tapray worked in Paris, Besançon, and elsewhere as an organist, until ill health forced his retirement in 1786. However, he continued to compose, at least until the turn of the century, and died in 1822. From 1773 onwards, he had embraced the new technology of the fortepiano and published a Keyboard Method (Op. 25) for the instrument. All the same, he continued to write specifically for the harpsichord too, such as a Symphony Op. 12 for harpsichord and orchestra, from 1780. Thus his works, such as the sonatas presented here, reflect both the culmination and the last flowering of the harpsichord tradition in France.The Variations on Les Sauvages is often cited as one of the last great virtuoso works for the harpsichord in France. Tapray's piece is both a transcription and a reworking of a famous air by Rameau, taken from his opéra-ballet Les Indes galantes (1735). The four variations embrace a diverse array of styles, from the cascades of the modern galant style to the unstable rhythms of the French Baroque, and finally a synthesis of both German and Italian style in the last variation.In this sense, the Variations do not so much look back on the Baroque era as absorb it's style within a rapidly evolving culture. The sonatas, likewise, capture a galant aesthetic with their alternation between spirited Allegro movements, graceful airs, and highly stylized dances. 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In these pieces, Longo demonstrates his gift for shaping compact musical forms that evoke atmosphere and emotional depth without excess. His more expansive works-such as the larger-scale multi-movement suites-display a broader architectural sense, often organizing thematic materials through subtle variation and motivic development. Played by the Gran Duo Italiano, Mauro Tortorelli (violin) and Angela Meluso (piano), whose previous recordings for Brilliant Classics (Saint-Saëns, Milhaud, Castelnuovo-Tedesco, Scalero, Santoliquido, Caetani, Fano) were highly praised in the international press. \"Tortorelli is equally impressive on viola and on violin... On both instruments he spins a flawless, silky line with perfect intonation.\" (Fanfare, May 2017 - Milhaud). \"This release is not just for violinists and lovers of violin music; it's for everyone. 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His last chamber work, the Sonata for Cello and Piano Op.?20, is among his most significant compositions. Composed between 1908 and 1910, it is structured in four movements like all his chamber works, betraying his devotion to German contemporaries and in opposition to French impressionism. Louis Vierne (1870-1937), having been taught by César Franck and Widor, became a famous organist. His most important post was that of Notre Dame in Paris, where he was celebrated for his improvisations. As a composer, he indulged in the post-Wagnerian language of his era: highly complicated counterpoint, dense, chromatic harmonies, and an exalted, spiritual atmosphere characterise his works. Vierne's Sonata for Cello and Piano in B minor Op.?27, composed in 1910, offers a fascinating counterpoint to Magnard's work. While Magnard emphasizes formal clarity, Vierne indulges in lyrical expansiveness and harmonic daring. 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His reputation as a keyboard virtuoso was widespread; Johann Mattheson extolled his organ playing as even superior to Handel's.As for his own music, it's principal surviving remnants are these two collections of sonatas dating from 1716 and 1720. They were conceived for oboe or violin with continuo; the musicians of Cappella Musicale Enrico Stuart have taken a fairly liberal approach, by sharing the melody part in the different sonatas between violin, flute, and oboe, which are supported by a rich continuo group of bassoon, cello, and harpsichord or organ. Not the least attractive aspect of this solution is it's variety across the sequence of 24 sonatas.The influence of Arcangelo Corelli-the Roman violinist-composer whose Op. 5 sonatas (published in 1700) shaped much of 18th-century chamber style across Europe-is evident in Babell's approach. 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