The CD features the full concert remixed and remastered from the original multi-track master tapes and restored to its original running order and released for the very first time.
Includes live versions of the hit singles ‘New Song’, ‘What Is Love?’, ‘Hide And Seek’, ‘Pearl In The Shell’ and ‘Like To Get To Know You Well’ plus Howard’s previously unreleased version of the Xmas favourite ‘Ding Dong Merrily On High’, sung to the backbeat of his hit single ‘New Song’.
This ‘restored’ live in concert performance by Howard Jones is being released on DVD for the first time.
Also includes a version of the track ‘Human’s Lib’ featuring Howard’s full spoken introduction entitled ‘The Story Of Ruth, David and Dennis’.
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Late Brahms speaks in fragments, memories and subtle revelations. In these intimate piano works, every gesture carries the weight of a lifetime distilled into a few measures: songs without words, reflections that seem to emerge from silence and return to it. Here Sir András Schiff brings together the Albumblatt (an early piece, discovered in 2012), the Klavierstücke op. 76, the Fantasien op. 116, the Intermezzi op. 117, the Klavierstücke op. 118 and op. 119 in a recital that traces the inward arc of Brahms’s final decades. Rather than monumental statements, these are conversations with memory-music of extraordinary concentration, where tenderness and clarity coexist. Recorded in the Kammermusiksaal Hermann J. Abs in Bonn on a Blüthner piano from…
Recorded last year in Los Angeles, Ghosts of American Psychonauts finds Will Oldham reworking five of his best-loved tracks (including ‘I See A Darkness’) and a handful from 2025’s ‘The Purple Bird’.
Oldham had an impressive ensemble with him for this one. Of course, his regular tourmates Thomas Deakin and Jacob Duncan were present, but it’s the guests that make this one special: London May on drums, Patrick Shiroishi on sax, Emmett Kelly on bass, Ryder McNair on piano and Dv DeVincentis on sax. Even ‘The Purple Bird’ producer Dave Ferguson shows up to sing John Anderson’s part on ‘Downstream’. And although the new tracks are good to hear in a more casual format, a hop, a skip and a jump from Nashville…
Continuing in its series of Yoko Ono reissues, Secretly Canadian has released Ono’s seminal 1982 album It’s Alright (I See Rainbows), in expanded CD and digital versions, and on vinyl for the first time in more than forty years, with expanded and enhanced artwork.
Influenced equally by 1960s girl group vocals and 1980s synthesizer experimentation, It’s Alright (I See Rainbows) is an album of “adventurous… lush… committed and convincing avant-gardism” (Rolling Stone). As Ono said in her 1992 Onobox liner notes, “It was ’82 and it seemed as though I was finally in sync with the world.”
Vacillating from a widow’s never-truly-over grief, to the necessary uplift for an artist and mother to continue her life’s missions…
Experience the full force of Grateful Dead at Merriweather Post Pavilion on June 30, 1985 with Merriweather 6/30/85, a previously unreleased complete live performance. Originally part of the Summer Magic 1985 limited 20-CD boxed set, it’s now availabltreet.
Sourced from the original Sony F1 tapes, the album was mastered by Grammy Award-e as a 3-CD set and limited edition 4-LP set.
It’s a vital snapshot of the band in peak summer form, featuring favourites including Sugar Magnolia, Cryptical Envelopment, and what many Dead Heads call the finest ever take on Shakedown Swinning engineer David Glasser and produced for release by Grateful Dead legacy manager David Lemieux.
Echo & The Bunnymen return to the fore with Apples for Isaac, their thirteenth album and their first in 12 years following 2014’s ‘Meteorites’. It would be fair to say that the group have had a shift in tone since their last effort, though, which maintained a darker, more forlorn sound than the recent record. In contrast, this new album maintains a cheerful-sounding, yet well-considered and balanced range of tracks which provide a thoughtful yet optimistic atmosphere – one that, gloomy news cycle aside, which leaves you feeling pretty good about things. The production is the work of frontman Ian McCulloch, who has put together a bright-sounding mix, featuring masterful arrangement of the band’s instruments along with smartly used orchestral arrangements.
The David Bowie estate is going back toward the beginning of the late singer’s career, focusing on his early days as a blues interpreter with a famous British producer. The Shel Talmy Recordings collects 22 recordings the then-unknown musician recorded with producer Talmy during 1965, when he was a member of bands The Manish Boys and The Lower Third. Only four of these tracks were released at the time as singles, with another seven alternate and outtake versions turning up on compilations over the years; that of course makes 10 tracks debuting here on this package – including lead track “I Want Your Love.”
Still a year from changing his stage name to “Bowie” – “Davy Jones,” of course, would be well spoken for by The Monkees in 1966, and that…
All those reinventions, genre-clashes, breakdancing and Gen X irony can take it out of a person. So it’s little surprise that every twelve years Beck returns to a safe place, a familiar terrain, where he can work through difficult emotions with trusted musicians. There’s no pressure to show off, innovate or get crazy with a processed cheese spread.
Sea Change, Beck’s eighth album, established this more sombre space in 2002. It was folky like 1994’s One Foot in the Grave and ’98’s Mutations, but different too: a dead serious, dead slow, dead melancholy mix of acoustic guitars, strings and a Gallic-funk rhythm section, it found a bruised Beck channelling his heartache over the end of a nine-year relationship. Sea Change confused…
Hope Is the Thing With Feathers is a sort of homecoming for Rhiannon Giddens. The folk singer and string musician first gained acclaim for her work with the Carolina Chocolate Drops, a group dedicated to preserving traditional string band music of North Carolina. Since 2015, her solo career has taken her far afield, exploring the tributaries that flow from the folk music of the Carolinas: discovering austere, arty branches through her work with Italian multi-instrumentalist Francesco Turrisi and adding enough polish to her essential sound on 2023’s You’re the One so it resembled a crossover.
A slight echo of You’re the One’s smooth assurance surfaces on her new record via “Carolina Rain.” The tune is broad and insistent enough…
At the start of 2026, MOJO enlisted the help of our readers to compile a guide to the best new Neil Young albums of the 21st century. It had proved, thus far, a hectic and complicated 26 years: by our count there had been 20 studio albums, six live albums, two memoirs, approximately 30 Archives releases, at least seven movies, innumerable tours, a revolutionary car and a Toblerone-shaped rival to the iPod.
Young’s 21st new album of the 21st Century, however, is strong evidence that the Top 10 we constructed needs revision. Second Song is comfortably his best since the molten sprawl of 2012’s Psychedelic Pill, the last hurrah of Poncho Sampedro-era Crazy Horse. And while Young’s current backing band, The Chrome Hearts,…
…The digital deluxe edition includes four new bonus tracks.
Such is the diversity of David Byrne’s projects since Talking Heads’ split in 1991, it can feel like no possible new endeavour is too far-fetched. Now that American Utopia and Here Lies Love have finished their runs, maybe it’s time for a Broadway musical about the turbulent childhood of Tristan Tzara? Or else an art photography book of textile factories in South Carolina? And surely there’s an album of New Orleans bounce to be made with Diplo and Big Freedia, and possibly a weekly column of recipes for the New York Times?
The fact that none of these options seem particularly outlandish makes the relatively straightforward nature of his latest…
People like to say that artists who have little left to lose, either by virtue or lack of past success, have “zero fucks to give.” Usually, this means that an artist has either reached a point at which they no longer care what kind of impression their work makes on the general public, or, taking a more wide-angle perspective, they see no appeal in anything the world and future have to offer, and wash their hands of the whole thing. Colin Newman and Malka Spigel, formerly of post-punk legends Wire and Minimal Compact, respectively, have certainly earned the right to rest on their laurels, cruise on autopilot, follow their fancies, or indulge in score-settling. They owe the world nothing, but the world owes them plenty. Yet their latest album as Immersion is a work of craft…
Laurie Osborne (Appleblim) describes Liminal Tides with a series of antinomies: awake / asleep, self / no self, and conscious / unconscious mind / no-mind. To these, one could add Bristol / Berlin.
It’s no secret that Osborne has spent much of his career as Appleblim between these two cities. While he picked up the mantle Appleblim in London, DJing early dubstep at the foundational FWD>> clubnights, he began producing the stuff upon moving to Bristol in 2006. Bristol is also where his two record labels got their start: Skull Disco (2005-2008) which he ran with Sam Shackelton, and the solo imprint Apple Pips (2008-present, though largely inactive since 2013). At the same time Appleblim got big in Berlin, Ricardo Villalobos and the rest of the minimal techno…
It would be easy to describe Santur & Kamancheh for Electronics as an encounter between Iranian classical instruments and electroacoustic music. Fortunately, that is not what this album is about. Rather than treating tradition and experimentation as opposing worlds, Maryam Rahmani & David Esser allow them to coexist within the same acoustic space. The santur and kamancheh are never presented as historical artefacts awaiting electronic transformation. Instead, electronics become another way of listening to them.
From the opening “Glass Tower,” one has the impression that the listener has been placed inside the instruments themselves. Contact microphones, geophones and live processing reveal vibrations that normally remain hidden:…
…features two further recordings that complement the original album’s ultimate collection of Arvo Pärt’s music for solo piano.
Arvo Pärt is the world’s most often heard classical composer; he trades that position numerically with John Williams, but does not, as Williams does, exist on the border between classical and another genre. His 90th birthday in 2025 has stimulated the release of some interesting albums, and this one made classical best-seller lists in the late summer of that year. One might not associate the percussive piano with the delicate shades of Pärt’s minimalist ensemble music, but pianist Georijs Osokins here (or the good marketing folks at Deutsche Grammophon) asserts that he wants to explore “the hidden relations between different…
…features previously unreleased tracks, B-sides and remixes from The Chemical Brothers, Massive Attack, Jagz Kooner, and Two Lone Swordsmen.
Whenever indie music seems lost in its own self-righteous, unchallenging, inoffensive fundament, Primal Scream rides in to try and save it all. So just as Screamadelica tried to encapsulate the importance of ecstasy culture, or Vanishing Point tried to exorcise their own insanity, here XTRMNTR is a nasty, fierce realization of an entire world that has also lost the plot. The album starts with a gloriously vindictive sample of a kid commanding “Kill All Hippies,” and this roughly states the album’s modus operandi. There are songs shouting with furious, feedback-splayed anger (“Blood Money,” “Exterminator”), songs…
The journey to Sylvan Esso’s fifth studio album was a cross-country trip, with a storm on either side. Quite literally — Amelia Meath and Nick Sanborn left their longtime home in Durham, North Carolina, in the wake of Hurricane Helene in late 2024; shortly after they settled in Los Angeles, they found themselves surrounded by the January 2025 wildfires. The duo was already mourning the loss of their close friend Jessica, who died of sudden liver failure in 2023.
If there is a single throughline on Ow ∞ (pronounced “Ow Infinity”), it’s grief. It’s not an album about death, per se, but about living in the wake of unimaginable loss, overcoming the pain that keeps piling up — “the suffering of suffering,” as Meath calls it on “Flood Season.”
“I have something to say,” the opening line of Paris Paloma’s raw, visceral, and powerful sophomore album The Fatal Flaw, is a colossal understatement. It’s unfortunate that portraying a world through the female gaze, glaring down on misogyny, superficiality, and capitalism, is considered radical. Paloma knows that the only way to crumble power structures is to face them head-on, and if that’s radical, then she welcomes the label with open arms.
The Fatal Flaw celebrates art, stuffed to the brim with allusions that cement Paloma’s role at the intersection of pop, intellect, and humanity. The songwriting is adeptly concise and eloquent, often reading more like a short story collection than an LP. It’s resoundingly successful in…
