North, Elvis Costello's 20th album of new material, follows the deliberately classicist When I Was Cruel by a mere year, but it feels more the sequel to 1998's Burt Bacharach collaboration, Painted From Memory, or even 1993's roundly ignored classical pop experiment, The Juliet Letters. Costello has abandoned clanging guitars and drums of Cruel – abandoned rock & roll, really – to return to a set of classically influenced songs, all "composed, arranged and conducted" by the man himself (on The Juliet Letters, he was merely the composer and voice).

Jeremiah Cymerman (b. 1980) is a New York City-based composer, multi-instrumentalist and producer. Apocalyptic electroacoustic chamber music. Low drones, earth tones, and birth stones.

On this inclement collaborative mini-album, Mary Lattimore teams up with Weyes Blood's Walt McClements, who plays electronically-enhanced accordion against Lattimore's signature looped harp flourishes. Gorgeous stuff - one for fans of the West Coast new age scene, for sure.

Suitably grand in scale and far-reaching in its scope, this soundtrack is the first new music from Vangelis since 1990's The City. 1492 stands up well next to Vangelis's classic Chariots of Fire, due to his innate ability to get right inside the material and provide an integral part of the film itself. Vangelis succeeds in capturing the 15th-century mood, mixing rich choral portions with modern elements, and portraying the larger than life character of Columbus, complete with full-range, dynamic sound.

Finnish cellist Max Lilja, one of the founders of Apocalyptica, takes us on an immersive journey across Johann Sebastian Bach’s life; through merging the iconic Cello Suites with an ambient composition, Lilja enlightens the space around the solitary voice.

Vulnicura Strings is an acoustic album released by Icelandic singer-songwriter Björk as a companion to her 2015 album, Vulnicura. Vulnicura Strings has been described as a more uncompromising and intimate take on Björk's breakup album, featuring strings-only versions of the Vulnicura tracks, with the omission of "History of Touches". Also the version of "Family" omits the vocals.

The latest suite by composer (and Stars Of The Lid co-founder) Adam Wiltzie took shape following a move north from Brussels into the Flemish countryside, although it was initially inspired by a recurring dream wherein “if someone listened to the music I created, then they would die.” The album uniquely evokes and evades the allure of oblivion, keening between beauty and ruin, forever unresolved.
Recorded at Wilzie’s home studio, with strings added in Budapest at the old Hungarian National radio facility (Magyar Radio), the tracks feel simultaneously intimate and infinite, unfolding vistas glimpsed in an inner space. Robert Hampson of English drone rock icons Loop mixed the album, further lending the music a sense of cinematic expanse and oblique hypnosis…

Of the 14 tracks on Aquarello, 12 are live recordings. Hans-Joachim Roedelius, Nicola Alesini, and Fabio Capanni performed together at the VI Musica Visual in Lanzarote. The liner notes are in German, so listeners are left with no "graphic interference" as they interpret these atmospheres, textures, and timbres. Roedelius is a sound design genius and has crafted some very different music on this CD. It is definitely e-music, but there are extras. Alesini's saxophones offset the atmospheres. The atmospheres approach listeners from two or three different levels. It is almost like harmonic overtones. The deep electronics have minimalist qualities. There are mechanical repetitions with organic overtones. This is a relatively unique effort. It will appeal to fans of Brian Eno, Robert Rich, Matt Harris, and Cyber Zen Sound Engine.

Alexis Ffrench isn’t afraid of fusing his music with weighty issues. For years, the pioneering pianist has used his music to highlight mental health, discuss diversity and challenge the classical world to be more inclusive. Truth, his latest album, is his most powerful and political to date, and also his most optimistic. “I imagined what the world would look like if everybody had the opportunity to ask themselves the questions ‘who am I?’ and ‘what is my purpose in the world?’ and what we, as a human race, could create and change together.” Featuring Alexis’ signature piano and orchestra sound, alongside rare collaborations including the searingly soulful One Look with his friend Leona Lewis, Truth captures Alexis’ hopes for the future and his belief that change is already upon us.

Where the Ocean Meets the Sky is a relaxing and heartfelt solo piano release which includes original compositions from award-winning artist Julie Hanney. Music brings many people deep solace, and Julie hopes that these songs will bring peace, rest and healing to the listener.

New York-based composer and producer Kelly Moran’s intricate, experimental pieces transcend the piano’s more traditional and classically-imposed school of thought. On her forthcoming new album for Warp, Moran augments her pianistic abilities to superhuman levels in order to create a new strain of her singular experimental piano compositions. Hypnotic and emotive, the coming project solidifies Moran’s role as one of the leading contemporary composers for the piano, constantly pushing the instrument’s creative and sonic boundaries in the realms of classical and electronic music.

In Ki moun ou ye Nathalie Joachim asks, “Who are you?” This is a question Nathalie has been answering since her previous album Fanm d'Ayiti, a love letter to Haitian women, the foremothers of Haitian music, and the matriarchs in her personal life.

Nonesuch releases composer/pianist Timo Andres’ new album, The Blind Banister, on March 22, 2024. The album comprises three works by Andres: the composer’s third piano concerto, The Blind Banister, with Andres as soloist, and Upstate Obscura for chamber orchestra and cello, with soloist Inbal Segev—both of which feature Metropolis Ensemble and conductor Andrew Cyr—and the solo piano piece Colorful History, also performed by the composer.

On 1 0 0 1, Dustin O‘Halloran (Marie Antoinette, Lion, Transparent) contemplates ideas of technology & humanity entering the age of artificial intelligence - one of the most fundamental transformations in the history of mankind. What will distinguish humanity and technology in the future? How will this affect concepts like ‘love’ and the ‘soul’? Will language survive as the primary tool for our species’ communication? What role will consciousness have in a world whose rapid evolution continues to accelerate? 1 0 0 1 is based on a ballet, first premiered in 2019 (collaborating with dancer Fukiko Takase), that was developed further into the album during the pandemic.