{"title":"CDs from Warehouse","description":null,"products":[{"product_id":"pre-order-joe-bonamassa-b-b-kings-blues-summit-100-cd","title":"Joe Bonamassa - B.B. King's Blues Summit 100 [CD]","description":"\u003cp\u003eThis groundbreaking project celebrates the centennial birthday of B.B. King, honoring his monumental legacy with a one-of-a-kind Collaboration Album. The album will feature a double album worth of curated tracks of B.B. King's most iconic songs, recorded\/tracked by Blues Rock Icon Joe Bonamassa and his all-star band, with production led by 2-time Grammy-nominated producers Joe Bonamassa and Josh Smith. The reimagined tracks will include a stellar lineup of guest musicians from both contemporary and legacy backgrounds that will unite multiple generations and genres to pay tribute to the King of Blues with 32 tracks and including 40 special guests!\u003c\/p\u003e\u003cp\u003eWorking directly with B.B. 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First stop: Vienna and it's influence on the musical landscape of the early 20th century. Berg completed his Suite lyrique on 5 October 1926: combining theatricality and rigorous architecture, free atonality and dodecaphonism, this suite expresses the composer's passionate love for Hanna Fuchs at that time. Erwin Schulhoff, born in Prague in 1894, was discovered by Dvorak and studied in Vienna from the age of 12; he dedicated his Five Pieces to Darius Milhaud, as he also studied in Paris with Debussy around 1913, ultimately dying in a prison camp in Bavaria in 1942. In his Opus 5, described by Glenn Gould as 'sensual' expressionism, Webern mourns the death of his mother on 7 September 1906.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eLyric Suite-I. Allegretto Gioviale\u003c\/li\u003e\n\u003cli\u003eLyric Suite-II. 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Sehr Langsam\u003c\/li\u003e\n\u003cli\u003eFive Movements for String Quartet, Op. 5-V. in Zarter Bewegung\u003c\/li\u003e\n\u003cli\u003eLangsamer Satz\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 3701624511961\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Alpha\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 3.20.26\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e CD\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Alpha","offers":[{"title":"Default Title","offer_id":47903694225508,"sku":"65179892","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0564\/2777\/4052\/files\/4474205-3493517.jpg?v=1770822044"},{"product_id":"pre-order-powerwolf-wildlive-live-at-olympiahalle-bd-dvd-2cd","title":"Powerwolf - Wildlive (Live at Olympiahalle) [BD+DVD+2CD]","description":"\u003cp\u003ePOWERWOLF are back – louder, more powerful and more epic than ever! On February 27, 2026, the German metal titans will release their brand-new live album, WILDLIVE, capturing the magic, energy and theatrical brilliance of their biggest headlining tour to date. Recorded during the breathtaking final show of their Wolfsnächte Tour 2024 in Munich’s Olympiahalle, WILDLIVE is not just a live album – it is a grandiose cinematic experience and a sacred celebration of metal, filled with fire, emotion, and boundless creativity. What began as an unconventional project in 2004 has since evolved into one of the most successful metal phenomena worldwide. WILDLIVE documents POWERWOLF’s unrelenting rise to the top, showcasing a performance that goes far beyond a metal concert. From a fire-breathing church organ and thunderous pyro spectacles to dark, operetta-like storytelling and rousing crowd interaction, this show is pure heavy metal theater at its finest. Each song is visually reimagined with a changing digital stage set, timed effects, and theatrical elements: monks with torches, falling snow on a burning piano, and a fiery execution scene that rivals shock rock’s greatest icons. Classics like \"\" Army Of The Night\"\", \"\"Amen \u0026amp; Attack\"\", \"\"Armata Strigoi\"\", and \"\"Demons Are a Girl’s Best Friend\"\" come alive in larger-than-life arrangements, while emotional highlights like \"\"Alive or Undead\"\" bring the audience to tears. The interplay between frontman Attila Dorn and organist Falk Maria Schlegel turns every moment into an unforgettable ritual. WILDLIVE is more than just a celebration of past triumphs – it marks the beginning of a powerful new chapter in POWERWOLF’s unstoppable journey. The Wolves have announced their return to the stage with shows across Europe, North America, and – for the very first time – London’s iconic Wembley Arena. WILDLIVE stands as both a monument to everything the band has accomplished and a fierce promise of what lies ahead. Whether you’ve witnessed their spectacle live or are discovering the Wolves for the first time: WILDLIVE is an absolute must-have for every music lover. It will be available in multiple formats including Blu-Ray, DVD, CD and Vinyl as well as a Deluxe Boxset, Earbook, Mediabook, and several other Collectors Editions, featuring exclusive bonus content. POWERWOLF have long transcended genre boundaries – their shows are cult-like celebrations of metal, emotion, and art. 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After the multi-award-winning Ligeti, it is the composer Unsuk Chin who is celebrated here. Of Korean origin, she moved to Germany in the 1980s. Her music shines with an immediate sensuality, and the inexhaustible transformations of her instrumental polyphony produce unprecedented sound constellations. This programme presents her piece Gougalon (2009\/12), which evokes the memory of the travelling amateur theatres of her native country, with deliberately offbeat instrumentation in six episodes. She presents it as 'imaginary folk music that is stylised, fractured and only appears to be primitive.' Chin titled her 2013 piece for large ensemble Graffiti. All sound registers are exploited in a colourful, lively and varied manner. 'The musical language of Graffiti oscillates between roughness and refinement, complexity and transparency,' says the composer. 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The Hunt for the Quack's Plait\u003c\/li\u003e\n\u003cli\u003eDouble Concerto pour Piano, Percussion Et Ensemble\u003c\/li\u003e\n\u003cli\u003eGraffiti pour Orchestre de Chambre~I. Palimpsest\u003c\/li\u003e\n\u003cli\u003eGraffiti pour Orchestre de Chambre~II. Notturno urbano\u003c\/li\u003e\n\u003cli\u003eGraffiti pour Orchestre de Chambre~III. Passacaglia\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 3701624512005\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Alpha\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 4.10.26\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e CD\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Alpha","offers":[{"title":"Default Title","offer_id":47903694848100,"sku":"65184507","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0564\/2777\/4052\/files\/4474208-3493522.jpg?v=1770822052"},{"product_id":"pre-order-harxson-cant-kill-us-cd","title":"Harxson - Can't Kill Us [CD]","description":"\u003cp\u003eThe world is full of evil. Harxson is here to kill it. NoLifeTilMetal Records is proud to announce the release of Can't Kill Us! Harxson unleashes fury upon the world on January 30, 2026. After igniting stages worldwide with thrash legends HIRAX during a nearly two-decade-long stint (that included a slew of acclaimed metal albums and EPs), the Long Beach-bred Lance and Steve Harrison forcefully return in an explosive new San Diego power-trio with a classic thrash attack... Harxson (pronounced \"hair-ex-son\"). The brothers are joined in the 2024-formed outfit by another HIRAX alum, drummer Mike Vega. \"It was time to bust out, \" declares bassist\/vocalist Steve Harrison. \"We had so many songs burning in our heads and dark-hearts. There was no better time than right now.\" Can't Kill Us sees Harxson collaborating with not one, but two celebrated thrash legends. The 7-song album was produced, mixed, and mastered by Bill Metoyer, whose discography includes Slayer's Show No Mercy, Haunting the Chapel EP, and Hell Awaits, as well as seminal releases from Armored Saint, Deliverance, D.R.I., C.O.C., Hirax, Sacred Reich, Trouble, Morbid Angel, Sadus, Tourniquet, W.A.S.P., and many more. As well, the CD and vinyl will arrive with cover artwork from illustrator Ed Repka, who painted Megadeth's Vic Rattlehead on the covers of Peace Sells... But Who's Buying, Rust in Peace, and more. Repka's artwork also graced the covers of the crucial first three albums from Death, classics by Dark Angel and Vio-Lence, and modern works by neo-thrashers like Municipal Waste and Toxic Holocaust. Additionally, the layout is being done by Scott Waters of NoLifeTilMetal Graphics (Deliverance, Anger As Art, Nevermore, Accuser, Flotsam \u0026amp; Jetsam, Gammacide, Iron Jaw, and hundreds more). 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Each sonata displays a distinct character: the C minor No. 1 combines tragic urgency with structural concentration; the F major No. 2 reveals Beethoven's emerging humor and rhythmic invention; and the expansive D major No. 3 unfolds an unprecedented emotional and architectural scale, crowned by the visionary Largo e mesto. The unifying rhythmic motif of \"short-long\" pulses through the set, foreshadowing the composer's later dramas. Performed on an 1820 Conrad Graf fortepiano, Roberto Prosseda's interpretation restores the music's raw contrasts, speaking timbres, and anti-rhetorical gestures that modern pianos often smooth away.In his personal note, Prosseda explains how returning to these works on a historical instrument transformed his understanding of Beethoven's expression. The fortepiano's transparency, differentiated registers, and responsive mechanism invite a freer phrasing and more rhetorical, speech-like delivery. 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Bach: Piano Concertos, Wq. 7, Wq. 37 \u0026 Wq. 42 [CD]","description":"\u003cp\u003e\"For fifteen exciting years the manuscripts of Carl Philipp Emanuel Bach's keyboard concertos have held me in their thrall. Both delightful and challenging at the same time, a hitherto unpublished and therefore completely unknown world revealed it's hidden beauties.With an eighth CD, my series comprising around half of all the available keyboard concertos now comes to an end. This musical form - according to Emanuel Bach himself his 'most personal' - occupied the composer repeatedly throughout his lifetime. From the astonishingly self-confident concerto Wq1 by a 19-year-old to the cheerfully ironic Wq47 from the year of his death, a long and very fruitful career is illustrated by the search for distinctive new means of expression. As later with the symphonies composed in Hamburg, Emanuel Bach here also took 'all the liberties he needed'. 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A member of the so-called \"Generation of the Eighties\" alongside Ottorino Respighi, Gian Francesco Malipiero, and Alfredo Casella, Pizzetti sought to redefine Italian music by reconnecting it with the country's Renaissance and Baroque heritage. Deeply inspired by early polyphony, Gregorian chant, and classical drama, he cultivated a style marked by modal harmony, contrapuntal clarity, and a profound sense of lyricism. Beyond composition, he was an influential pedagogue, teaching at the conservatories of Florence and Milan and later directing the Accademia di Santa Cecilia in Rome.Pizzetti's Piano Trio in A major (1904) is an early work that reflects both his academic training and his emerging individuality. Written while still under the influence of Romantic models such as Brahms and Franck, the trio nonetheless reveals Pizzetti's characteristic Italianate warmth and structural discipline. It's melodic contours often echo the inflections of Italian vocal writing, while it's harmonic palette experiments with modal color. The work's three movements display a balance between lyrical expressiveness and contrapuntal craftsmanship, suggesting the composer's lifelong fascination with vocal polyphony adapted to instrumental textures.In contrast, the Tre Canti for cello and piano (1924) exemplify Pizzetti's mature idiom. Composed two decades later, these three short pieces distill his refined sense of melody and austerity. Each \"Canto\" unfolds as an expressive monologue, the cello singing with quasi-vocal intensity over restrained piano writing. Modal inflections and chant-like phrasing create an atmosphere of meditative introspection, while subtle rhythmic freedom evokes the flexibility of spoken or sung language. 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As in \"the best of both worlds,\" where one undoubtedly wants to have everything but also offer the best of each universe. Both Worlds, a new step for Michel Petrucciani, or how to juxtapose distinct (id)entities and bring together the best of reciprocal elements, for the duration of a tour, a record, a wide-scale project. Dualism, then, but also balance. Geographical, from Paris to New York, and cultural, with three European musicians and three Americans. Both Worlds is clearly the testimony of the fruitful encounter between two worlds, between a composer and an arranger; the collaboration of two creative spaces that are dissimilar yet compatible. For the first time in his career, Michel Petrucciani entrusted his most accomplished compositions to another tailor of jazz and poet of made-to-measure, Bob Brookmeyer. The result is a magical undertaking, retaining that particularly distinctive \"two worlds\" character in the pianist's work: a writing imbued with classics and standards, over one of the most modern rhythm sections. Joy, melancholy, humor and moods, this recording displays a rich emotional palette and a few nods to Rodgers \u0026amp; Hart (Petite Louise), Return to Forever (35 Seconds of Music and More), Maurice Chevalier (On Top of the Roof) and Hollywood musicals (Chloé Meets Gershwin referring to A Foggy Day and Seven Brides for Seven Brothers by Johnny Mercer). Within an abundant discography, Both Worlds innovates and profiles the pianist's work in a new light. For the first time as well, Michel Petrucciani assembles a genuine group and builds a homogeneous formation where his presence and role are no longer perceived as dominant elements. While in many of his previous records the piano seemed to leap out of the rhythm section for an obvious highlighting, Both Worlds deliberately inserts Petrucciani within the group, and makes the pianist an integrated element of the whole, allowing him to be the leader without acting like one. Another novelty: Michel Petrucciani uses the horns here as never before; they no longer intervene only as soloists but in a new context, as accompaniment and counterpoint. If this record could only come to life thanks to an intense collaboration between composer and arranger, the unexpected production work of drummer Steve Gadd surely contributed to it's creation. Thanks to his experience in the most diverse contexts and to a solid friendship with Michel Petrucciani, he was able to provide knowledgeable suggestions and above all appropriate structural ideas. Both Worlds like the two flat faces of the same coin, the work of a Michel Petrucciani thus doubly generous and in a language that is as simply universal as possible. 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A longtime fan of vocalists who had tackled Monk's music, including Carmen McRae and Abbey Lincoln, he sought a collaborator who could bring something distinctive and fresh to the tradition.Lewis and Welch connected through New York's vibrant music circuit, and their musical chemistry developed naturally through performance, conversation, and a shared commitment to the Black American musical lineage.A classically trained vocalist, Ms. Raina studied at Long Island University Brooklyn and Temple University, refining her technique under the mentorship of soprano Alba Quezada Bloomgarden and mezzo-soprano Dr. Lorie Gratis, with advanced mentorship from soprano Christine Moore Vassallo and Grammy-nominated vocalist Carla Cook. In her crossover journey, Cook's influence grounded Ms. Raina's phrasing, rhythmic placement, and storytelling in the lineage of vocal innovators such as Carmen McRae, Abbey Lincoln, Leon Thomas, and Eddie Jefferson, preparing her for the interpretive and technical demands of Monk's work.Over time, Ms. Raina's engagement with Monk's repertoire deepened through Lewis's perspective as an organist and her own study of the Monk vocal tradition shaped by McRae, Lincoln, Thomas, and Jon Hendricks. The two artists discovered a shared creative vision to reimagine Monk's body of work through the voice, not as novelty but as narrative.Ms. Raina led the project's artistic direction, curating repertoire, shaping the dramatic arc, and co-producing the sessions alongside Lewis. Drawing from her classical discipline, she conceived Organ Monk Sings as a sonic play, a narrative suite exploring love, loss, and revelation through Monk's compositions. 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This performance came more than 80 years after the final version was completed. \"A sensational symphonic rediscovery,\" proclaimed the Oberösterreichische Nachrichten, and the concert audience cheered. Now, the live recording of this concert is being released, paired with the Piano Trio in F major, also composed by Mathilde Kralik. Her early chamber music, after all, was well received by Eduard Hanslick, the universally feared music critic, and her songs, which form the main part of her oeuvre, were popularly sung. 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It remains a house of memories for historic gigs from days gone by, bearing the footprints of names considered legends, including The Who, Black Sabbath and Queen. Then Massive Wagons brought the noise back. Proud to call Lancaster home, the rockers were a clear and perfect choice to restore rock music to this former gem of the touring circuit - and praised by original promoter Barry Lucas, author of 'When Rock Went To College'.The moment proved so important that they chose to preserve it on record forever. Recorded on 19th and 20th September 2025, the live album captures the grin-inducing, ear-ringing sense of fun the Wagons inspire when they get on stage and bash through their hits. And, given both shows sold out, it's a means of travelling back to that glorious moment even if you couldn't be there in person. \"We've been knocking around the idea of a live album for years now, but the time has never felt right,\" says guitarist Adam Thistlewaite. \"In these Lancaster University Great Hall shows, we have a great story in bringing live music back to an iconic venue and our live shows have been taken to another level after the heavy touring of the last few years. We love making studio albums, but the live energy, the passion of the crowd, it's what we do it for ultimately, so this is going to be special.\"\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eBack to the Stack\u003c\/li\u003e\n\u003cli\u003ePressure\u003c\/li\u003e\n\u003cli\u003eTokyo\u003c\/li\u003e\n\u003cli\u003eMissing on TV\u003c\/li\u003e\n\u003cli\u003ePlease Stay Calm\u003c\/li\u003e\n\u003cli\u003eFun While It Lasted\u003c\/li\u003e\n\u003cli\u003eThe Good Die Young\u003c\/li\u003e\n\u003cli\u003eHouse of Noise\u003c\/li\u003e\n\u003cli\u003eBanging in Your Stereo\u003c\/li\u003e\n\u003cli\u003eIn It Together\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 5055006572810\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Earache Records\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 3.27.26\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e CD\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Earache Records","offers":[{"title":"Default Title","offer_id":47903702581348,"sku":"76197230","price":14.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0564\/2777\/4052\/files\/4478859-3499102.jpg?v=1770822142"}],"url":"https:\/\/latchkeyrecords.com\/collections\/vinyl-from-warehouse-copy.oembed","provider":"Latchkey","version":"1.0","type":"link"}