Mike Old Fiel Return

British multi-instrumentalist Mike Oldfield offers up this warmly crafted sequel to his 1975 classic Ommadawn, marking a return to a more organic style of composing. After polling fans online about what type of approach they'd like to hear, Oldfield was overwhelmingly urged to revisit the acoustic style heard on his first three albums. Eager for the challenge, he spent nearly a year in his studio crafting what would become 2017's Return to Ommadawn, an instrumental meditation on the prog-folk fantasy world he'd originally imagined four decades prior…

Old Forest return in 2021 with their 6th full-length album Mournfall – the follow-up to 2019’s well-received Black Forests of Eternal Doom album’ (aside from the debut album reproduction and various vinyl releases). Mournfall continues the path forged on their last opus by further developing their own individual mix of early 90s style Black Metal with epic Doom riffs. Owing as much to the early works of Paradise Lost or Candlemass as to that of Emperor or Darkthrone, the resulting epicly mournful and ambient take on Black Metal is perhaps not unsurprising. Accompanied by melancholic lyrics weaving tales of misery and woe, it is perhaps not to be understated how dark the 8 songs can get over the 41 minutes. Additional bonus CD material is taken from the minidisc master of 2001’s unreleased demo Sussex Hell Hound

It’s back. The debut album that blew up the ’90s blues scene. The songs that announced the touchdown of a major new talent. In modern times, as an established solo star and former member of the globally acclaimed Royal Southern Brotherhood, Mike Zito’s reputation precedes him. But turn back the clocks. Rewind the film reels. Slip through the wormhole to 1998, when a 27-year-old punk kid took his first shot in the studio. “Blue Room,” he reflects, “is the beginning of me becoming an artist.” By 1998, Zito had been around the block. Raised at the sharp end in St. Louis, Missouri, he’d witnessed the lean years of the ’70s, as his father – a union employee at the local Anheuser-Busch brewery – grafted to support five kids in a cramped apartment.

First Blood harks back to the glory days of the '60s blues-rock boom – Mike Henderson and the Bluebloods' gritty sound is far from original, but years on the Nashville bar band circuit have honed their skills to a razor-sharp point, and the record is refreshingly raw and direct, distinguished by rock-solid musicianship.

British multi-instrumentalist Mike Oldfield offers up this warmly crafted sequel to his 1975 classic Ommadawn, marking a return to a more organic style of composing. After polling fans online about what type of approach they'd like to hear, Oldfield was overwhelmingly urged to revisit the acoustic style heard on his first three albums. Eager for the challenge, he spent nearly a year in his studio crafting what would become 2017's Return to Ommadawn, an instrumental meditation on the prog-folk fantasy world he'd originally imagined four decades prior. A true solo effort, Oldfield plays every instrument on the record, which is divided into "Part I" and "Part II," each lasting about 20 minutes in a nod to the original's vinyl format.

Tubular Bells II is the update and/or sequel to Mike Oldfield's landmark 1973 new age recording Tubular Bells, which will resonate forever as the haunting theme to The Exorcist. Here, Oldfield repeats his multi-instrumental performance, playing guitar, banjo, organ, percussion, mandolin, and the titular tubular bells, although in a nod to modernism, the latter instruments often appear as samples through Oldfield's Kurzweil synth rig…

Flynn's Place is another excellent collection of piledriving, good-time blues and boogie from Little Mike & the Tornadoes, featuring a fine selection of originals and smoking solos.