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Cancellation or returns of pre-order items will incur a 10% re-stocking fee.  Delays in shipment or supplier stock may result in a pre-order arriving later than expected.  This is not grounds for cancellation or return of an item unless the delay is greater than 10 days.  In the event the delay is from the label or artist (release is pushed back) the new release date will be used.\u003cbr\u003e\u003cbr\u003eLimited edition and exclusive releases: Pre-orders will be fulfilled in the order they were received.  In the event a release is sold out or not able to be fulfilled you will be refunded 100% of your total purchase price including all tax and shipping. \u003cbr\u003eDiscounts: Pre-order items are excluded for any and all discounts.  \u003c\/p\u003e","products":[{"product_id":"wham-last-christmas-40th-anniversary-uk-cd","title":"Pre-Order: Wham - Last Christmas: 40th Anniversary (Uk) [CD]","description":"\u003cp\u003eWham!'s 'Last Christmas' is not only one of the most iconic songs of all time, it is a cultural phenomenon. 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Moving beyond the band's acclaimed post-punk foundations. Cartoons blends driving guitars, programmed drums, field recordings and dance-influenced low-end into a sound that is both cinematic and intimate. Across themes of always-on culture, digital overload, hyper-reality and the shifting landscape of modern life, the record captures the confusion, anxiety, tenderness and resilience of existing in a world that never stops moving. Featuring the abrasive lead single \"\"The Mud Never Dries\"\" - a collision of post-punk, drum \u0026amp; bass textures, electronic sampling and spoken word. Cartoons finds TV Priest pushing their sound further than ever before.Written and recorded as a layered, collaborative work, Cartoons holds the digital and organic in the same frame, balancing raw human emotion with experimental production and widescreen ambition. It is an album of anger, grief and connection, but also of small moments of clarity amid the noise. 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While Nikolai Medtner (1880-1951) is best known for the cycle of piano sonatas which assure his stature as one of the great pianist-composers of the 20th century, his musical inspiration was hardly confined to expression through his own instrument. Brilliant Classics have already issued a magnificent cycle of Medtner's complete songs, which cover the course of the composer's long career from his Russian childhood to his exile and retirement in London from 1936. Medtner's wife Anna was a violinist, and he seems to have had her in mind when writing his music for violin and piano. Premiered in 1911, the First Sonata was inspired by the figure of Dionysus, Greek god of revelry. Thus the sonata concludes with a wild 'Dithyramb' which works a tango rhythm into the texture. From 1925, the Second Sonata bears the subtitle 'Spring' less in homage to Beethoven's example than to a poem by Fyodor Tyutchev. This is one of Medtner's most overtly 'Russian' works with it's folky spirit and evocations of balalaikas. The third, last and longest of the sonatas was composed in 1938, once Medtner had settled in London. We may hear in it the mingled relief and sadness at the turbulent state of his homeland, and his distance from it. Born in Naples in 1988, Fabrizio Falasca is Assistant Leader of the Philharmonia Orchestra in London, regularly playing with the world's great conductors of our day, but he also pursues a busy solo career of his own, as both a recitalist and a recording artist. This survey of Medtner marks his third album for Brilliant Classics, following well-received collections of Viotti and Busoni: 'Fluent, musical and well-recorded performances' (MusicWeb International). His partner on this occasion is the pianist Antonio Pompa-Baldi, who is renowned in his own right as a specialist in super-virtuoso piano music and neglected composers of the late-Romantic era. 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My favorite singer in the place was Karen Dalton, he recalled in Chronicles: Volume One (Simon \u0026amp; Schuster, 2004). Karen had a voice like Billie Holiday and played the guitar like Jimmy Reed. Those who knew Dalton understood that she was not interested in bowing to the whims of the record industry. On stage, she rarely interacted with audience members. In the studio, she was equally as uncomfortable with the recording process. Her 1969 debut, It's So Hard to Tell Who's Going To Love You The Best, reissued by Light in the Attic in 2009, was captured on the sly when Dalton assumed that she was rehearsing songs. When Woodstock co-promoter Michael Lang approached Dalton about recording a follow-up for his new imprint, Just Sunshine, she was dubious to say the least. The album would have to be made on her own terms, in her own time. That turned out to be a six-month period at Bearsville Studios in Woodstock, NY. Producing the album was bassist Harvey Brooks, who played alongside Dalton on It's So Hard to Tell Who's Going To Love You The Best. Brooks, who prided himself on being simple, solid and supportive, understood Dalton's process but was also willing to offer gentle encouragement and challenge the artist to push her creative bounds. I tried to present her with a flexible situation, he told Kaye. I left the decisions to her, to determine the tempo, feel. She was very quiet, and I brought all of it to her; if she needed more, I'd present options. Everyone was sensitive to her. She was the leader. Dalton, who rarely performed her own compositions, selected a range of material to interpret-from traditionals like Katie Cruel and Same Old Man to Paul Butterfield's In My Own Dream and Richard Tucker's Are You Leaving For The Country. She also expanded upon her typical repertoire, peppering in such R\u0026amp;B hits as When a Man Loves a Woman and How Sweet It Is. In a departure from her previous LP, Dalton's new recording offered fuller, more pop-forward arrangements, featuring a slew of talented studio musicians. While 70s audiences may not have been ready for Dalton's music, a new generation was about to discover her work. In the decades following her death, many artists would name Karen Dalton as an influence including Lucinda Williams, Joanna Newsom, Nick Cave, Angel Olsen, Devendra Banhart, Sharon Van Etten, Courtney Barnett, and Adele. In the recently acclaimed film documentary Karen Dalton: In My Own Time, Cave muses on Dalton's unique appeal: There's a sort of demand made upon the listener, he explains. Whether you like it or not, you have to enter her world. And it's a despairing world. Peter Walker, who also appears in the film, elaborates on this idea: If she can feel a certain way in her music and play it in such a way that you feel that way, then that's really the most magical thing [one] can do. 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