For 25 years, Mythos has been creating timeless, ethereal music fusing electronic beats with vocalese, piano, acoustic guitar, synths and sounds from around the world. 2021 marks the 25th Anniversary for the duo of Bob D’Eith (producer and piano) and Paul Schmidt (acoustic guitar) with special guest performances from Jennifer Scott (vocals), Jasmin Parkin (vocals), Rene Worst (bass), Pepe Danza, (percussion), Niko Quintal (percussion) and many others.
2021 is Mythos’ 25th Anniversary and this year they are pleased to release “XXV” a 14-track album including 5 new tracks and 9 fully remastered classics…

Recorded live just before Joe Walsh joined up with the Eagles full-time, You Can't Argue with a Sick Mind contains six of Walsh's better-known songs. Things start off with his last hit with the James Gang, "Walk Away," and then the album makes its way through "Meadows" and 18 minutes of "Rocky Mountain Way." The crowd loved it…

Chicago guitarist Jimmy Johnson didn't release his first full domestic album until he was 50 years old. He's determinedly made up for lost time ever since, establishing himself as one of the Windy City's premier blues artists with a twisting, unpredictable guitar style and a soaring, soul-dripping vocal delivery that stand out from the pack.
A professional musician since the late fifties, his catalog includes soul, R&B, and blues music. On this 1999 solo effort, he throws them all into a smoky record that encompasses his life as a musician.

"I'm Going Home" from Ten Years After's previous release put them on the charts, at least in the U.K. (the band's U.S. breakthrough was at Woodstock a year after its release), but the four-piece was already experimenting with ways to expand their basic boogie rock template. Stonedhenge was the result, as producer Mike Vernon helped steer the band into a more jazz- and blues-oriented direction. That's especially evident in the swinging "Woman Trouble," but this set is generally more prone to broadening the sound without losing TYA's basic concept. It doesn't always gel – the four short pieces that feature each musician alone on their instrument is an interesting idea that ends up as a distraction – yet the album boasts some terrific performances by a group that was hitting its peak. Canned Heat, who TYA supported in America and who were also trying to push their own boogie envelope, were a big influence, born out by the very Heat-sounding "Hear Me Calling." Alvin Lee keeps his fleet fingers in check, preferring to work his style into a more organic fusion.

IT'S FOUR YOU was a CD recorded & released in 1994 by the Australian Beatles tribute group The Beatnix. It featured the performances of Steven Shipley, Bruce Coble, David Wood & John Taylor, the four musicians who would go on to become the founding members of THE BEATELS shortly after this album was recorded. The idea for the album came from Australian music writer Glenn A Baker, and the album was originally released on Glenn's record label, Raven Records, in 1994. Glenn had seen the band perform, & knew what they were capable of, & so he approached them & asked if they would be interested in spending a few weeks in the studio recording and mixing 19 songs that Lennon & McCartney had written, but never released by The Beatles. Some tracks had never been recorded by The Beatles - they had been given to other NEMS artists such as PJ Proby, Cilla Black, & Peter & Gordon. Many tracks had gone to number one on the charts.

Although ‘The Sun or the Moon’ band (not to be confused with the UK punk band of the same similar name) have their feet planted well within an idiom that could be likened to that of a space-rock. Their sound is without a doubt far more wide-ranging than such a generalised title as ‘Space Rock affords, that is if their album ‘Cosmic’ is anything to go by…

Goldener Saal des Wiener Musikvereins, im Frühling 2014. Ein seltenes, ein einmaliges Zusammentreffen. Zwei sehr unterschiedliche Superstars de r Klassik entdecken neu die Klavierkonzerte Nr. 17 und 24 von Mozart: Weltstarpianist Lang Lang, Alte -Musik -Legende und Doyen der historischen Aufführungspraxis Nikolaus Harnoncourt gemeinsam mit – nicht zu vergessen – den Wiener Philharmonikern. Ein Ferns ehteam begleitete vier Tage lang die Vorbereitungen, die Proben, die Aufnahmesitzungen und die Diskussionen, kurz – den kompletten künstlerischen Schaffensprozess, an dessen Ende ein vielbejubeltes Bestselleralbum entstand.

Even when paying homage to the Moroccan music she grew up with, vocalist Natacha Atlas can't help but let the multicultural and modern seep in. With bossa nova, Western pop, and just a thin slice of electronica figuring into the mix, the "back to my roots" album Mish Maoul is a rich collection of music that doesn't sound decorated but natural coming from an artist who prides herself in being a musical nomad. Easy to believe a nomad's memories of her homeland would be foggy and sentimental, and easy to believe the modern nomad's soundtrack would sound something like this – only something like this because this is far and away Atlas' most personal album. Suitably, she seems totally in charge of its construction, making interesting production choices with the help of Temple of Sound, Timothy Whelan, and others. For someone who has worked with Transglobal Underground, Art of Trance, and Jah Wobble in the past, the restraint Atlas uses on the rhythmic and ritualistic "Hayati Inta" is surprising and creates an intoxicating tension with only a slight bit of electric guitar revealing this isn't a field recording.

Gilgamesh's 1975 eponymous debut portrays a fine group that emerged during the waning days of Britain's Canterbury scene. The album by keyboardist Alan Gowen's quartet - also featuring guitarist Phil Lee, bassist Jeff Clyne, and drummer Mike Travis in this incarnation - was issued by Virgin Records' budget-line Caroline imprint. By the mid-'70s, Virgin's support for bands of this ilk was approaching its end, with punk and new wave soon ruling the day. Arriving late in the game, Gowen and company sounded most similar to Canterbury supergroup Hatfield and the North, and in fact Hatfields keyboardist Dave Stewart co-produced the album. Gilgamesh had clearly mastered the Hatfields' suites'n'segues approach to Canterbury-style complexity while sidestepping blatant imitation - for the most part…

Excite The Light : Part 2, is the second album of the trilogy by Twisted Illusion. Now that the sensible intro is out of the way, the best analogy I can describe this band with and the way they evolve is similar to the creature in The Thing by John Carpenter as it grows in size and power to make it even more formidable…

The year 1965 was a turning point in the life of John Coltrane. It was at this point that he crossed the line into the free jazz arena that he had been approaching since the early '60s. Besides his landmark Ascension, no album better illustrates this than the awe-inspiring Meditations. Coltrane's regular quartet - McCoy Tyner (piano), Jimmy Garrison (bass), and Elvin Jones (drums) - is expanded here with second drummer Rashied Ali (who assumed Jones' spot after this album) and saxophonist Pharoah Sanders. This conglomeration produces some dense textures, especially in the epic first track "The Father and the Son and the Holy Ghost." This sonic hurricane is a 13-minute outpouring of spiritual emotion that is at once compelling and exhausting…