Did Atlantis really exist? Where and when? Was it just in someone´s imagination? A dream or a nightmare perhaps? Atlantis is the symbol of terrifying natural catastrophies, but it can also be interpreted as a sign of social and ethnic conflicts - it is just ahead of us. Humanity is continuously working on sinking itself, the apocalyptic fall of the anticipated final judgement is a bitter topicality.
Basically, Eötvös is an optimist, he never gives up hope. For him the "Artist" is a seismograph of the future who produces utopias for tomorrow. Eötvös rephrases Mussorgsky´s famous saying: "the past is with us in the present" into: "the future originates from the present."
… We are all under water: this is the situation that Eötvös places the audience into right at the beginning of the piece. A world of fantasy-sounds surrounds us, from which the sounds approach us like far-off hallucinations… The ten string players and the ten percussionists symbolize the five twins of Poseidon and Kleitos, the first ten kings of Atlantis…
At the end of each movement, soft Transylvanian dance music can be heard from the distance, like the low, scratched recording on an old phonograph.
Is this all that remained after us? - we might well ask. Thomas Schäfer (Cologne, 1995)

G. P. Telemann - Recorder Sonatas & Fantasias - F. Brüggen, A. Bylsma, G. Leonhardt
Baroque | Easy CD-DA, APE, Cue | No Log | 1 CD, covers | 344 MB | RS
Teldec 4509-93688 | 1995

Brüggen plays wonderfully. He has total command of his instrument: vibrato, dynamics, flying through the vivace passages with no misplaced note. The accompaniment is also excellent.

Halestorm is a rock band from Pennsylvania (US) that signed a recording contract with Atlantic Records on June 28, 2005. The group has been consistently active, writing and performing original music since 1998 (when the band members were ranging in ages from 10 to 13 years old) and becoming increasingly successful

One part thrash, one part death metal, one part Motörhead. Sounds like a simple enough recipe for The Crown to follow, but the results are far from simple. Deathrace King, much like the name suggests, is a flailing, high-energy, no bullshit, death & roll masterpiece. As catchy as it is complex, The Crown manages to use just the right amount of melody along with whiplash speed and aggression to produce one of the most memorable slabs of metal ever recorded.
Johan Lindstrand on vocals does an amazing job, lending his raspy voice to the equally raspy (and dueling) guitar work of Marko Tervonen and Marcus Sunesson. Add on top of this some incredible drumming from Janne Saarenpãã who insists on not ruining the stew with the over usage of blast beats, and the bass work of Magnus Olsfelt which has his moments, but is primarily used to add depth to the music. Some cameo appearances by Tomas Lindberg and Mika Luttinen add some flavor, and makes Deathrace King one album that should be in the collections of all fans of death, thrash, and rock & roll alike.

Heres the first record from this shred master named Tosin with his 8 string guitar. The record is a great listen from start to finish, theres quite a lot of variety and emotion to the music. Buy it tomorrow.

Released in 2006, Hordak's second album "The Last European Wolves" was placed in the pagan black metal camp, but in truth this label doesn't really fully describe the music on offer. The band themselves describe their music as 'Celtiberian Pagan Metal', the Celtiberians being a race of people formed after Celts from Gaul settled in Iberia- now Spain and Portugal. This is a much more accurate description, with "The Last European Wolves" being the South-West European equivalent of Scandinavia's Viking metal.
Although "….Wolves" had black metal influences, these were quite minimal with the main emphasis being on the Celtic elements. With folk and pagan metal rising to prominence in recent years, Hordak made roads to forge their own niche within the genre, creating an album which incorporated varied moods and directions. Power metal and melodic death metal riffs competed under black metal vocals, accompanied by traditional Celtic / folk instrumentation and punctuated by light and airy acoustic passages to create an album which musically and lyrically paid homage to its ancestral roots.

Black Label Society bassist J.D. DeServio offers his self-titled debut. Though rooted in metal, the albums thirteen tracks delve into elements of funk, hip-hop, and soul. Featured guests includeZakk Wylde (Black Label Society, Ozzy), Sen Dog (Cypress Hill), Hugo Ferreira (Tantric), Burton (Fear Factory), and more.

After their excellent MCD Mörker followed the predestined path further into the darkness and created almost one hour of Atmospheric Northern Black Metal with wonderful, sometimes sad, sometimes catching melodies, and this time everything comes along in their very own style. There are hints to the great old Black Metal of the 90s even though the album cannot directly be compared to certain albums of the strongest era in Black Metal history