Orquesta Metafisica were founded as a Buenos Aires-based experimental rock ensemble by two Argentine music genies Sebastián VOLCO (piano, Moog / composition) and Sebastián ROSENFELDT (bass / production). The duo have recruited Sebastián RICCAIARDI (drums, percussion), Fabián ARAYA (saxophone, flute, trumpet), Pablo GIGNOLI (bandoneon), and Mariano MALAMUD (viola), while they have released the debut album with the human spirit adventure theme named "7 Movimientos" in 2011 via Omrecords (their own label). This new opus comes as a follow-up to 7 Movimientos, an instrumental album in which the band narrated a story about liberation of the spirit. In HIPNOTIZADOS, it develops the topic of public opinion manipulation via the mass media, suggesting that people in all societies succumb to the same discourse which aims at generating fear, obedience and mistrust.

III is the third studio album by DEMONS & WIZARDS, one of the most legendary collaborations in heavy metal history! DEMONS & WIZARDS are Hansi Kürsch (Blind Guardian) & Jon Schaffer (Iced Earth), who celebrated a triumphant return in 2019 at festivals like Wacken, Hellfest, Sweden Rock, Graspop Metal Meeting, Copenhell, Barcelona Rock Fest, toured North America for the first time ever and left audiences stunned and begging for a new record. Now, III hits stores on February 21, 2020 offering a 65 minutes long monument of dynamic and powerful heavy metal that simply has all you would expect from these iconic musicians! It is epic, melodic, heavy, atmospheric, and all in between. “We have grown indeed”, Schaffer says, “and that will be obvious from the first listen. You will hear classic and progressive rock influences, but it is a pure heavy metal album through and through. A journey of epic proportions!” Hansi Kuersch adds, “This third album is the peak of our career for sure. Mark my words, you will love this album!”

The Jazz Club series is an attractive addition to the Verve catalogue. With it's modern design and popular choice of repertoire, the Jazz Club is not only opened for Jazz fans, but for everyone that loves good music.

Four years after the release of their critically acclaimed “Braindead,” LOST SOCIETY return with a brand new album “No Absolution,” out on 21 February 2020. Inspired by thrash predecessors ANTHRAX and MEGADETH while combining the groove metal tendencies of PANTERA, LOST SOCIETY was founded by vocalist/guitarist Samy Elbanna in 2010

This CD is part of a comprehensive study of the early influences of rock & roll. The blues and rhythm & blues sound created by African American artists, as well as a few crossover Anglo musicians, in the late '30s, '40s, and the '50s, laid the foundation for what was to become rock & roll. It was a sound characterized by a throbbing drumbeat and sensual notes on piano and horns, often with lyrics to match its earthy quality. Volume six collects some notable recordings of the year 1950, just before the big rock & roll explosion caused by artists such as Bill Haley & His Comets and Elvis Presley. The compilation makes clear the great musical debt these artists, who became rich and famous, owed to earlier artists, many of whom remained poor and obscure…

Except for John Williams’s theme from Schindler’s List , the compositions on violinist Alexander Gilman’s program with Perry So conducting the Cape Town Philharmonic Orchestra all suffered a certain amount of neglect after their first performances and recordings. Isaac Stern (and Louis Kaufman and Robert Gerle) brought Samuel Barber’s concerto to the attention of listeners, and now it has just about entered the repertoire, and students adopt it for competitions. Alexander Gilman produces a glowing tone from his Giovanni Battista Guadagnini violin, but the engineers don’t set him so far forward as Columbia’s did Isaac Stern; if Gilman plays with less ruddy energy, he more than compensates for it in subtlety and refinement.

Customarily, the booklet notes for recordings containing music transcribed for instruments other than those for which it was written make the argument that such transcriptions were normal, accepted, and so on, in the years when the music was written. The ones for this disc make the same argument, but it's not so relevant in this case – the musicians here join performance style to transcription in an effort to make something new, not just to fill a hole in the cellist's repertory (Mozart never wrote anything for solo cello). The transcriptions from Mozart's sonatas for violin and keyboard were made by cellist Alexander Kniazev, but it is pianist Edouard Oganessian who sets the tone for much of the music.

Having already extensively explored Leopold Stokowski's famous Bach transcriptions, Chandos now turns to famous arrangements by everyone else. There are some real discoveries here, particularly Raff's warmly Romantic setting of the famous D minor Chaconne, which has some amazingly Brahmsian moments and clearly deserves an occasional airing in concert.