Govinda start their activities in 1994, when original members of Keshava (Satya Mana, Pandit Ananda and Yasodanandana), that had some of their new age tracks released on Klaus Schulze label Innovative Сommunication” decided to change. Everything started when the three Keshava members met DJ Om, who was quite well known in the Los Angeles area, Balearic Islands and Barcelona, so they decided to start a new project, Govinda, along with the support of Indian and Sri Lankan singers, plus the singer/dancer "Chandra". The new project gets immediate interest, and Govinda release their first album "Selling India by the pound" and their first 12" single "Trascendental Ecstasy" which also includes a long and uptempo version of "Awaken"…

A soundtrack for the Werner Herzog film of the same name and originally released in 1987, Cobra Verde was the sixteenth album by Popol Vuh.

Govinda start their activities in 1994, when original members of Keshava (Satya Mana, Pandit Ananda and Yasodanandana), that had some of their new age tracks released on Klaus Schulze label Innovative Сommunication” decided to change. Everything started when the three Keshava members met DJ Om, who was quite well known in the Los Angeles area, Balearic Islands and Barcelona, so they decided to start a new project, Govinda, along with the support of Indian and Sri Lankan singers, plus the singer/dancer "Chandra". The new project gets immediate interest, and Govinda release their first album "Selling India by the pound" and their first 12" single "Trascendental Ecstasy" which also includes a long and uptempo version of "Awaken"…

Software formed in 1983 by German duo Peter Mergener and Michael Weisser, Software owes much to electronic pioneer Klaus Schulze. Software's music usually builds on sequencer patterns and simple melodies, creating a lighter version of the Schulze style.

This debut CD from Joerg Strawe reflects many styles of electronic music. Melodic, symphonic, spacy and Berlin School sequences. After the release, Joerg Strawe was voted to be the 2nd best newcomer in the famous Radio WDR1 Airplay Schwingungen back in 1990. Nice tunes and still uptodate. A good way to get into the synthesizerworld of Joerg Strawe.

For Islands, Mike Oldfield gathered a host of musicians to further his run of more mainstream-sounding albums. The album includes vocals by Bonnie Tyler, Kevin Ayers, and Max Bacon, as well as saxophonist Raphael Ravenscroft (famous for his work on Gerry Rafferty's "Baker Street"), along with the album's producer and former Yes member Geoffrey Downes. Even with such talent, Oldfield only garners sporadic instances of entertaining music, and the bulk of Islands comes off as quite pedestrian-sounding. Bonnie Tyler's passionate voice lifts the title track higher than any other cut, while "The Wind Chimes, Pt. 1 and 2" serves as the second-best song, instilling some of Oldfield's instrumental originality and adroitness in order to drum up its enchanting air…

V.A. - Obsessions (1992). Erotic music. Bodies in harmony. Songs for making love. Sexy music. Dangerous. Touch, feel, smell, demand. Exploring the curves, following inner desires. Explosive and sensuous.
Dancing Fantasy, Software, G.E.N.E., Megabyte, Mind Over Matter and Peter Seiler.
The booklet contains erotic photographies of Gunter Blum!
V.A. - Rouge & Noir (1993). Erotic music. Bodies in harmony. Red and Black. Songs for making love. Sexy music. Dangerous. Touch, feel, smell, demand. Explosive and senseous. Exploring the curves, following inner desires. Unreleased and remixed erotic songs by: Software, Megabyte, Dancing Fantasy, TeeKay, Blue Knights, etc…

This album, along with Aqualung and Thick As A Brick, constitutes Ian Anderson's thrust for serious music credibility–unlike the two Tull albums, however, this one started out with a serious intent and seems to be roughly Anderson's equivalent to Paul McCartney's Liverpool Oratorio, except that there's nothing remotely as embarrassing here as there was in that piece of overblown North England drivel (also done for EMI, on should recall). The familiar voice is absent, as Anderson confines his work to the flute and, with keyboard player/arranger Andrew Giddings, gets backing from various size classical ensembles.

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. It's the piece's captivating main theme that again takes center stage here. The eight-minute opening track "Sentinel" plays it off of whining guitars and breathy female vocals. The latter element is a nice touch. The genre that the original Bells helped establish has come quite a ways in 20 years, and this fact isn't lost on Oldfield…

Mike Oldfield, one of the legendary figures of British progressive rock, returned with this ambitious two-disc set. 2005's Light + Shade is divided into two parts: the "Light" portion featuring upbeat and melodic tunes, and the "Shade" disc leans to moodier and more atmospheric compositions. As is his custom, Oldfield plays all the instruments on Light + Shade, as well as handling most of the recording himself; several of the selections from the album became part of the score for the virtual reality games Maestro and Tres Lunas.

Software formed in 1983 by German duo Peter Mergener and Michael Weisser, Software owes much to electronic pioneer Klaus Schulze. Software's music usually builds on sequencer patterns and simple melodies, creating a lighter version of The Schulze style. Digital-Dance is globally very relaxing and alternates floating pieces (Magnificient-Shore), atmospherical tunes (Island Sunrise, Sea-Gulls-Audience) and for sure synthetic tracks (Oceans-Breath, Digital-Dance) and odd passages (Waving-Voices). Soundscapes are very reminiscent of Tangerine Dream is the mid 80s.

Most people would preserve memories of a trip to Australia via photographs, slides or even a video. Well Robert Fox goes one stage further with this CD which derives its inspiration from the aforementioned visit made during the summer of 1991. Robert describes it as "…very much a Westerner's musical interpretation of the visit…but in no way an attempt to emulate Aboriginal music or, indeed, their culture". 'Spirit of Oz' opens in typically grandiose fashion, percussive Aboriginal samples forming the backdrop to a deceptively strong melody which makes good use of light and shade. 'Sydney Harbour' adopts a lighter stance with a simple motif played over all manner of superb atmospherics. 'Into the Mountains' picks up the pace expertly being a perfect combination of sequence, percussion and melody punctuated by samples of train station announcements which trace the journey it portrays…

Adept and international specialist of bansoori (a bamboo flute among the Indians of North), Andreas Ludwig attempts to produce an ethnic music slightly tinged with electronic music and progressives. Our man in particular is helped by drummer Harald Grosskopf and guitarist-keyboardist Axel Manrico Heilhecker, the duo is Sunya Beat in full force! Recorded between 1993 and 1998, parts of "Callings Of The Night" looks like an imaginary film, which leads the listener to the depths of the mysteries of the orient. Very relaxed and a kind of New Age.