Prepare for an epic sonic journey through the relentless forces of time and destiny with Desert Near The End’s latest album, "Tides of Time". Blending the raw power of Power/Thrash Metal with the intensity of Death and Black Metal, this Athens-based five-piece continues to push the boundaries of metal with their most dynamic release to date. Set for release on December 6th, 2024 via Theogonia Records, "Tides of Time" promises a monumental listening experience filled with soaring melodies, crushing riffs, and powerful lyrical themes.
"Tides of Time" offers a polished yet brutal soundscape. The album’s lyrical themes explore the rise and fall of cities, heroes, and kings, interweaving forgotten stories lost in time’s unrelenting tide. With an emphasis on grand, epic atmospheres, the album stands as a testament to Desert Near The End's evolving sound.

Wes Montgomery's original Full House album (Riverside, 1962) comprised six tracks; the 1987 CD edition had nine tracks, with alternate takes plus the addition of "Born to be Blue"; the 2007 reissue was expanded to eleven tracks. This complete edition has fourteen tracks, including all of the previously released alternate takes as well as the completely unedited master take of the title tune, with Montgomery's original guitar solo restored. That restoration is the big news for completists but, for everyone else, this compilation is the fullest representation of one of Montgomery's best albums, live or studio.
The band is one of the finest the guitarist ever had - the Wynton Kelly Trio (pianist Wynton Kelly, double bassist Paul Chambers and drummer Jimmy Cobb, all veterans of the Miles Davis rhythm section) plus tenor saxophonist Johnny Griffin…

Pavlov's Dog lead singer David Surkamp was everything that was wrong with the band's Columbia debut Pampered Menial. Tempered here by Blue Oyster Cult producers Murray Krugman and Sandy Pearlman, who also recorded the first disc, the sound is more appealing to the ear. The question is, where was it going? Too pop for progressive rock, and too progressive for Top 40, the music is driving and more focused the second time around. There are some heavy guests to add to the festivities, Roxy Music's sax player Andy Mackay along with drummer William Bruford and Arista sax player Michael Brecker, though the tracks they appear on are not designated. "Valkerie" has a great hook, of "bring back the good old days," and the production here is cleaner than the first time around, but there is something very left field about this group, extremely non-commercial, even on a pretty ballad like "Standing Here With You (Megan's Song)"…

Broekhuis-Keller-Schönwälder, for years a solid base in the Electronic and "Berlin School" style of music. Inspired by Klaus Schulze, Tangerine Dream and Vangelis they have managed to develop their own style of Electronic Music, with Trance and Ambient influences and their way to perform that on stage. Beautiful sequences and driving drums with a wide variety of pads and astonishing sound effects on top, which can best be described as "the -BK&S-way of Electronic Music".

itting squarely in the Rock In Opposition mold, Stop Motion Orchestra is an Austin, Texas-based instrumental chamber rock band orchestrated with sax, violin, guitar, synth-bass, drums, here in their second album bringing a bright and melodic force that reminds of Hamster Theatre, Debile Menthol or L'Ensemble Raye; sophisticated, charming and knowledgeable music.

Although he cultivated most of the vocal and instrumental genres of his time, Georg Friedrich Händel’s true calling always was the opera. Indeed, most of his professional life was devoted to writing and performing operas. As a youth, he was already a member of the Hamburg opera orchestra, writing some operas in the eclectic style of Reinhard Keiser, blending Italian da Capo arias, German recitatives and French-style dances. In order to keep up with Italian music - which was then a synonym of fashionable music - Händel traveled to Italy in 1706, where he composed numerous chamber cantatas and religious music in Latin. In late 1707 he wrote his first Italian opera, Rodrigo, which premiered in Florence, and at the end of 1709 Agrippina was performed in Venice, showcasing his brilliant assimilation of the Italian style. After this opera’s success, Händel accepted the invitation to travel to London, where the taste for Italian opera was just beginning thanks to some pasticcios and a version of Camilla by Giovanni Bononcini, which was extraordinarily successful.

This is an excerpt from the Korean Chamber Orchestra's first live performance of all 46 of Mozart's symphonies in Korea, celebrating its 60th anniversary. "When you record Mozart's music, you realize again how difficult it is to stay true to the basics. Perhaps that's why there are fewer than five complete recordings of Mozart's symphonies in the world, and I salute the Korean Chamber Orchestra for making another history-making achievement." (Tone Meister Choi Jin Choi, Sempre la Musica)

If this 2007 recording of Bach's Christmas Oratorio was the only one you were to hear, you would likely be well satisfied. Nikolaus Harnoncourt knows the work from long experience, his first recording dates from 1973, and he knows not only how to balance the soloists, chorus, and orchestra but how to balance the festive, the reflective, and the demonstrative, as well. The soloists here are generally quite fine – clarion soprano Christine Schäfer and stentorian bass Christian Gerhaher are especially effective – the Arnold Schoenberg Choir is, as always, deep and sonorous, and Harnoncourt's hand-picked Concentus Musicus Wien performs with its standard gusto and enthusiasm. These factors in addition to the overwhelming magnificence of the work itself are more than enough to make for an enjoyable recording. But, of course, there have been many, many recordings of the Christmas Oratorio before this one, and many of them are far better than this one of Harnoncourt's. One could point to the lift and drive of John Eliot Gardiner's recording, or to the joy and devotion of Karl Richter's, or the soul and spirit of Kurt Thomas', or lightness and grace of Ton Koopman's, or the sheer vocal beauty of Peter Schreier's, and still barely have touched on all the performances that go further into the work than Harnoncourt's. Deutsche Harmonia Mundi's super audio sound has tremendous impact in the loud passages but still contrives to sound flat and two-dimensional the rest of the time.

"She's A Machine!" (2008) is an album by the Swedish electro-punk band Alice in Videoland. Known for their blend of electro, punk, and synthpop elements, the band has often been compared to acts like Ladytron and Le Tigre, but with a more aggressive, high-energy approach. The album "She's A Machine!" is one of their standout releases, showcasing their unique style with catchy synth-driven melodies, powerful vocals, and a rebellious attitude.

"Philtron - None (1997)" is an album by Philtron, a project led by the French musician Philippe Laurent. This album, released in 1997, falls under the category of experimental electronic music, and is known for its unique blend of ambient, industrial, and glitch-inspired sounds.

"Yolk - Fuenftens (2003)" is an album by the Japanese experimental rock band Yolk, which was released in 2003. Yolk is known for its blend of various genres, including post-rock, progressive rock, and experimental music. The band incorporates elements of jazz, rock, and ambient soundscapes, creating a unique and often unpredictable listening experience.

"Vedres Csaba - Ephata I. – Tortured & Formatted (2001)" refers to an experimental music album created by Hungarian artist Vedres Csaba, known for his work in avant-garde and experimental electronic music. The album was released in 2001 as part of the Ephata series. This album blends elements of industrial, noise, and electronic music, and the title "Tortured & Formatted" suggests a theme of deconstruction and reconfiguration of sound. The music often challenges traditional forms, using harsh sounds, distortion, and unconventional techniques to create an intense listening experience. This work is likely to appeal to fans of dark, atmospheric, and experimental genres, reflecting a deep exploration of the limits of sonic expression.

Gazebo - Disco Legend (1999) is a compilation album by the Italian singer and songwriter Gazebo, best known for his 1980s hit "Masterpiece." Released in 1999, the album includes some of Gazebo's most iconic tracks from the disco and synth-pop era, as well as some of his later work. The title, Disco Legend, refers to Gazebo's influence on the disco genre during the 1980s and his status as a prominent figure in European pop music.

VA - Lovy Metal (2001) is a compilation album that features a collection of gothic, symphonic, and melodic metal bands, with a focus on softer, more romantic or atmospheric elements of metal music. It was released in 2001 by the label Lovy Metal (likely an imprint of a metal-related or niche label), and it gathers songs from various artists who are part of the gothic or melodic metal scene.

Boney M. Producer Frank Farian created Boney M. as a studio project in 1975. On the first output, "Baby Do You Wanna Bump", Farian performed all vocals himself. Soon, however, TV stations started to demand 'Boney M.' to perform the track on TV shows, which made Farian form an actual group. After some initial changes, Frank Farian arrived at the lineup with which the group had their biggest successes: Maizie Williams, Marcia Barrett, Bobby Farrell and Liz Mitchell. The group's major break came in 1978 with "Rivers Of Babylon", the second highest selling single of all time in the UK. Boney M. enjoyed over a dozen hit singles throughout Europe between 1976 and 1981. After Farrell was replaced by Reggie Tsiboe, Boney M. had two more hits in 1984.