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48 Cameras: After All Isn't Tango The Dance 48 Cameras: After All Isn't Tango The Dance
Code:6834
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48 Cameras: I Swear I Saw Garlic 48 Cameras: I Swear I Saw Garlic
Code:6833
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4treck: No. 4 4treck: No. 4
Code:2761
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CD-R. (see above).The next volume, more acoustic sounds, and more varied, voices as colour. Limited No.

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5 Composer: 3rd Hearing 5 Composer: 3rd Hearing
Code:2764
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5 Composers: ElectroAcoustic Music from Sweden 1987-91 5 Composers: ElectroAcoustic Music from Sweden 1987-91
Code:4853
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5uu's: Hunger's Teeth 5uu's: Hunger's Teeth
Code:1161
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Many consider this the band's best work. The band is not quite sure. Certainly it IS a head-on collision between a Grand Funk Railroad car and a Henry Cow on the train tracks; so for those who might like that approach, it's a good amount of stuff to sink the teeth into. I wrote the music, Sanjay Kumar arranged it, and Bob Drake engineered, mixed and produced it. It was everywhere for quite a while, then disappeared into thin air. We have the last few discs left in N. America, and they're going really fast.

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A.V. Schlippenbach/ Globe Unity Orchestra: Globe Unity -  40 Years A.V. Schlippenbach/ Globe Unity Orchestra: Globe Unity - 40 Years
Code:7588
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"This release counts as something of a retrospective, and quite nearly a Ògreatest hitsÓ album. There are two tunes from the classic FMP dates, one tune each from saxophonist Steve Lacy and trumpeter Kenny Wheeler, and ÒThe ForgeÓ from their brief Japo sojourn. The title track is clearly written around the Schlippenbach-Lovens-Evan Parker trio, who after a punchy collective beginning and a momentary rise in density, emerge as the primary voice. Parker's tenor saxophone is a picture of commitment to phrases and scales, hanging onto and extrapolating the folk dances of piano and drums. There's a brief tenor-drums duet before a riff straight out of the original ÒGlobe UnityÓ emerges in a beeline for the past, as Parker's controlled ululations ride atop the orchestra's pulse. Trombonist George Lewis, who has followed Anthony Braxton's membership as an AACM figure in the orchestra since the 1980s, solos unaccompanied and in a firestorm trio with Lovens and altoist Ernst-Ludwig PetrowskyÑfrenzied and searing madness that recalls some of the high-octane playing of the FMP heyday. Soon other voices join the party in pointillist stabs, returning to the forms that introduced the piece and, as Schlippenbach's fingers rake the piano strings, invoking the overarching order in the most notoriously ÒfreeÓ big band in contemporary music." All About Jazz

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AMM - Mev: Apogee   dbl CD AMM - Mev: Apogee dbl CD
Code:2797
Price: $30.00
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In 1968 Mainstream released an LP with AMM on one side and MEV (Musica Electronica Viva, then based in Italy) on the other. In 2004 the two groups re-convened in London. Two of the five original AMM (Eddie Prevost and Keith Rowe), and three of the original five MEV (Alvin Curran, Frederick Rzewski and Richard Teitelbaum) still in place. The only new boy on this CD is their contemporary John Tilbury; since 1980 he has been the stable third AMMusician. On CD 1 the entire ensemble is in a studio, in meditative mood mostly; on CD 2 the two groups play separately at the 'Freedom of the City' festival in London the following day - a very good live recording, and a rare opportunity to hear MEV again. It was a great concert. IIlustrated booklet with a substantial essay by Harry Gilonis.

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AMM : At The Roundhouse AMM : At The Roundhouse
Code:6630
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"The International Carnival of Experimental Sound, or ICES '72 for short, was an ambitious festival sprung from the mind of Harvey 'Job' Matusow (1926-2002). Jumping off from his associations with the influential Source magazine, Harvey brought together over 300 artists from more than 21 countries to perform in London, England over the course of two weeks in August of 1972. Based on the theme of Myth, Magic Madness and Mysticism, he assembled an amazing diversity of performers working in diverse range of audio-visual arts. Encompassing happenings, films, dance, a train ride, and the phantom soft pool table, the focus was on sound -- specifically that of artists who were both composers and performers. Most of the concerts were held at The Roundhouse, a cavernous structure that was formerly a railroad engine house. Now, for the first time in 30 years, these recordings can be heard. This first CD in a series documenting the festival features the complete concert given by legendary free improvising group AMM. Represented here by Eddie Prevost and Lou Gare, they offer up powerful explosions of saxophone and drums punctuated with their famous AMM silences. This is the first time this material is available, aside from two short excerpts were published as the only 7" release on Evan Parker and Derek Bailey's Incus Records (and a very rare and desirable record that has become)." -Forced Exposure

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AMM: Combine+Laminates+Treatise '84 AMM: Combine+Laminates+Treatise '84
Code:2786
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A great recording of a great concert.

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AMM: Fine AMM: Fine
Code:2784
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Music for dance, another great and somehow different work from the masters. Every sound counts.

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AMM: Generative Themes AMM: Generative Themes
Code:2787
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As 'inexhaustible' but ex Rohan

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AMM: Nameless Uncarved Block AMM: Nameless Uncarved Block
Code:2791
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See above, below

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AMM: The Inexhaustible Document AMM: The Inexhaustible Document
Code:2793
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Eddie Prevost, Rohan de Saram, Keith Rowe, John Tilbury.

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AMM: To Hear and Back Again AMM: To Hear and Back Again
Code:2794
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Eddie Prevost and Lou Gare

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ART BEARS: REVISITED ART BEARS: REVISITED
Code:6908
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As the years passed and technology marched on, Art Bears decided to let other artists to remix the three original albums. On the 3 disks referred to as "REVISITED" in this box, we are treated to how others perceive the importance of the Art Bears' back catalog by their own standards in the current studio world, using the resurrected master tapes as a starting point. In all cases the work is as radical today as it was when the band first offered it up a quarter of a century ago. Features Bob Drake, Stephan Tickmayer, Jon Rose, Christian Marclay Thomas Dimuzio, Musci-Venosta, Lars Pedersen (When), Warrick Swinney (The Kalahari Surfers), Biota, The Residents, Otomo Yoshida, and, well....too many more to mention here. You get the idea. It harkens the Art Bears trilogy into a new era of technology, aesthetic and sound, all of which had yet to be introduced back when the original albums were made. Also on these disks are previously unreleased concert recordings, a reissue of the "Collapse" 45 rpm (from Ralph Records), a newly completed piece by the band aptly called," Rebirth" (which was hitherto a poem in the coveted "Wintersongs" book), "All Hail" from the Recommended Sampler, and the extremely rare live version of "Coda to Man and Boy" from the Cantu recording.

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Absolute Zero: Crashing Icons Absolute Zero: Crashing Icons
Code:2369
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Achilles/ Engineer : Split Achilles/ Engineer : Split
Code:7572
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Two of upstate, NY's best up and coming bands drop a handful of songs each on this split double CD, hand-assembled with care. Engineer lay waste with massive riffing comparable to the likes of Isis, Melvins, Coalesce, and Harkonen. Rochester's Achilles take a more investigative approach, cleverly throwing in mathy riffs amongst rocking heaviness and a strong, driving backbone with a heartfelt messege. - Relapse

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Adult Fantasies: The No-Sleep Feeling Adult Fantasies: The No-Sleep Feeling
Code:4856
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After Dinner : Editions After Dinner : Editions
Code:1293
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Agitation Free: Last Agitation Free: Last
Code:6817
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"According to me "Last" is one of the most recommended live albums recorded in the history of prog . Performed during two concerts (one in 1973 and the other in 1974), the tracks deliver long improvisational & instrumental pieces, perfectly executed by very talented musicians who really get the feeling and who know how to play together. "Last" is an unforgotten musical experience which leads you in a totally free form rock, developing spacey and dreamy soundscapes, combining excellent guitars duet to experimental 'electronic' arrangements. There's of course similarities to Ashra tempel 'cosmic' and ambitious first releases but it doesn't replace the solid, perpetual jam sessions formidably operated, technically and emotionally superior than "Malecsh" and "Second"!" - Phillipe Blache

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Agitation Free: Malesch Agitation Free: Malesch
Code:6724
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Agitation Free was founded 1969 in Berlin and were known for a complex instrumental progressive rock with spacey sounds, a mixture of Popol Vuh and the early Pink Floyd. Yet, the style of Agitation Free was real and one filled with cosmic and ethnic elements and first of all due to the genius inventions and the great talent of its musicians, one played with a lot of electronic, keyboards, two guitars, drums but less vocals. The first LP of Agitation Free was released in 1972 on Vertigo and is back now as an official reissue on CD.

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Agren, Jimmy: Close enough for Jazz Agren, Jimmy: Close enough for Jazz
Code:2774
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It's been a few years since Jimmy's last CD, which also came very highly recommended. The new one does not disappoint. This time Jimmy plays most of the instruments (scarily well) himself, with guests on three of the pieces, including amongst them the never less than impressive Morgan Agren). Rooted in the Blues - but blues just as likely in 5s and 7s as 4s - with a strong Beefheartian edge, there is as much virtuoso slide and guitar, quiet complexity, expressive playing and driving rhythm as anyone has a right to expect. This is impressive work.

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Agren, Jimmy: Get This Into Your Head Agren, Jimmy: Get This Into Your Head
Code:4857
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Ahleuchatista: Even in the Midst Ahleuchatista: Even in the Midst
Code:7552
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Leaving audiences slack-jawed in amazement at South by Southwest, punk-rock dives across the USA and jazz festivals in Europe, the Ahleuchatistas and their unique, high-energy, instrumental, technical, undefinable trio music for guitar, bass and drums continue to reach new heights as a performing and a recording unit. If they come to your town, you must see them; there is no one - and I mean no one - who can match them at what they do. Even in the Midst... is their fourth album and the years together playing hundreds and hundreds of shows have created one of the most amazingly tight ensembles that you will ever hear or see. This album widens their sound a little bit; there's plenty of the insane, over-the-top playing that we've come to expect, but there's more room for improvisation here and also for more quiet moments as well. The CD contains an 8 page, full color booklet of Courtney Chappell's beautiful and disturbing artwork. With this album, both in terms of the sonics of the album and the performance itself, the band have made their best recorded statement yet. -Cuneiform

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Ahleuchatistas: What You Will Ahleuchatistas: What You Will
Code:5878
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"Third and best yet from this amazing instrumental, post-Beefheart, avant-technical, improv-core, math-metal, art-damage, punk-rock power trio from Asheville, NC. Using the simple and classic skeleton of guitar, bass and drums, these three make powerful music that is undeniably 'rock' but is also undeniably much wider in musical influences than what one would imagine in such rock-based work". -Cuneiform

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Ahvak: Ahvak Ahvak: Ahvak
Code:5879
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"The Israeli band Ahvak, named after the Hebrew word for "Dust," creates music of dark, ominous and compelling beauty. Ahvak's mesmerizing and electrified version of chamber rock blurs the boundary lines between styles and aligns the band with forward-thinking bands such as Univers Zero, The Science Group, Sotos, Thinking Plague and the 5UUs. Led by two conservatory trained composers/keyboardists and also featuring excellent work on guitar, bass and drums (by Dave Kerman!), the five musicians are joined by their engineer, Udi Koomran, who often extends the music into unique directions by his use of modern computer software, without compromising the integrity of the compositions or the vibrant performances. The resulting CD is a highly sophisticated and expertly produced work, featuring superb compositions performed by highly experienced musicians". -Cuneiform

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Akiyama. Tetuzi: Resophonie Akiyama. Tetuzi: Resophonie
Code:5155
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Akiyama, one of the instigators of the Bar Aoyama Concert Series, here offers a solo guitar disc that is about as artful as one could bear. Sparse, eclectic, strange, minimal and brooding, this disc goes out of its way to steer clear of idiomatic influences (Frith, Bailey, Rowe etc). At times appurtenances cause the guitar sound to emulate harmonica or other "blown" instruments, while elsewhere clarion-like shrills give way buzzing bee-hive effects. These are all live recordings, andare not afraid to draw themselves out; often the sound of a 5 - 10 minute piece will not deviate in the least, showing an admirable amount of restraint, and belaying the commitment of the player. Ifone can imagine a visual image of Jackson Pollack using only 2 colors and 1 finger, you might have an idea where this goes aurally. Hey, it's art. It's intrepid. And it's not for wimps.

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Alec K. Redfearn & the Eyesores: The Quiet Room Alec K. Redfearn & the Eyesores: The Quiet Room
Code:5880
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"The Eyesores are an accordion-driven, gypsy cursed band that specialize in funeral marches and hypno-drone trance music, among other, equally odd things. The Eyesores are bad ass motherfuckers in an entirely new way. Recommended."-The Noise. "This one is a little bit different and also rather special. A huge nine-piece band (accordion/vocals, guitar, French horn, violin, electronics, alto sax, string bass/vocals, drums and percussion), they combine a gigantic array of influences, such as acid folk, maverick 20th century Americana (Tom Waits, Charles Ives, John Cage, Harry Partch), Eastern European folk music, noise/drone rock, cyclical minimalism (Terry Riley, Philip Glass), cabaret and theater music and more". -Cuneiform

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Alex K. Redfearn & the Eyesores: The Blind Spot Alex K. Redfearn & the Eyesores: The Blind Spot
Code:7440
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This marvelous large ensemble from Providence, Rhode Island has been in existence for a decade now, bringing their very original music to audiences in the US and Europe. The Blind Spot is their 6th release and their second for Cuneiform and it's also surprisingly different from The Quiet Room. It includes a few shorter songs but the main focus of the album is a very ambitious work entitled "I am the Resurrection and the Light", which is a song cycle for a large ensemble featuring a number of different players: appearing are accordion, violin, viola, French horn, guitar, alto sax, bassoon, contrabass, drums, 'loops, processing and other eletronic mayhem' and layers and layers of vocals from up to 4 vocalists (Alec and 3 female voices). This song cycle is a eulogy and meditation about drug addiction and death from drug addiction and related causes. A compelling, powerful, demanding and ultimately beautiful and moving work. No one else sounds like The Eyesores and with this album, no one combines such purity of vocal and instrumental work with such a sense of impending uneasiness (and I mean this as the highest compliment!).

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Algernon: Ghost Surveillence Algernon: Ghost Surveillence
Code:7745
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"Algernon are one of Chicago's fastest rising young bands. All instrumental, they feature a unique line-up of dual guitars, vibes, bass and drums. The band is led by guitarist and composer Dave Miller. The other members of Algernon are second guitarist Toby Summerfield (who also was a member of Larval for many years), vibes player Katie Wiegman, bassist Tom Perona, and drummer Cory Healey. Miller formed Agernon as a way to combine a large number of influences of various types of music he liked in a unique way, without any one of them being the dominant sound. These influences include experimental rock (60s psychedelic rock, Jimi Hendrix, 13th Floor Elevators), kraut-rock (Harmonia, Can and Neu!), post-rock (Tortoise, Isotope 217, Chicago Underground, Godspeed!, Talk Talk) the late 70s art-punk and no-wave scene (Sonic Youth, Glenn Branca) and avant-garde jazz. A very important point about Algernon's music is despite Dave having a strong jazz background, Algernon is not a improvising band. The music that Dave writes for the group is basically wholly scored; there is a very small amount of improvisation and what improvisation there is, is more about atmosphere(s) than about solos.Ghost Surveillance is Algernon's third album and is their first on a label able to reach a wider audience. Their music brings a lot of influences together in surprising and entertaining ways. A quick listen to the download sample will show you why we have such great enthusiasm for this band, as they manage to be quite accessible while pushing stylistic boundaries and exploring new paths. "" --Cuneiform"

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Alpha Wave Movement: Beyond Silence (self-released CDR) Alpha Wave Movement: Beyond Silence (self-released CDR)
Code:5284
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Alquimia & Ledesma, Jl Fernandez : Dead Tongues Alquimia & Ledesma, Jl Fernandez : Dead Tongues
Code:886
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Ambiances Magnetiques: Vol 3 Inedits Ambiances Magnetiques: Vol 3 Inedits
Code:2781
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A collection of fine unreleased pieces by Rene Lussier, Andre Duchesne (his 'toasts brulees' is a gem), Jean Derome, Michel F. Cote, Joanne Hetu, Robert Lepage, Danielle Roger and Diane Labrosse. A fine introduction to this extraordinary and exemplary musical community, and a great addition to their work for anyone already hooked.

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Ameg Collectiv Et Cie: Granulation Ameg Collectiv Et Cie: Granulation
Code:2782
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7 pieces from different hands (Swiss and French composers). Good quality Electroacoustic / Acousmatic / Concrete works. Nicely presented. Illustrated booklet.

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An Anthology of Noise & Electronic Music: Volume 3 Third a Chronology (dbl) An Anthology of Noise & Electronic Music: Volume 3 Third a Chronology (dbl)
Code:2800
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Third in the valuable Sub Rosa edition. The main work of this volume seems to be a proposed connection between early electronic productions evolved under the aegis of contemporary 'classical' music - yes, the terminology is deeply problematic - and recent, mostly computer and sample driven - work that floats unattached to any institution. From the first group there are pieces by Hugh le Caine, Ilhan Mimaroglu, Herbert Eimert, Robert Beyer, Bernard Parmegiani and Michel Chion; from the second Michael Schumacher, Francisco Lopez, Peter Rehberg, Asmus Tietchens, Rune Lindblad , Michael Rother (Kraftwerk), Lilith, Merzbow, Faust and a few sound artists: (Justin Bennet, Carsten Nicolai, CM Von Hausswolf. These are not complete lists, there are 23 pieces featured. A few stand out: Le Caine, Mimaroglu, Schumacher, Einert and Beyer, Faust but it is the sweep across somehow related fields that is useful to a listener trying to orientate in a profligacy of 'electronic' music. For the laptop generation, this will likely be an enjoyable collection, for students of the history of electronic music it should be informative; in any case it's a valuable resource. I still tend to the view that the claim to kinship between these different worlds is problematic and that many essential questions need to be answered before it can be easily accepted. The presence of Faust and Merzbow suggest this, but not deliberately. Perhaps I ask too much. In general this is an admirable and invaluable series.
[OFFER. All three Volumes £48]

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Angeli, Paolo: Bucato Angeli, Paolo: Bucato
Code:2045
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Angeli, Paolo: Nita (l'angelo sul trapezio) Angeli, Paolo: Nita (l'angelo sul trapezio)
Code:2659
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Angeli, Paolo: Tessuti Angeli, Paolo: Tessuti
Code:7437
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Another extraordinary release by Sardinian virtuoso Paolo Angeli, this time featuring compositions by Fred Frith and Bjork – all played solo in real time (though when you hear it, it's hard to believe it) on his highly customised and extended, electrified, giant Sardinian folk guitar. A tour de force of technique and at the same time highly musical; and there is so much going on here at any given time that it is difficult to relate what your ears tell you to just one Frankenstein instrument. Dense enough that it rewards listening to a few songs at a time, though you could probably also dance to it.

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Angelica Festival: Angelica '93 Angelica Festival: Angelica '93
Code:2807
Price: $16.95
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Third year, third collection, including Hans Reichel, Han Bennink, Dietmar Diesner, Catherine Jaunieux, Ikue Mori, Butch Morris, Tom Cora, Steve Beresford, Peter Kowald, Fred Frith, Lindsay Cooper, Lars Hollmer, Wolter Wierbos,

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Angelica Festival: Angelica '95 Angelica Festival: Angelica '95
Code:2809
Price: $16.95
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* Fourth in the sound record series of this great festival. This year includes- Heiner Goebbels, Jon Rose, Otomo Yoshihide, N.O.R.M.A., Chris Cutler, Marten Altena, The Rova Saxophone Quartet, Specchio Ensemble, Phil Minton, Lol Coxhill, Steve Beresford, Veryan Westen, Mike Cooper, Pat Thomas. Especially interesting is the radical editing and cutting that runs many different pieces together as one, making new pieces from parts. Another fine work.

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Angelica Festival: Angelica '96 Angelica Festival: Angelica '96
Code:2810
Price: $16.95
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* Latest in the Angelica Festival series, features..Misha Mengelberg, Jacques Palinckx, Guus Janssen, Tristan Honsinger, Michel Waisfisz, Hennemann String Quartet + others. Exquisitely edited and compiled by Massimo Simonini . A good opportunity to listen to one hour of excellent music, surprising playing selection juxtapositions.

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Antheil, George: Dreams, Piano Concerto No. 2 Serenade No.2 Antheil, George: Dreams, Piano Concerto No. 2 Serenade No.2
Code:6883
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"A concert pianist and vanguard composer, George Antheil (1900-1959) became known as the 'Bad Boy of Music.' The ultimate American in Paris, Antheil was an avant-garde provocateur of the first order who made his name composing iconoclastic compositions: the loudest and brashest classical music of his time. But this album gives us three new performances -- two of them world-premiere recordings -- which reveal another, forgotten side of Antheil: the incurable romantic. Written in 1926, after the height of Antheil's radical period, the 'Piano Concerto No. 2' is an experiment in classical form. The work contains the same sudden juxtapositions and abrupt contrasts of mood as his futurist music. But the excesses of his recent ballet mécanique (written for 16 player pianos!) are compensated for by an almost spare, baroque orchestration and motifs that draw on Bach as much as on Stravinsky. In three movements, Antheil employs a more restrained but still exuberant style. The beautifully meditative slow movement is followed by a virtuosic and compelling toccata. Each movement ends on an overtly Bachian cadence, most obvious in the sweetly naive coda of the final movement. The ballet 'Dreams' (1935) had a prior existence in Paris. It was called 'Les Songes,' and Darius Milhaud wrote the original music in 1933, later discarded in favor of Antheil's score. Antheil plays sarcastically with contradictions: waltz vs. march; folk song vs. orchestral romanticism. This is marvelous ballet music, and the unexpected structural and melodic changes keep us on the edge of our seat: amused and entertained. The lack of a formal structure does not hamper Antheil; he seemed to thrive on it, both in this piece, and in many others he wrote. Despite the cut-and-paste exoticism and the predictable thematic material, this music sounds appealingly American -- folksy, populist, and engaging. Antheil's brilliant orchestration makes these works shine. Not much is known about the genesis of the 'Serenade No. 2' (1948). As the work neared completion, Antheil wrote, the 'Serenade' '...is as important, for me, as a new symphony; indeed, it can be played by a major symphony orchestra.' It's a beautifully orchestrated, lush work. Both serenades are in three movements -- the first is for strings alone while the second adds a wind section and a percussionist." -Forced Exposure

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Antheil, Georges: Bad Boy Made Good  (dbl. DVD) Antheil, Georges: Bad Boy Made Good (dbl. DVD)
Code:6936
Price: $54.95
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The Revival of George Antheil's 1924 Ballet Méchanique. A film by Ron Frank and Paul D. Lehrman. In the Roaring '20s, George Antheil's raucous piano recitals and futuristic compositions were creating scandals and riots all over Europe. Ten years later, Antheil was back home, broke and forgotten. His magnum opus, the 'Ballet Méchanique,' so technologically ahead of its time that it could never be performed the way we conceived it, was lost. Forty years after the composer's death, as the 20th century ended, it could finally be heard. This film by Ron Frank and Paul D. Lehrman is about George Antheil and his famous controversial piece 'Ballet Mécanique.' This 2 DVD set includes the award-winning documentary shown on PBS plus extended interviews with friends of Antheil featured in the film, the complete premiere concert performance of the original orchestration of 'Ballet Mécanique,' and the 1925 Léger/Murphy film 'Ballet Mécanique' with the newly-realized 16-player-piano version of Antheil's score." Narrated by Tony Kahn, Music by George Antheil, Paul Lehrman, Erik Satie, and Igor Stravinsky." - Forced Exposure

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Antonymus 1: Lacy, Rothenburg Antonymus 1: Lacy, Rothenburg
Code:2814
Price: $18.95
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Appleton, Jon: Contes de la Memoire Appleton, Jon: Contes de la Memoire
Code:2818
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Aranis: Aranis 2 (2007) Aranis: Aranis 2 (2007)
Code:7592
Price: $14.95
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"For a very small country, Belgium certainly has a easily identifiable sounding style of new music, and Aranis, a septet of fantastic young players, fits right into the chamber-rock sound that we all know from fellow country-groups like Louise AvenueÉ" - Cuneiform

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Aranis: Songs from Mirage Aranis: Songs from Mirage
Code:7725
Price: $17.00
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"""This is the best new band on the circuit, for sure. At every festival they play, they put all of us old fogeys to shame, and teach us some valuable musical lessons"" -- Dave Kerman.

""The album opens with Ouverture which features the new element in their music: singing. The singing is performed by three women. Depending on the song one, two or the three of them may be singing. This brings freshness to their music and also ensures they are not creating music they have already done. Of course they are not forgetting their roots. Chamber Rock is much in the spirit of Aranis II with a quick start, a fast and dynanmic playing, and no singing. Airesym is another one; the band performed it at the Triton concert. Beside the two previous songs some of my favorite pieces are Aynu, Lever In Plakjes, Jelimena which is stunningly beautiful and Enjuminenna, another gemm. Ilah is the last instrumental piece, it starts directly where Enjuminenna ends and features an awesome introduction. The music and rhythm change several times during the song like different movements. Its structure seems symmetrical as the song ends like its beginning. Finale is a ten minutes sung song that closes this excellent album. Aranis members have succeeded in composing new and inspiring music. With Songs from mirage they are covering new grounds and reinventing themselves. We couldn't expect any less from a band of this quality; they took risks and the end result is worth it. Very strongly recommended"" --ragnrale.com"



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Aranis: s-t Aranis: s-t
Code:5158
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Arcane Device (Myers, David): Engines of Myth Arcane Device (Myers, David): Engines of Myth
Code:2171
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