REVIEW: CURSED - THE COLDEST DEATH INFINITE...

 

CURSED - THE COLDEST DEATH INFINITE… (Independent - 2000):  Black metal in the vein of Immortal and Marduk is what we have in this MCD from this French band. This means speed, complex riffs, dark atmospheres, rotten vocals. What I specially liked from this band are the guitar solos tat seem to be based in great melodies and not only on speed. I think that "The Coldest Death Infinite …" is a really great title for this record because listening to the band´s music you have this sense of darkness, cold, death. The overall sound of the recording is good, but I would have liked in the mix the drums to be more in the front, that here are a little bit in the back, maybe the cymbals are covering a little bit the sound of the drumkit. The guitars have a really original sound, sounding a little bit muddier than in most of the bands of the style where they sound more raw (overdrive effects). For fans of black metal this is an excellent band for you to check. Contact: CURSED@ifrance.com

AUTUMN TEARS INTERVIEW

 

Autumn Tears is a really special band. Their music can be dark, depressive, gothic and extremely beautiful. The beauty of their music lies fundamentally in the vocals of Erika Swinnich and Jeniffer LeeAnna who have done a great work in their latest album " Love Poems for Dying Children - Act 3: Winter and the Broken Angel". Erika Swinnich explained the trilogy to us and a lot of other things.

What is the saga of "Love Poems for Dying Children " about? Why was it made in three acts?

Erika: Hi Federico! The story that spans the three full length CDs is about a vampiric nature spirit, "Autumn the Beautiful." She represents the season of wither --Autumn -- and brings death to all she meets. This lonely existence pains her, as she is continually surrounded by the dead while desperately longing to have living companions. The CDs explore her journey

through self-realization (Act I), her search for, discovery of and final rejection of redemption (Act II), and what results from that rejection (Act III). It is not a story with a happy ending. Autumn never learns to make sacrifices for what she wants and is eventually consumed by her anger. As to why we put the story out in three parts - well, it just worked out that way.

Originally we thought it would take 4 CDs to tell the story, but we realized

it was finished with three. We're all kind of glad about that, because now

we can move on to different subject matter.

How has been "Winter and the broken Angel" doing through Europe and America? Are you composing new material?

ERIKA: "Winter..." has been selling fabulously well. It's the fastest

selling Autumn Tears CD to date -

almost 5000 copies in less than a year!

Mostly thanks to Europe - that's where people are buying it. We do sell it

in America (South American especially well), but Europe has always been

where we've seen the most success.

We're writing some material, but not a lot. Ted and I run Dark Symphonies

and lately that has kept us so busy that there just doesn't seem time for

eating, sleeping and also Autumn Tears! But we will eventually get a new

album written. We're not ones to rush things. We want it to be better than

Act III, and that will take some time and effort. It will come out when

we're happy with it... which unfortunately means at least not for another

year.

How did you hook up with Ted to do such an atmospheric and dark music?

ERIKA: Ted and I had been friends since college, so that means we've known

each other for over 10 years now! How time flies! We're both lifelong metal

heads, with an appreciation of other forms of dark music. When Ted started

the project, another woman was going to speak poetry over the music - there

was no singing planned. Quickly Ted realized that would be boring, so he

asked me to sing, I said yes, and the rest is history.

How different are the three parts of "Love Poems for Dying Children"?

ERIKA: Each one is more complex and better constructed. The greatest change

shows between Act II and Act III - three years passed in between those CDs.

Anyone constantly involved in music will change a great deal in three years,

which is what happened to us. The addition of Jennifer LeeAnna to the band

really added an inspiration for me, as she is a professionally trained

vocalist while I'm just making it up as I go! We really found our stride as

a trio; the first 2 CDs are good, but they have their basic, sometimes

repetitive parts and the vocals could be more adventurous. Thanks to Jen we

don't have that problem any more!

Where do you get the inspiration to compose your music?

ERIKA: It all comes from the heart and soul. Autumn Tears is very much based in emotion and life experiences. Sometimes the best music is written when we

are sad and things aren't going well - it just all pours out into the melodies.

I know that you are a writer too...What can you tell me about your novel?

ERIKA: Ah, the dreaded novel question. It's currently in a box in the stack behind me somewhere (I just moved). Unpublished, uncut, overly long and in need of a major edit. Where's the time? I can't even keep up with my email and right now I don't even have a regular day job - all I do is freelance and work on Dark Symphonies stuff. Perhaps someday I will revamp it so that it fits a little better with what's popular with the sci-fi world right now... however, publishers don't like long first novels from unproven

authors, so what I really should do is finish the other, much shorter story

I have half done and try to get that published!

Is the influence of literature important for Autumn Tears music? Which kind of literature is more interesting for you?

ERIKA: Literature really doesn't cross paths with Autumn Tears that much. We're not inspired by Shakespeare or anything like that. Like I said, the heart of Autumn Tears is our souls, hopelessly gothic and romantic they may be.

As far as which kinds of literature I find most pleasing, I would say modern fiction in general. I'll read anything from Stephen King and Tom Clancy to Michael Moorcock and Robert Jordan. If a book is well written, I'll read it, regardless of what it's about. No, I'm not into pouring over Shakespeare or other, older writers - I did that in high school and college and it was torment. Life's too short to spend it doing things you don't like to do.

How big was the change when Jeniffer entered the band? I know that shehas an amazing background...

ERIKA: I think I hinted at that earlier. When Jennifer came into the band,

she originally was going to be the lead singer, because I was busy banging

my head against the wall over the "dreaded novel." When I heard what she did on "The Intermission," I thought to myself, "no WAY will I ever compete with her. I better practice in case Ted asks me to do some more session vocals."

As it was, when I rejoined the band, I'd improved a little bit and had more

confidence. Having Jen to work out duets with is great. So much better than

doing all the vocal lines myself in the studio. Her voice lends a new

texture to the music that it needs. We're all very happy she's with us.

Are the music and lyrics in "Absolution" different from the ones

contained in the three acts of "Love Poems for Dying Children"?

ERIKA: On two out of three songs. "The Never" appears on that mini in a

slighly rawer form than on Act III. "The Absolution of What Once Was" and

"The Dance" don't have anything to do with the concept story. "The

Absolution..." was done for the Palace of Worms "Power of the New Aeon"

comp, and "The Dance" was just a fun experiment.

How is the music in Autumn Tears composed?

ERIKA: Ted writes 90% of the music. He'll come up with a main foundation and

build upon it, layer by layer. Sometimes we knit pieces together to make

entire songs, sometimes the song is written in skeletal form in one sitting.

It's a long and complex process of layering. After the music is mostly

complete, I'll take the tape and start working vocal tracks over it,

layering them in a similar way as Ted does the instruments. Then it's to the

studio to fight with the MIDI software and the inevitable flu I get the day

before I'm scheduled to do my vocals. A bumpy road, but one with a

satisfying ending.

How was the "Arcana Tarot Compilation"? Why did you choose to

representthe "Death" card?

ERIKA: I don't remember if we got to choose or were assigned the card.

Regardless, it worked out well, because the lyrics our friend Claudia had

written were perfect for the subject matter.

What can you tell me about the project Pandora?

ERIKA: There isn't much to say... I don't think Peter (from Arcana) has the

time any longer, nor do Ted and Jen. Oh well... we need to concentrate on

Autumn Tears first and foremost in terms of music projects.

Is there something more that you want to say?

ERIKA: Thanks to all who have listened to and liked our music, especially

you, Federico! As long as all of you are willing to listen, we will continue

to make our music. Hail your dark hearts!

AUTUMN TEARS WEBSITE: http://www.darksymphonies.com/autumntears

 AUTUMN TEARS - DISCOGRAPHY

Autumn Tears "Love Poems for Dying Children......Act I" - CD (1996)

The Garden of Crystalline Dreams......Love Poems for Dying Children......Act II - CD (1997)

Love Poems for Dying Children ... Act 1; REPRISE MCMXCVIII - CD (1998)

Autumn Tears "Absolution" - MCD (1999)

Love Poems for Dying Children - Act 3... Winter and the Broken Angel - CD (2000)

ACTUAL LINEUP

Ted - Composition, arrangements, piano, keyboards and vocals.

Erika Swinnich - Lead and backing vocals, composition and keyboards.

Jennifer LeeAnna - Lead and backing vocals, vocal arrangements, composition and keyboards.

session musician:

REVIEW: CANDIRIA - 300 PERCENT DENSITY

 

CANDIRIA - 300 PERCENT DENSITY (Century Media - 2001): This is the fourth album of one of the most original bands to come out from the scene in the nineties. This band uses influences of metal, hardcore, jazz, fusion, rap and many more styles to construct their tracks. It is amazing to hear all the breaks and tempo changes that they make within their songs. Also you can find clean guitars used in an unconventional way, with chord progressions that are very different from what most bands would do. This is an extremely technical bands that have rehearsed their music a lot of times to achieve this result. The first tracks from this CD, "300 percent density" is a clear demonstration of what they can do along five minutes of playing their music. This is a band not afraid of experimenting, which seems to have influences as different as Machine Head, Biohazard, Messhuggah and John Coltrane. "Signs of Discontent" has a really strange introduction and base that I have not yet developed how it is played….it is really weird. I would totally recommend this bands to people that like the bands to be original regarding which style are they getting their inspiration from…because it is sure that this band takes it from a lot of different places. Favorite tracks: "300 percent density", "Constant Velocity is as natural as Being at Rest", "Channeling Elements" and "Contents under Pressure". Contact: www.centurymedia.com and www.candiria.com

REVIEW: BARRY GUY / MATS GUSTAFSSON - FROGGING

 

BARRY GUY / MATS GUSTAFSSON - FROGGING (Maya Recordings - 1997): We all know what bass master Barry Guy can do. But if you put him together with Mats Gustafsson, a man that plays sax, flutes, french flageolet and other wind instruments you have this great album. With a lot of fun they have titled their songs as some frog species, I think, and like frogs, one of the main charachteristics of this CD is the jumping-like sound of the instrumentation. "Bufo punctatus" starts de experimentation with phrases from Guy and Gustafsson in a totally unconventional manner. "Hyla Pickeringii" is still more strange…I still don´t know how Gustafsson does all this sounds with his instruments. "Lythodytes Ricordii" starts with Guy using the bass almost as a guitar with some rhythms before getting into phrases and more phrases. This record is esesntial for fans of experimentation done in a great way. Email: maya@eircom.net

REVIEW: AZEROTH - LIVE IN POLYGON

 

AZEROTH - LIVE IN POLYGON (Independent - 2000): Excellent live album from this extremely original outfit from Russia! The main charachteristic of all the songs are the incredible keyboards (Alexey is really a keyboard master) and the amazing drumming (Evgeny Trefilov is a name to don´t miss a move). All the musicians in this band are above average and I would like to listen their new material to see what this lineup can do in studio. The first song "Orphytos" is enough to see the great quality of the band, followed by "Majestic Indignate" and "Dark Ocean of Star Fields". They shine through all the album and the sound is really good so you can hear what this guys can do with their instruments. The cassette edition comes with four bonus tracks that are remixes from previously released songs. Totally recommended for those who love great musicianship. Contact: azeroth00@yahoo.com

INTERVIEW AURORA BOREALIS

Aurora Borealis is a legend in the metal scene in the US. Their latest release "Northern Lights" has been doing very well. We talked with guitarist/mainman Ron Vento who explained us everything about the band

You recorded "Northern Lights" only with Derik Roddy on drums...How is the band´s lineup in this moment?

Right now it is still myself doing all guitars bass and vocals, and Derik

on drums.

I will probably keep it like this on our next recording as well. This

formula seems to work and I am able to keep the music really tight.

How different is Roddy´s drumming compared to Tony? Why did Tony leave the band?

Actually Tony did not leave the band, he was never really in the band. He

just helped me out on the first CD. He was going to do the second Cd as well but he was really busy doing Angelcorpse. I then got Derik for the CD and he is also a great drummer as well. As far as their styles go Tony is more of a straight forward haul ass drummer and Derik is a more technical fast drummer. Both are great, and I am fortunate to have worked with two of the best drummers on the planet.

 

Why didn´t you choose Scott Burns to do the "Northern Light" mixing?

Scott Burns has been out of the scene for years now. He does not do any

smaller bands anymore. We chose him for our first Cd because he had a big

name and it helped us spread the word about the Cd to begin with.

 

How would you compare the three studios were you recorded: Morrisound Studios, Sound Lab Studios and Night Sky Studios?

Well Morrisound is the best studio for gear and such, but I cant really

spend that much time there because it was so expensive. Sound lab is Ok as

well but Night Sky is my own studio and Now that I have finished building it

I can spend as much time as I need for a record. I also work at a pro studio

as an engineer now so I have access to that as well. The next CD will sound

unbelievable.

Are you trying to find a record label to release your newest material or do you prefer to work independently?

Just recently we signed to Die Hard music for the re release of our latest

CD Northern Lights and a new CD to be recorded at a later Date. I sometimes

prefer to be independent because there is more control over the whole

project, but I hope that this signing will help to push us to the next level.

How has been the experience of being part of so many tributes albums (Dio, Black Sabbath, Morbid Angel, Slayer, Judas Priest)?

I really like doing these. so many people don´t agree with it but I have

fun because this is the music that I grew up listening to so I enjoy re

making the stuff and getting paid for it as well as helping to promote the

band as well. It can´t be Bad.

Can you express all that you want in Aurora Borealis or maybe you would like to have a parallel project of a diferent style of music?

All that I like in metal is expressed through Aurora Borealis. If I ever

make another project it will have nothing to do with metal at all. I don´t

think that is any time soon however. I would like to do many more albums with

Aurora first. I don´t think we have hit near our peak yet.

Which is the concept behind the "Northern Lights " lyrics?

Most of them are just based upon certain greek constellations and other

are just totally fictional stories. I usually write lyrics that have

something to do with the past or some historical event of some kind. I don´t

get into the typical type lyrics to much. And I take them kind of serious I

don´t just slop them together quickly after writing the music.

Which are your musical and lyrical influences?

Most of my music influences come from early thrash and death metal. But I do listen to all kinds of music so I am influenced all the time by all sorts of stuff. Recently in last 5 years or so the Extreme fast black metal I have been into a lot. As for the lyrics like I said I get most of the ideas from History.

What can you tell me about Lestregus Nosferatus?

Lestregus Nosferatus was my first real band I was in. It was really

great. The main guy in there was Skully one of the original members of Hallows Eve. I eventually left them because I wanted to find more technically advanced players and especially a better drummer. Most of those guys were really tied into to one spot as well and I was travelling a lot to find players. Also I wanted to take a different approach to the music I really wasn´t into the whole Vampire thing. I am still friends with all those guys and we still talk regularly.

Are you planning to take Aurora Borealis on tour?

Of course I would if Die Hard were to set up a tour but I am not about to

try to set one up myself. Too much work.

 

What kind of musical direction can we expect from you in the future?

We will continue to only get faster, cleaner and more technical. Never

using female vocals or a main keyboard line.

Any final thoughts?

Just let me thank you for the interview. I really appreciate the chance

to be heard in your zine. I would encourage all your readers to get in

contact through email at AURORA4DTH@aol.com or through regular mail at PO BOX

1327, Clinton MD 20735-5327 Also visit the web page at

www.auroraborealis.org

AURORA BOREALIS - DISCOGRAPHY

Visionaries of the Macabre: Volume 1 - Compilation - Song: "The Storm"

Gateway to Hell: A Tribute to Slayer - Song: "Altar of Sacrifice"

Worldwide Metal Inquisition - Compilation - Song: "War of The Rings"

Hell Bent for Metal: Tribute to Judas Priest - song: "Metal Meltdown

Awaken the Demon: Tribute to Dio- song: "We Rock"

Hell Rules 2: Tribute to Black Sabbath - song: "After Forever"

Scream Forth Blasphemy: A Tribute to Morbid Angel - song: "Ancient Ones"

Mansions of Eternity - CD (1996)

Praise The Archaic Light Embrace - CD (1998)

Northern Lights - CD (2000)

ACTUAL LINEUP

Ron Vento - guitars, bass, vocals

Derek Roddy - drums

REVIEW: ALTERATIONS - LIVE RECORDINGS 1980-1983

 

ALTERATIONS - LIVE RECORDINGS 1980-83 (Intuitive Recs. - 2000): This recording is made by three Live Recordings by the group Alterations made in London, January 1st 1980; Copenhagen, May 10th 1981 and Frankfurt, May 2nd 1983. The three tracks have different qualities and demonstrates the improvisational and exprimental sound of this band who uses conventional and unconventional instruments to creat their intuitive music. It is interesting to see how they evolved in the three years that this recording shows. The two more recent tracks are constructed in a different way, more melodic and they are over thirty minutes long. It is always interesting to listen to what four great musicians like this ones (Steve Beresford - piano, Peter Cusack - guitars, Terry Day - percussion and David Toop - flutes) can achieve. This recording is for people that are not scared of listening boundaries breaking music. Contact: http://hjem.get2net.dk/intuitive

REVIEW: AKA MOON - IN REAL TIME

 

AKA MOON - IN REAL TIME (Carbon 7 Recs. - 2001): This is the newest release from Belgian experimental outfit Aka Moon. A great experimental release from this trio (along with keyboard player Fabian Fiorini this time) that has no boundaries ( in fact after listening to a couple of their songs you will find out that the three musicians are truly virtuosos). The mix of disimilar styles as jazz, fusion, rock, eastern sounding melodies are what gives this band their unique personality. In fact Fabrizio Cassol is an amazing saxophonist that has great improvisational skills and the ever changing foundation conformed by Stéphane Galland (drums) and Michel Hatzigeorgiou on bass (who demonstrates that bass playing can be stretched beyond some limits that bassist sometimes create) along with Fiorini on keyboards make enough room for everybody to show what they know about their instruments. The first composition (that was done for ballet) is called "In Real Time" and is divided in seven parts which are really independent one from each other but at the time are closely related. I think this realice is for open minded persons that are not afraid of listening new things and merging of styles. I have not listened all the others Aka Moon´s Recs. But if they have this quality I would love to have them all in my CDs collection. This is an essential recording. Contact: carbon7records@compuserve.com

NEW RELEASES - MAY 2001

 A R A C H N E S - PARALLEL WORLDS

Fecha de lanzamiento 23/04/01

Power Metal + Symphonic Metal + Progressive Metal

ARACHNES empieza a dar sus primeros pasos en 1987, cuando editaron el disco "Labyrinth" bajo el nombre de FIREHOUSE.

En 1997, después de haber cambiado el nombre a ARACHNES, su historia "real" comienza a escribirse con el lanzamiento de "The Godless Temple" (Lucretia Records), punto de partida de su ‘evolución/revolución musical’ que es perfectamente ejemplificada en el nuevo, explosivo "Parallel Worlds".

Liderada por los hermanos Caruso (el cantante Enzo y el guitarrista Franco), la banda desarrolla el "sonido ARACHNES", que toma su vida de varias y amplias influencias: Deep Purple, Led Zeppelin, Queen, Van Halen, Toto, Rainbow, Whitesnake, Yngwie Malmsteen, Dream Theater, Stratovarius, ELP, Jethro Tull, Yes, Miles Davis, Bach, Chopin, Stravinskij, Bartok y otros.

La edición ICARUS incluye un bonus track, "Lady Death".

 

INTO ETERNITY

Into Enternity

DVS RECORDS (Holanda)

Distribución exclusiva: ICARUS

Tim Roth – Voz, Guitarra Chris McDougall – Teclados Jim Austin – Batería, Voz Scott Krall - Bajo, Voz Daniel Nargang - Guitarra

En septiembre de 1997 INTO ENTERNITY graba su primer demo, de dos temas.

En 1999 es editado su álbum debut, grabado en los Touchwood Studios, que contiene 9 temas. Desde allí en adelante para esta joven banda canadiense va en crescendo. Participan en diferentes competiciones y despiertan el interés de diferentes medios como las prestigiosas revistas Brave Words And Bloody Knuckles (Canadá) y Metal Maniacs (USA) , así como el de sellos europeos.

DVS Records de Holanda es el sello elegido para re-editar su primer trabajo en Europa, con un nuevo arte de tapa y un bonus track.

Es desde los lejanos tiempos de VOIVOD que una banda canadiense no logra sorprender tanto cuanto IN ETERNITY con una propuesta variada, interesante y apartada d e lo convencional que reina en el ambiente metal. Una base pesada y melódica al mismo tiempo, un cantante inspirado y solos virtuosos hacen de esta banda y de este debut, una verdadera, positiva sorpresa. Un disco que sabe alternar con excelentes resultados momentos de pura furia death metal a otros más relajados y hasta progresivos.

www.intoeternity.com

RHAPSODY

"DAWN OF VICTORY"

(NEMS 225)

El viaje imaginario a un mundo de fantasía y secretos ancestrales entra ahora en su tercera fase: "Dawn Of Victory" es el tercer disco de la exitosa banda italiana Rhapsody, cultora de un power metal épico y orquestal que ya ha tomado al mundo por asalto con sus dos primeras obras, "Legendary Tales" y "Symphony Of Enchanted Lands".

"Dawn Of Victory" está destinado a catapultar al grupo de una vez por todas a la primera plana del metal mundial, junto a consagrados como Dream Theater, Savatage y Gamma Ray. El disco combina el sonido clásico de Rhapsody con nuevas influencias y variantes, logrando un sonido aún más gresivo en parte producto a la experiencia obtenida en su reciente tour europeo.

El tecladista Alex Staropoli describe su nueva obra: "Mientras 'Legendary Tales' y particularmente 'Symphony Of Enchanted Lands' fueron relativamente orquestales, las nuevas canciones son más directas, con un sonido de guitarra más agresivo. Creo que los arreglos de guitarra de Luca fueron fuertemente enriquecidos durante la gira. Usamos un guitarrista rítmico en el tour, por lo que el sonido de las guitarras era muy poderoso. Tanto a nosotros como a los fans nos gustó el resultado, por lo que le prestamos mayor atención a las guitarras en la grabación del nuevo disco". El mejor ejemplo es el single "Holy Thunderforce", pleno de cabalgatas épicas, pesadas bases y espectaculares solos. Otras de las gemas del disco son "The Mighty Ride Of The Firelord", tun instrumental; "Trolls In The Dark", y "The Village Of Dwarves", que recuerda la atmósfera de la Edad Media y transporta al escucha a ese tiempo y espacio.

"Dawn Of Victory" fue producido en los famosos Gate y Pathway Studios de Wolfsburg, Alemania, por Sascha Paeth y Miro. Paeth es el cerebro tras la banda Heavens Gate, pionera del estilo, mientras que Miro se ha ganado su reputación siendo ingeniero de grupos como Gamma Ray, Angra y Kamelot. El disco presenta además al Coro de Cámara Helmstedter, un flautista y violinista invitados, y la inimitable narración de Sir Jay Lansford. El arte de tapa estuvo esta vez a cargo del talentoso artista Marc Klinnert (Axel Rudi Pell).

Con "Dawn Of Victory", Rhapsody continúa el estilo y la temática de sus dos primeros discos. Su debut de 1997, "Legendary Tales", causó una sensación inmediata en la comunidad metálica; y su sucesor, "Symony Of Enchanted Lands", fue aún más allá catapultando al grupo a los charts de todo el mundo. Luego de vender más de 250.000 copias de sus discos, Rhapsody sigue desarrollando su sonido incorporando nuevas ideas, pero a la vez manteniéndose fiel a sus primeras influencias, que son las bandas de sonido de películas.

Formación: Fabio Lione (voz), Luca Turilli (guitarra), Alex Staropoli (teclados), Alessandro Lotta (bajo), y Alex Holzwarth (batería).

NEMS Enterprises edita "Dawn of victory" (Nems 225) con un bonus track, y el single "Holy Thunderforce" (Nems 224), en exclusiva para Argentina, Chile y México. También disponibles "Legendary tales" (Nems 36), Symphony of enchanted lands" (Nems 83) y "King of the nordic twilight" (Nems 148), el álbum solista del guitarrista Luca Turilli.

 

RWANDA 94

(CARBON 7 RECS.)

An attempt at symbolic reparation to the dead, for use by the living

PRESENTATION

This book, and double CD, is a unique artistic testimony to the genocide of

the Tutsi and the massacre of the Hutu opposition, in Rwanda in 1994. It is

based on the play "Rwanda 94" by the Belgian theatre company Groupov, the

fruit of a four-year collaboration between western and Rwandan artists. The 6-hour play has been adapted and transposed into two CDs of music and song, and a 275-page hardback book (bi-lingual French and English) of text and images. The essence of the play has been faithfully kept, and the spoken and sung texts are interspersed with descriptive passages to guide the reader and listener through the action.

SUMMARY

The book and music will appeal to all those who are interested in the genocide in Rwanda in 1994. It is a unique testimony, the only artistic attempt to explore and understand the events of that time, and to look at the historical and political context, the media treatment, and the human dimensions of the genocide - using text, images, acting, video, music and song.It will be of equal interest to readers and listeners. Descriptive, moving, informative, poignant, beautiful, at times humorous - Rwanda 94 works on all levels of artistic expression, information, and emotion.

POTENTIAL AUDIENCE 

The potential public for the book is vast. It will go beyond the traditional music- and book-buying public to reach all persons who are interested in finding out about the events in Rwanda and the background to them, i.e. a public concerned by humanitarian issues and international politics.

MEDIA AND PROMOTION

An important media coverage is being carried in France and Belgium initially, by traditional means (articles in Le Monde, Libération, Les Inrockuptibles, Le Soir, De Morgen; radio plays and interviews on Radio France, RTBF; etc.)

In addition, and perhaps more significantly, the book is being promoted through parallel, but important circuits, and discussions are underway with international organisations to promote the book, e.g. Amnesty International, Unesco, and Médecins sans Frontières. (MSF will shortly be announcing the book in their magazine, which reaches 400.000 readers in France and Belgium.) Given the potential public for the book, it is essential that people be able to find it in outlets other than the traditonal record or book shop. Oxfam Belgium has already agreed to place the books in their world stores, both in the French-speaking and Dutch-speaking parts of the country and we believe similar circuits are possible in other countries.

The play itself, which won Belgium's two top theatre prizes for best play in 2000, is touring internationally (France, Switzerland, Canada, Belgium), and attracts critical success and reviews wherever it goes, thereby helping to create promotion and interest for the book and CDs.

SECRET SPHERE

A Time Never Come

Fecha de lanzamiento: 23/04/01

SECRET SPHERE es una creación de Aldo Lonobile, quien formó la banda en julio de 1997. La primera formación además de Aldo Lonobile a la guitarra, incluía a Andrea Buratto (bajo), Cristiano Scagliotti (batería), Gianmaria Saggi (guitarra) y Roberto Messina (voz). Después de algunos cambios, a finales de 1998 la banda asumió su formación definitiva con la entrada de Antonio Agate (teclados) y Paolo Gianotti (guitarra).

El estilo musical que S ECRET SPHERE ama y toca se inspira en agrupaciones como Helloween, Gamma Ray, Royal Hunt, Stratovarius, Angra, y en compositores clásicos como Mozart y Beethoven para nombrar solamente dos. En sus letras además se puede apreciar y respirar el amor que estos músicos sienten por las temáticas épico-fantásticas.

En septiembre de 1998 la banda grabaron su primer demo, "Between Story And Legend", y poco después Cristiano Scagliotti se aleja de la banda, remplazado por Luca Cartasegna.

Este demo tuvo una excelente repercusión y fue votado como "top-demo" en Metal Hammer. Con ese demo llamaron la atención del sello Elevate Records y en junio de 1999 grabaron su primer demo "Mistress Of The Shadowlight" en los estudios "New Sin" (Labyrinth, Eldtrich, Domine, White Skull). "Mistress..." es un álbum conceptual sobre la fuerza y la importancia de los sueños y de la fantasía, elementos esenciales para lograr objetivos en la vida real, y que a menudo son frenados por la sociedad que trata de guiar en todo momento nuestras acciones. Con su fantasía y sus sueños cada uno puede romper las cadenas y realizarse a través de los sentimientos y de la acción.

Musicalmente SECRET SPHERE es parte de la New Wave Of Italian Heavy Metal, con un sonido sinfónico, rápido y bombástico, en el estilo de otras bandas italiana como Rhapsody y Labyrinth, y el nuevo álbum "A Time Nevercome" es un perfecto ejemplo, con su estilo que mezcla a la perfección power metal, metal progresivo y música sinfónica.

Los coros de su nuevo álbum "A Time Never Come" son cantados por los integrantes de White Skull (cortesía de Nuclear Blast) y Black Jester.

Para recalcar, también el excelente trabajo gráfico, a cargo de Travis Smith (NEVERMORE, DEATH, DEMONS AND WIZARDS, etc.).

SONIC DEBRIS

Velvet Thorns

DVS RECORDS (Holanda)

Distribución exclusiva: ICARUS

Rune Sörheim – Voz Peter Tingvold - Sintetizadores/hammond Morten Bergseth – Batería Knut Bergaust – Bajo Tommy Nilsen - Guitarras

SONIC DEBRIS es una banda de Rock / Metal progresivo proven iente de Noruega.

Morten Bergseth, Knut Bergaust y Tommy Nilsen formaron la banda en 1995, Rune Sörheim se unió a ellos en 1996 y dos anos después la banda completó su formación con la llegada de Peter Tingvold.

En el transcurso de dos años, SONIC DEBRIS grabó tres demos, creando un estilo y un sonido realmente personal.

El resultado de este esfuerzo es su debut álbum "Velvet Thorns" editado en diciembre del año 2000. El disco recibió una considerable respuesta por la prensa internacional y con su performance al festival ProgPower 2000 también una muy buena aceptación por parte del público.

Algunas de las influencias declaradas por los integrantes son KING CRIMSON, RUSH, KING’S X, FAITH NO MORE, U2, SIMPLE MINDS, MAHAVISHNU ORCHESTRA.

www.sonicdebris.com

 

SYMPHONY X

"Symphony X - The Divine Wings Of Tragedy"(NEMS 231)

"Twilight In Olympus -The Damnation Game"(NEMS 232)

Symphony X se formó en New Jersey, USA, en abril de 1994. El guitarrista y líder Michael Romeo ya gozaba de cierta fama al lanzar su primer demo, "The Dark Chapter", lo que desembocó en el nacimiento de Symphony X. Al principo se unió a Michael el bajista Thomas Miller, viejo conocido musical del guitarrista. Pronto reclutaron al vocalista Rod Tyler y al baterista Jason Rullo, a los que pronto se sumó el tecladista Michael Pinnella. Symphony X estaba ya lista para grabar su primer álbum...

La primera placa, titulada simplemente "Symphony X" (Nems 231), fue grabada en el otoño de 1994 y lanzada en Japón en diciembre del mismo año. El disco pronto obtuvo inmejorables críticas en Japón y en Europa, donde los fans del metal progresivo aclamaron unánimente el nacimiento de la banda de Romeo. Sólo ocho meses después, Symphony X grabó su segundo disco, "The Damnation Game" (Nems 232).

Al comienzo de 1995, el vocalista Rod Tyler dejó la banda y fue pronto reemplazado por Russell Allen. Con sus majestuosas armonías vocales y arreglos clásicos, la banda se encontró forzando los límites de la música progresiva y dándole nuevos bríos al género pesado. Entonces, hacia fines de 1996, el grupo comenzó a trabajar en su tercer magnum opus, "The Divine Wings Of Tragedy" (Nems 231). Mientras los álbumes previos todavía denotaban las obvias influencias musicales de la banda, esta tercer placa por fin los encontró en su propio sendero compositivo. Diversas publicaciones especializadas de Europa colocaron a "Divine Wings..." en los primeros puestos de los ránkings, coronando al disco como uno de los mejores de 1997 en su género, mientras las ventas de "Divine Wings..." treparon a 100.000 copias sólo en Japón.

A comienzos de 1998, los incansables Romeo y cía. ya tenían listo un nuevo álbum: "Twilight In Olympus" (Nems 232) pronto probó por sí mismo ser otro de los pilares en la carrera de Symphony X (y que además presentó oficialmente al nuevo baterista, Tom Walling). Las ventas comenzaron a crecer y la primer gira de Symphony X por Europa se concretó con los ingleses Mindfeed como soportes. El tour fue un verdadero éxito, con entradas agotadas en Alemania, Holanda, Suiza, Italia y Francia.

En 1999 la banda comenzó a componer su próxima placa, que vería la luz en el 2000, y estremnando también un nuevo bajista: Michael Lepond. Bajo el título de "V, The New Mythologhy Suite" (Nems 207), la banda continúa imponiendo la personalidad de su violero y líder. La placa navega entre el virtuosismo y velocidad de Romeo y toda la fuerza y majestuosidad del cantante Russel Allen, conformando uno de los discos más esperados del 2000 para todos los fans del metal.

NEMS Enterprises edita "Symphony X - The Divine Wings Of Tragedy" (Nems 231), y "The Damnation Game - Twilight In Olympus", en formato de dos CDs dobles al precio de uno, en exclusiva para Argentina, Mexico y Chile. También disponible "V, The New Mythologhy Suite" (Nems 207), con un bonus track ("Masquerade").

 

THE SHOUT - "ON ARRIVAL"

(CARBON 7 RECS.)

Category: New Choral Music

Reference: C7-051

Bar Code: 5413902000514

Compositions: Orlando Gough and Richard Chew

Singers: Kayte Harding-Chetney, Adey Grummet, Cheryl Pickering, Angela

Elliott, Louise Field, Daniela Clynes, Rebecca Askew, Lousie Mills, Melanie

Pappenheim, Carol Grimes, Wills Morgan, Andrew Burden, Manickam Yogeswarah,

Michael Dore, Mike Henry, Jonathan Hugh, Richard Chew, Wayne Ellington,

Jeremy Birchall

INFO CONTACT

Carbon 7 Records

Tel + 32 (0)2 2429703

Fax + 32 (0)2 2453885

E-mail carbon7records@compuserve.com

INTERVIEW CONTACT

Orlando Gough, E-mail : shouting@orlando.fsbusiness.co.uk

This is the first CD by "The Shout", an 18-piece British choir, or 'vocal big band' as they call themselves, formed in 1998 by the composers Richard Chew and Orlando Gough. The singers come from the most varied of backgrounds - gospel, jazz, blues, contemporary classical, opera, Indian music - and the group includes several improvisers. It has been called a 'vocal big band', a 'club choir', a 'vocal stomp' a 'dangerous choir' and a 'choir of Babel'. It is all of these things.

The Shout is a group whose personalities are revealed by the music and who are given the freedom to sing solos and improvise, and yet it is a group  capable of a homogeneous effort. It explores the possibilities of both 18 individuals and of a single voice with 18 components.

"The sounds and styles it embraces are amazingly wide ... all the singers enjoy playing with sound and exploring the possibilities of the human voice. They perform with rhythmic verve and spitfire articulation, and as in any good choir, they can blend seamlessly, but a smooth beautiful fusion of sound is not what The Shout is all about." The Times, London

"There is something intoxicating about music like this. The Shout show us that there are many new things to be done with the voice, and that innovation doesn't have to be driven by technology, or anything more than a basic urge to make music, by opening your mouth, taking a deep breath and letting rip." The Independent, London

"The Shout continues to develop an ensemble sound and attitude like no other. It is entertaining, funny, and deadly serious. It is full of enormous egos and talents, yet they work effortlessly together to create intricate and contemporary textures, effects and subtle backgrounds with no apparent effort or tension." The Guardian, London

"This all sounds pretty damn impressive, mixing perfect operatic timbre with gospel, blues, down & dirty jazz growling, and a nice line in multi-lingual Philip Glass-style wonky repetition. They shout, yelp, bellow, croon, trill, and positively soar, harmonising like a flock of disparate songbirds caught in full voice at daybreak near an exotic watering hole." Making Music, London

V8

Tributo a V8 - "V8 No Murió"(NEMS 264-265)

"No Se Rindan" (NEMS 234)

V8 es sin dudas LA banda pionera del heavy metal en Argentina. Un grupo venerado en todos los países de habla hispana por su enorme contribución a la creación de un género musical, allá por los comienzos de los '80s. Desde su formación en 1978 hasta su separación hacia 1987, el grupo vio pasar por sus filas a las figuras más emblemáticas de la escena local, como Ricardo Iorio (Almafuerte, Hermetica); Gustavo Rowek (Rata Blanca, Nativo); Osvaldo Civile (Horcas); Alberto Zamarbide (Logos); Miguel Roldán y Adrian Cenci (Logos, Cruel Adicción); y Walter Giardino (Rata Blanca, Walter Giardino Temple) entre otros.

Hoy, este "Tributo a V8 - V8 no murió" homenajea al grupo con un verdadero seleccionado de los grupos más representativos del heavy metal sudamericano y español, encabezados por los créditos locales Horcas ("Brigadas metálicas"); Imperio ("Antes que los viejos reyes"); Cruel Adicción ("Ciega ambición"); Nepal ("Muy cansado estoy"); Attaque 77 ("Angeles de las tinieblas"); Lörihen ("Cautivos del sistema"); Pappo + Homenaje a V8 ("Hiena de metal", grabado en vivo en 1996); y el track "Si puedes vencer al temor", compartido por los músicos Claudio O'Connor (O' Connor), Maria Eugenia Ricciardulli (Azeroth), Osvaldo Civile (Horcas) y Daniel Leonetti (ex Walter Giardino Temple). El resto de las bandas que conforman este tributo, y sus correspondientes covers, son: Polimetro, Chile ("Tiempos metálicos"); M.A.S.A.C.R.E., Perú ("Momento de luchar"); Leprosy, México ("A través de los tiempos"); Chopper, Uruguay ("Deseando destruir y matar"); Dorsal Atlántica, Brasil ("Camino al sepulcro"); Cabeza De Martillo, Panamá ("Destrucción"); y Baron Rojo, España ("Parcas sangrientas"). El álbum fue mezclado en los estudios La Nave De Oseberg de Buenos Aires, y masterizado por el afamado productor Mikka Jussila en los Finnvox Studios de Finlandia.

"Tributo a V8 - V8 no murió" (Nems 264) se presenta en una edición limitada doble en digipack, junto al compilado "No se rindan" (editado originalmente en 1992), que incluye doce temas totalmente remasterizados para la ocasión. Acompaña a la edición un extenso booklet con la biografía completa del grupo, declaraciones exclusivas, datos cronológicos y fotos nunca publicadas anteriormente, una auténtica pieza de colección. Ambos discos también estarán disponibles por separado, en ediciones normales: "Tributo a V8 - V8 no murió" (Nems 265) y "No se rindan" (Nems 234).

NEMS Enterprises edita "Tributo a V8 - V8 no murió" y "No se rindan", en exclusiva para Sudamérica y España.

VARIOUS ARTISTS - "Dark Fire Dancing: The United Tribes of Baltica" CD/MC

Chapter 4. The final one. The Ancient Swastika circle complet

Your exclusive collection of Baltic Heathen Warwave

15 selected acts of the best pagan, black, atmospheric metal and ambient=

from Lithuania, Latvia and Estonia.

GDAE | KALM | PEORTH | SKYFORGER | OBTEST | LOITS | ANAPILIS | UGNELAKIS | 

THARAPHITA | VALEFAR HERESIARH| ANGIS | SIAURYS | ASSAMALLA | DONIS / HA LELA / MERESSIN / MANATARK / DISSIMULATION

The fourth burning message from the pagan shores of Baltica... Fire will know its way - you just have to spark it in your heart!

-> All tracks are distinctive, w/ great sounds and professional production, mostly unreleased or recorded exclusively..

-> A 16-page CD-booklet (or ekstreemely looong cover sleeve) w/ excellent= pagan layout, photos and information on every act, + lyrics and even their translations in the English tongue!

-> Cassette version comes w/ 4 bonus songs (however it lacks my favourite= Donis track on this compilation!)

-> Attached to each copy of the tape/CD is a special blackmetaller's lighter saying "visit your local church at night" :]

-> The inflaming spirit of these heartfelt tunes will surprise those= unfamiliar to the Baltic pagan scene. This is your best chance to emend your ignorance!

-> No remorse guaranteed! (Or granted.)

-> More information at www.dangus.net

 CD: $15/30 DM | MC: $7/15 DM

CD + MC: $19/40 DM

Get your copy at: J. Balodis, Zemites 2, Riga, LV-1002, Latvia Lettland

Lettonie well-hidden paper cash in registered envelope please.

MUSIC EXTREME #4 - MAY 2001

 MUSIC EXTREME #4 - MAY 2001

This is the 4th issue of MUSIC EXTREME that was released in May 2001. You can check it just by clicking on the cover.