The first album by this Israelian band is a journey full of colors and emotions, a music that is mix of great melodies incorporated with complex structures… with a brilliant result! Male and female vocals with some interplays that reminds the great classics like Gentle Giant and Genesis but with a new modern approach. Easy and complex at the same time. A new way to listen progressive rock!

This album showcases the romantic melodies by one of this century’s great composers. Even after 60 years, George Gershwin’s music continues to have a fresh and enchanting appeal. Performed by an orchestra of strings, harp, celesta, oboe and english horn, this recording has a lush, sensuous quality that enables listeners to savor the subtle charm of these famous tunes.

Sambas, Bossas & Blues: The Best of Claudio Roditi on Resonance captures 15 of the most essential tracks recorded for the label compiled from his 3 albums (Bon Amigos, Brazilliance X4 and Simpatico). AllMusic called Roditi, “One of the very best performers in jazz."

Witness a concert experience of magical dimensions, when the Danish National Symphony Orchestra opens the door to a wealth of fantasy universes where dragons and dwarfs, trumpet players and violinists cross blades and sounds in a world of flames and sorcery.

First time on CD for this 1977 album from the Jazz flutist. The album features musical assistance from Hiram Bullock, Reggie Lucas, Gerry Brown, John Lee, Onaje Gumbs and Mike Mandel.

Problems with the Mushroom label delayed the release of Magazine, which eventually went platinum and peaked at number 17 on the album charts. Only the hard-rocking "Heartless" made it into the Top 40, and the album didn't really live up to Heart's last few efforts…

Marcia Sings Tapestry is a tribute album to Carole King's 1971 album, Tapestry. The songs appear in the same order on both albums, with tracks 13-15 'bonus' for this album.

Hinesight (Songs from the Journey) is a studio album released by Australian recording artist Marcia Hines. It was released in September 2004 through BMG Australia and includes a duet with Belinda Emmett. It peaked at No. 12 on the Australian albums chart.

Paul Lamb is a British blues harmonica player and bandleader. He has had a four-decade long career as a blues harmonicist and bandleader, with fans around the world. Lamb’s initial interest in blues came from listening to John Mayall’s records; he then discovered the music of Sonny Terry, in whose style he thoroughly immersed himself for 12 years. He played in folk clubs and in 1975 was successful in a harmonica championship held in Germany. Around 1980, he began playing amplified harmonica, initially in Walter Horton’s style, and as a member of the Blues Burglars he recorded for the Red Lightnin’ label in 1986.

Fossil Aerosol Mining Project - Scaath Catfish (2020) {Helen Scarsdale Agency ADM24}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 247 Mb | MP3 @320 -> 121 Mb
Full Artwork @ 600 dpi (jpg) -> 69 Mb | 5% repair rar
© 2020 Helen Scarsdale Agency | ADM24
Experimental / Electronic / Ambient / Abstract / Modern Classical / Sound Art

Songs about the river are a common trope in the history of music. Psalms of being cleansed, being baptized, being redeemed. There are ballads of murder, lost love, jealousy, and all sorts of rank human emotion reflected in the surface of the water. Respect, praise, and worship of the river are other themes often channeled through music as well. Even in the realm of ambient music, digital mimesis of the aquatic is commonplace. Fossil Aerosol Mining Project, in their ongoing archaeological approach to a post-industrial sound design, offers their own variant on this topic with considerable differences. It is not only the sediment, the debris, the waste, the scum, the mud, and the rot that are the source materials in Scaath Catfish, but also what is preserved in those elements and new forms of life fostered in this conceptual framework.

Pungent Effulgent, the Ozric’s first ‘official’ album in 1989, after self-releasing material on cassettes, is the first produced to label standards and retains their explorative style based on improvisations whilst performing live.

Robbie Basho was one of the big three American acoustic guitar innovators, John Fahey and Leo Kottke being the other two. Basho was the least commercially successful of the three, but his influence and reputation has steadily grown since his untimely death in 1986 at the age of 45. And with good reason; for Basho's deeply spiritual approach, intellectual rigor, and formal explorations (among his goals was the creation of a raga system for American music), present a deeply compelling, multi-faceted artist. Basho was actually a college friend of John Fahey, and his early recordings (like Kottke's) were for Fahey's Takoma label. Following Fahey 's move to Vanguard, Basho followed suit, and released Voice of the Eagle and Zarthus for the label in 1972 and 1974, respectively (his most commercially successful records were made for the Windham Hill label later in the decade)./quote]

When Seattle-based recording engineer Kearney Barton died in 2012, the 80 year-old studio veteran had spent the past 50 years recording the cream of the Seattle music scene through the decades. The Fleetwoods, Quincy Jones, The Ventures, The Wailers, The Sonics, Ann Wilson (Heart), The Frantics, The Kingsmen, and Dave Lewis to name a few. Barton also captured Seattle’s vibrant 1960s-70s R&B and soul scene, including Black On White Affair and Soul Swingers, among others, as documented in Light in the Attic’s Wheedle’s Groove series. In his later years Barton’s old school reputation drew in contemporary bands like Young Fresh Fellows, The Smugglers, The Minus 5, and The A-Bones into his studio. Essentially, when a local unknown band wanted to make a demo tape, or record their debut album, or perhaps someone just wanted to capture their uncle playing banjo or their kid sister’s first songs, they’d go to Barton’s studio.