Sivamani is an amazing South Indian Percussion musician who got phenomenal reputation all over the world. He worked with many great musicians to name a few John McLaughlin, Zakir Hussain, Trilok Gurtu etc. And practically, he performed in almost every work of A.R. Rahman. Although he performed in countless albums, this one is his debut album as a leader. He assembled many great musicians including Zakir Hussain, Louis Banks, U. Shrinvas, Niladri Kumar etc for this jam packed recording which resulted a different and modern approached, good contemporary percussion album. Have a good ride. Enjoy.
F.E.A.R. is the eighth studio album by American hard rock band Papa Roach. It was released on January 27, 2015. F.E.A.R. sold 24,425 copies in the United States in its first week of release to land at position No. 15 on the Billboard 200 chart, charting higher than their previous albums Time for Annihilation and The Connection, also outselling both of them. It is their first Top 15 album in UK since Lovehatetragedy. The album differs from the band's previous sound via the utilization of a "djent" tone in the guitar recordings.
The Syrian American producer lingers with grief and horror on her past while the music accelerates into the future.
The complete collection of Achim Reichel’s innovative avant-garde project in the early 1970s. The lavishly designed 10 CD box-set includes all five studio albums and almost five hours of rare and unreleased music, a new remix-album – Virtual Journey – as well as a hardcover book with the artist’s own liner notes. A lucky accident was the catalyst. In Hamburg in the early 70s, while playing with his new Akai X330D tape machine, Achim Reichel discovered he could build soundscapes of guitar echoes and add even more simultaneously. He spent hours in his room with headphones on, growing his orchestra of guitars. A.R. & Machines recorded five studio albums. Their debut, “Die grüne Reise”, – The Green Journey – was released in 1971 on tape cassette and vinyl, and was met with complete confusion, even from the music press, who had no genre-drawer to stick it into, and is a lasting Krautrock monument captured on tape.
Bartók serves as the link between Schumann and Kurtág: when Kurtág says 'My mother tongue is Bartók, and Bartók's mother tongue was Beethoven' he is referring to the historically linked musical traditions of Germany and Austria, which are his special concern. In addition to this general connection, the works of Kurtág and Schumann reveal astonishing and fascinating affinities in terms of both literary and musical references…
S.U.S.A.R is Polish band Indukti's debut album. Most of the compositions here are instrumentals in the six- to seven-minute range that build tension through repetition of increasingly loud and aggressive melodic themes. Mariusz Duda, vocalist of Riverside, guests on two tracks. Dark, moody, S.U.S.A.R. has a rich, full sound that contrasts heavy, almost metallish riffing against slowly-building spacy sections. Tool circa Lateralus is indeed a good comparison in this manner, but Indukti's sound is a bit warmer - always intense, but more mysterious than it is menacing.
Delivering a political album is always risky, with the possibility that it will get locked in its historical era usually a direct consequence. On their 18th album, prog rockers Marillion don't seem to care, and they have nothing to lose and no one to account to but themselves. FEAR is an acronym for "Fuck Everybody and Run." Two of its three lengthy, multi-part suites ("El Dorado" and "The New Kings") are overtly political statements that look at England and the calamitous state of the world not only observationally but experientially. Topical songs have been part of the band's catalog as far back as 1984's "Fugazi," and have shown up as recently as the multi-part "Gaza," from 2012's Sounds That Can't Be Made (the latter was perhaps an impetus for this record)…