Flying Phoenix

Reflecting the composer’s life journey, Alexander Campkin‘s choral music is a fascinating odyssey from darkness to light. Recorded by the young voices of the Phoenix Consort, this collection includes new music and premiere recordings, settings of prayers, poetry and Shakespeare, some of it deeply personal responses by the composer to his own life events.

The skies darken with alien vessels, and the Phoenix Project must rise to the challenge against their biggest foe yet in the all-new Festering Skies DLC.

Phoenix FD is a powerful tool to simulate different environments. Aimed at meeting the needs of VFX artist to simulate fire, smoke, explosions as well as liquids , foam and spray . Phoenix FD offers exceptional flexibility and speed. With adaptive grid , complete interactivity , GPU- accelerated browsing is one of the best solutions for the simulation of fluids in the visual effects industry . Phoenix FD 2.0 now adds the ability to generate particles based on current simulations. This allows the user to add even finer detail to all types of modeling without the need to increase the resolution of the simulation.

You can’t blame the Thais for continuing to produce action movies like “Raging Phoenix”. There are basically only two genres coming out of Thailand that sells nowadays – martial arts movies and horror films. Everything else just doesn’t translate very well. One of the industry’s newest import is female ass kicking wonder Jeeja Yanin, who burst onto the scene last year with “Chocolate”, directed by “Ong Bak” head honcho Prachya Pinkaew. The film benefited greatly from Yanin’s unassuming features. For “Raging Phoenix”, we already know the deal, so director Rashane Limtrakul and action choreographer Panna Rittikrai (another “Ong Bak” vet) had to throw us a twist – a new form of martial arts that combines Muay Thai with breakdancing. Or at least, that’s the idea.

On his third album for 577 Records, drummer G. Calvin Weston, known for his work with Ornette Coleman's Prime Time, The Lounge Lizards, James Blood Ulmer and Marc Ribot, hits notes both on and off the beat, that mark the time and space of sound, with edgy and sharp melodies. If you listen carefully, you’ll hear an obsessive bass-line that incites the explosion of rhythm. Dust and Ash is like a sand storm that changes direction with the wind and tries to imprison the traveler. If you hear it without anchors or safety nets, it is like an abstraction that draws a perfect shape. It is like a voyage without departure or arrival points, in which a woman’s voice allows itself to be cuddled by the shadows of a piano and dances with them to become a waterfall of notes before taking off.