Hafið (2002)

Anton Fils, dessen kurzes Leben mit nur 27 Jahren im Jahr 1760 als Cellist der Hofkapelle in Mannheim endete. Schon Zeitgenossen wie Schubarth haben den frühen Tod dieses hochbegabten und einfallsreichen Komponisten bedauert. Zum Glück für die Nachwelt hinterließ Fils eine stattliche Anzahl sinfonischer Kompositionen: So ist zu hoffen, daß das L’Orfeo Barockorchester und das Label cpo dieser ersten CD noch einige folgen lassen, um den überlieferten Schatz von etwa dreißig Sinfonien dieses Meisters den Musikfreunden zugänglich zu machen.

This CD from 2002 delivers 68 minutes of dense electronic music by Detlef Keller (whose frequent collaborations with Mario Schönwälder have made the pair's music a mainstay in the European electronic music genre and concert scene). Here, we get to hear Keller's solo accomplishments, which are purely and respectfully cut in the Berlin School of Electronics mode. Densely layered textures emerge from darkness, drenched with somber sentiments and languid tonalities. The music gradually evolves power and structure with vibrating pulsations that lend rhythm, while the keyboard cycles accelerate with sportive determination. Light and airy tuneage grows more mature with each turn, becoming almost frenzied by the time E-perc appears to lend complexity to the driving sequencing. This release features only three tracks (two of which exceed 25 minutes each), allowing the melodies to flourish to incredible intensity.

Mike Sanchez and Eric Mouquet of Deep Forest have always been musical anthropologists, sampling the sounds of other cultures (Pygmy tribes of Cameroon, Gypsies of Eastern Europe, Cuban street musicians, to name just a few) and swirling them into their own ambient dance pop. On this 2002 release the French duo revisits some old samples and also brings in Turkish chant, Japanese pop, and Indian vocals. They introduce startling new elements as well: heavy electric guitars, many lyrics written in English, and a live drummer replacing the programmed rhythm tracks of their previous recordings.
Many of the lyrics here concern environmental issues and warn of the impending dangers of soullessness…

Sometimes the bloodlines show up and at other times they explode with a fanfare that shows itself to the world. Lil' Ed Williams traces his heritage back to his uncle, one of the Chicago blues legends, slide guitar master J.B. Hutto. He was tutored by his uncle, and the West Side Chicago blues scene that nurtured him, and readily gives J.B. much of the credit for his prowess. He captures some of that same raw street energy that was his uncle's trademark on many of the tracks on this, his fifth Alligator release. Listen to "The Creeper" to get an idea of the savage fury that he can channel through his slide guitar work. This disc manifests that feel for the blues that can't be taught, but must be both lived and seen from the inside…

After pursuing a Rolling Stones-styled blend of rock and country elements on their first two albums, Nazareth segued into a harder rocking style with 1973's Razamanaz. The resulting album has a lot of energy and drive and much of this can be credited to Roger Glover's production, which tempers the group's tendency to experiment with different musical styles by imposing an overall sound that play's up the group's hard rock edge. The end result is an album that rocks consistently throughout but works in intriguing musical elements to keep things interesting.

The Ultimate Collection spans the group's career in two discs, including the hits, B-sides, and key album tracks.
Although generally not as highly regarded by the critics as the Beatles, the Rolling Stones, or the Who, the Kinks may well have influenced far more musicians. The three-chord sledgehammer proto-metal burst of teenage lust called "You Really Got Me," the Kinks' third single and first hit, touched off a garage band explosion, which in turn influenced the rise of punk a decade later. Blessed with an astute songwriter in Ray Davies, the Kinks followed the template of "You Really Got Me" for a couple years, racking up hits with "All Day and All of the Night," "Tired of Waiting for You," and "Till the End of the Day." But Davies had more than one card in his pocket, and he blossomed into a sharp social satirist ("Dedicated Follower of Fashion")…

Gary Numan experienced renewed interest during the late '90s due to a popular remake of "Cars" by electro metallists Fear Factory. As a result, Numan reappeared back from the dead - releasing new albums, launching tours, and winning over new fans. The time was right to issue a brand new Numan compilation (despite the fact that countless career overviews had surfaced throughout the years), as the 29-track double disc Exposure: The Best of Gary Numan 1977-2002 appeared in shops in 2002. Despite what its title would like you to believe, there are quite a few holes here - the majority of the tracks come from Numan's early work. Most Numan fans would agree that his finest work came from this era (circa the late '70s/early '80s)…