L’erro

A Persian scientist of the XII Century was used to say "I live like a camel into a gutter" to show how is language was inadequate to speak of science. This is where the album's title is from. The cover is a paint of Battiato himself who has signed it with his arabic nickname. It's a very short album as almost all in his production with 4 "minimal" songs on the A side and the arrangement of 4 lieders on the B side. If the four songs can't be considered as classical music, all the instrumentation is classical and also the melodies have an operistic touch. Of the four the best is the last: "L'Ombra Della Luce" (Light's Shadow) both as music and lyrics…

Eros" is an incredible album, and ranks as some of the best prog to come out of France. DÜN's brand of prog is complex, aggressive, and fast of ideas. It owes plenty to Zeuhl, but listeners will find tons of ZAPPA, Indonesian gamelan, and fusion-jazz influences. The CD consists of four 10-minute epics from the original album, and 4 bonus tracks (3 of which are early live versions of album tracks). Some of the featured instruments include flutes, vibraphones, and synths. But, like most Zeuhl music, the bass and drums play a very dominant role. The guitarist even adds a fusion sound to the compositions that is rather unique. Overall, "Eros" ranks right up there with ESKATON's "4 Vision".

ARIA is the second album from the 'new' Asia with John Payne on lead vocals. Released during the spring of 1994, Aria expands a bit on the direction they started on the previous album, 1992's AQUA: harder edged guitars, powerful anthemic choruses, symphonic keyboards…

The latest Shadow Circus album "On A Dark and Stormy Night" is a concept album with some virtuoso musicianship and incredibly infectious melodies along with some of the more enthralling themes in prog. The album is based heavily on the famous Newberry Award-winning science fiction fantasy novel of Madeleine L'Engle, "A Wrinkle in Time", coinciding with the 50th anniversary of the original publication. The musicians are simply brilliant including the sweeping keyboard signatures of the incomparable David Silver, the astonishing guitar work and keyboards of John Fontana, and the rhythm machine of Matt Masek's bass, and Jason Brower's drums. The icing on the cake are the effective vocals of David Bobick, always smooth and easy on the ears so that we can grasp the heavy conceptual content. All of the tracks merge together seamlessly encompassing one long conceptual album.