Madness Total Madness (2009)

Handel, a child of his time, was fascinated by the poignant human dramas and emotions exemplified by Greek and Roman classical myths, dramas and poetry. A theatre composer to his very bones, he was remarkably skilled in the portrayal of human psychology. The oboe was an instrument especially beloved by Handel and it is the unifying element in this fascinating anthology of arias and cantatas focusing on themes of love and madness sung by soprano Johannette Zomer. Zomer is accompanied by oboist Bart Schneemann and the ensemble Musica Amphion.

The Psychedelic Ensemble is a one-man band who chose to remain anonymous, allegedly led by someone who has been working with some great names of the music scene since the Seventies. Intriguing, to say the least! "The Art Of Madness" (2009) is a 55 minute continuous cycle of songs, each based on a different manifestation of madness. In a vein not unlike Pink Floyd, the music tells the story of an ordinary man who, without warning, experiences a psychotic Ecstasy. Those who love concept albums, find pleasure in songs lasting for an hour and have a soft spot for late 70's Pink Floyd should make up the perfect audience for this album…

SVARTTJERN was formed by HansFyrste and HaaN as a two man project in 2003. The two brothers decided to bring more musicians to the band to be able to start doing some live shows, and to bring the band to new levels. 2007: SVARTTJERN parted ways with Skabb, and Terror came in on the base, bringing fresh blood to the band. The band was now ready to record a three track demo, to finally show the music they have been working so many years to get to. ‘Demo 07’ was only sent out to labels, and only printed in very few numbers for sale. SVARTTJERN signs with Schwarzdorn Production and were ready to record their first full length album Misanthropic Path of Madness. The debut album was released on the 13 of february. 2009. The Misanhtropic album reached great feeback and reviews.

Best known in the U.S. for their hard rock material, Golden Earring have been the most popular homegrown band in the Netherlands since the mid-'60s, when they were primarily a pop group. The group was founded by guitarist/vocalist George Kooymans and bassist/vocalist Rinus Gerritsen, then schoolboys, in 1961; several years and personnel shifts later, they had their first Dutch hit, "Please Go," and in 1968 hit the top of the Dutch charts for the first of many times with "Dong-Dong-Di-Ki-Di-Gi-Dong," a song that broadened their European appeal. By 1969, the rest of the lineup had stabilized, with lead vocalist and multi-instrumentalist Barry Hay and drummer Cesar Zuiderwijk.

Spinning through 29 tracks (+ Bonus track for Japan) in just under 50 minutes, Scott Herren's sixth proper LP as Prefuse 73 offers more of the same musical madness for fans of his no-attention-span cut-ups - and that's a good thing. With remarkably few guests and remarkably few samples (at least recognizable ones), it's basic Prefuse material, but with dozens of ideas and delicious dead ends. Anyone looking for a differentiator between this and recent Prefuse material may look in vain, but there's slightly more electro than hip-hop going on here. Also, as in the past, there are occasional glimpses of his other projects bleeding through. Beginning with "DEC. Machine Funk All ERA's," with its airy introduction and female vocal samples, Herren reels off a series of tracks that switch back and forth between cavernous hip-hop and airy folktronica with vocal samples, all the time spending less than two minutes per cut…

Spinning through 29 tracks (+ Bonus track for Japan) in just under 50 minutes, Scott Herren's sixth proper LP as Prefuse 73 offers more of the same musical madness for fans of his no-attention-span cut-ups - and that's a good thing. With remarkably few guests and remarkably few samples (at least recognizable ones), it's basic Prefuse material, but with dozens of ideas and delicious dead ends. Anyone looking for a differentiator between this and recent Prefuse material may look in vain, but there's slightly more electro than hip-hop going on here. Also, as in the past, there are occasional glimpses of his other projects bleeding through. Beginning with "DEC. Machine Funk All ERA's," with its airy introduction and female vocal samples, Herren reels off a series of tracks that switch back and forth between cavernous hip-hop and airy folktronica with vocal samples, all the time spending less than two minutes per cut…

Glazunov’s beautifully scored incidental music for Lermontov’s play Masquerade has only survived in manuscript. With characteristic genius, he illustrates both the glittering atmosphere and dances of splendid St Petersburg balls and depicts the horrifying descent into madness of the play’s protagonist, Evgeny Arbenin, who jealously poisons his innocent wife. The shorter works on this disc likewise show Glazunov’s amazing command of orchestral resources, whether evoking an exotic oriental vision, the vivacious spirit of Hungarian music, in the Pas de caractère, or painting a mood of gentle romantic lyricism.

Agostino Steffani (1654-1728) was the most important composer ever to be appointed by the Duchy of Hannover. At the end of the 17th century this noble family embarked on a cultural offensive with the objective of having Duke Ernst August become a prince elector. To this end, the Welph dynasty obtained the services of Steffani, a master choice in itself as his works are still performed to this day in the majestic gardens of Princess Caroline of Monaco and her husband, the current Ernst August of Hannover.