Nicolaas Van Rensburg

Ellie è una giovane, bellissima e inesperta studentessa della New York University. Si sta preparando per trascorrere un weekend romantico con il suo fidanzato, un uomo molto più grande, Steven, affascinante professore in un esclusivo liceo di Manhattan. Eccitati dall’idea di conoscersi meglio lontano da occhi indiscreti, fuggono in una baita remota nella baia di Chesapeake. Ma quando una tempesta di neve li blocca, diventa evidente che entrambi hanno oscuri e letali segreti, e che solo uno di loro uscirà vivo da quella vacanza. Un romanzo che gioca abilmente con i luoghi comuni del crimine – una casa isolata, una tempesta di neve, nessun segnale telefonico – ma creando al contempo qualcosa di veramente inaspettato, che tocca tematiche profonde per esempio come affrontiamo l’idea del vittimismo e il punto di vista dei “predatori”.

Several world-premiere recordings complementing a powerful sacred song-cycle by Hendrik Andriessen.

This album features the works of German Romantic composer Max Reger by the Woergas Ensemble, which has made numerous rediscoveries in medieval and Renaissance polyphonic music over the past 50 years. Led by choral work specialist Paul van Nervel, the ensemble departs from the usual repertoire of ancient music to explore Reger's vocal music. Max Reger (1873-1916) is a composer best known for his symphonies and organ works, but his vocal music has been largely ignored.

The Genuine Philosophers Stone One Review by Richie Unterberger
This very well-assembled, handsomely packaged bootleg gathers interesting odds and ends, mostly unreleased, from Morrison's early career. His very early career, actually; ten of the 18 songs were done by his pre-solo career group Them in 1964-1966, while the remaining eight are publishing demos from the summer of 1968. Leading off the set are two unreleased June 1964 versions of songs Them later released, "Stormy Monday" and "Don't Start Crying Now." The "Stormy Monday" take is definitely rawer than the released one, with the kind of eerie knife-scraped descending guitar swoops that prove that Jimmy Page probably didn't play all of the guitar parts on Them's early records.