Rhythm Immortal

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Decca/London introduced Phase 4 Stereo in 1961. For classical music, the Phase 4 approach was based on miking every orchestra section individually, along with mics for selected instruments – up to a maximum of 20 channels, which were then mixed via a recording console. This resulted in a dynamic, in your face sound with relatively little hall ambience. The quality of the sound mostly depended on how skillfully the recording engineer balanced each channel – and the results were not always consistent.

Fans of the Immortal school of black metal will appreciate the brutal rhythm riffing and driving percussion. Devotees of melodic deathmetal will certainly approve of the intricate yet unpredictable leads and solos. Anyone who likes old or new Testament will find Invocator to be similar without being at all derivative. So, who -wouldn't- like it, then? I dunno… there's probably some jerk out there. Don't be that jerk.
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on April 19th, "Tides of War", the second full-length of the German traditional heavy metal act SACRED GATE, will be released. The band created a truly captivating and epic concept album about the Battle of Thermopylae, where 300 Spartans and their allies fought for freedom against invading Persians. Not a surprising choice of subject, considering that 2 founding members (vocalist Jim and guitarist Nicko) have Greek origins. The new album is undoubtedly a more mature, more epic and more confident effort showing the band crystallizing their own style, with strong, melodic but rough vocals, outstanding guitar work and rock solid rhythm section.

The second of four albums the reconstituted Steppenwolf cut for Epic, Hour of the Wolf has a very cool fog-enshrouded wolf howling on the cover, the band's name in blood red, and an interesting amalgam of contemporary sounds…

She has created a new musical world where the romance of Celtic folk music and modern classical meet the infectious energy of dance and electronica. In ‘Elements’ you’ll hear rhythm programming and “wub-wub” bass recalling dubstep giants Skream or Benga, while ‘Zi-Zi’s Journey’ and ‘Spontaneous Me’ feature all the thrilling, arpeggio build-ups of trance. On stage, Stirling moves with the grace of a ballerina but works the crowd into a frenzy, “dropping the beat” like some strange, electro-pastoral rave fairy.

Guitar players from two generations in jazz always seem to find common ground, no matter their styles or orientation. Old guard nylon-string acoustic master Gene Bertoncini meets electric guitarist Roni Ben-Hur in this series of duets without a rhythm section to play standards and four new compositions, all performed in the spirit of their mutual friend, veteran bassist Earl May…