C't 8 2016

Complex re-release of the most remarkable and worldwide sought afterSeries The Dark Side Of The Moog by German electronic pioneers Klaus Schulze and Pete Namlook (aka Peter Kuhlmann) in three slip lid boxsets, each with 5 CDs, incl. bonus material and new linernotes. The second box contains Vol. 5 to Vol. 8 and the Bonus CD. Their relationship between Klaus and Pete and the exchange of ideas was unorthodox from the beginning of their co-operation, in that they rarely met personally. The most remarkable contacts they had were outside of their studios, for instance their concert of April 1999 at the Jazz Festival in Hamburg , which was released as an edited version on 'Dark Side Of The Moog, Vol.8' (will be released in the second Boxset) - the interplay and chemistry between them is clearly evident, and it becomes even clearer on the un-edited version of the concert (which will be released as bonus CS on the third boxset).

Various Artists - Last Of The Garage Punk Unknowns, Volumes 7 & 8 (2016) {Crypt Records CRYPT118 rec 1965-1967}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 285 Mb | MP3 @320 -> 175 Mb
Full Artwork @ 600 dpi (jpg) -> 243 Mb | 5% repair rar
© 1965-67, 2016 Crypt Records | CRYPT 118
Rock / Garage Rock / Psychedelic

30 prime slabs of mid-60s USA garage punk MISERY - garage punk SADness from LPs 7 & 8 with liner notes, band photos, label scans. (NOTE: This is an entirely NEW series and NONE of these tracks were on the old series “GARAGE PUNK UNKNOWNS”). If anyone knows angst, it's a teenager, a breed that thrives on wearing misery on their sleeves. Fans of vintage '60s garage rock usually favor sneering delinquents armed with fuzz pedals, but there was a long-running subgenre of garage rock that dealt with heartbroken guys trying to make sense of a cold, unforgiving world (or at the very least, cold, unforgiving girls). Crypt Records has given these bummed-out classics their due on Last of the Garage Punk Unknowns, Vols. 7-8, subtitled "Heartbroken American Garage Jangle Misery 1963-1967."

Owing to his great talent for melody and the delightfully fresh Czech character of his music, Antonín Dvořák achieved worldwide recognition. His technical abilities and rich melodic inspiration enabled him to create an oeuvre that includes masterpieces in many, if not all musical genres.

When conductors choose to perform a Bruckner symphony, they either use the original version, in the belief that it reflects the composer's true intentions, or select one of the later revisions, which are solidly established in the repertoire. For this 2016 Profil release, Jukka-Pekka Saraste has made an interesting compromise by choosing Robert Haas' edition of the 1890 revision of the Symphony No. 8 in C minor, which avoids the awkward moments in the original 1887 version, yet preserves some felicities that Bruckner omitted in subsequent versions.

The Russian-British pianist Alexander Melnikov has recorded Shostakovich and a variety of Romantic chamber music with great success. But nothing quite prepares the listener for the controlled power in these performances of three Prokofiev piano sonatas. The Piano Sonata No. 6 in A major, Op. 82, and Piano Sonata No. 8 in B flat major, Op. 84, are among the most modernist works Prokofiev ever wrote. They appeared during World War II and are often thought, with some justification, to reflect that environment.