Winer Circle

Circle II Circle features the voice of Atlantic Records recording artists Savatage from 1992-2000, Zak Stevens. CIIC was formed in 2002 and has five world-wide releases to it's credit over the last eight years; "Watching in Silence" (2003), "Middle of Nowhere (2005), "Burden of Truth" (2006), "Delusions of Grandeur" (2008), "Consequence of Power" (2010), plus four additional EP releases…

Silent Circle is a German Eurodisco band that was formed in 1985. It has three members, vocalist Martin Tychsen (Jo Jo Tyson), keyboardist & composer Axel Breitung, and drummer Jürgen Behrens (CC Behrens)…

Brand new studio album from Sammy Hagar and The Circle — Sammy Hagar (vocals), Michael Anthony (bass), Jason Bonham (drums/percussion), Vic Johnson (guitars). Featuring the title track, “Father Time,” “Funky Feng Shui” and more.

Brand new studio album from Sammy Hagar and The Circle — Sammy Hagar (vocals), Michael Anthony (bass), Jason Bonham (drums/percussion), Vic Johnson (guitars). Featuring the title track, “Father Time,” “Funky Feng Shui” and more.

Henki is the epic joint record from Richard Dawson, the diminutive Geordie troubadour, and Circle, the genre-straddling pioneers of The New Wave Of Finnish Heavy Metal. Unlike any metal album you have heard before, Henki’s seven tracks deal with special plants throughout history, making it the greatest flora-themed hypno-folk-metal record you’ll hear this year.

The release of the disc from Silent Circle is an important event for Italo-Disco, Disco, Synthpop, Electronic, Pop fans in 2019. 14 pieces of music will impress fans - this is 52 minutes of excellent music.

What makes a piece of music difficult? This album introduces a pair of riveting, technically ambitious, historically important, and never-before-recorded polyphonic masses of the fifteenth century, performed by an ensemble that has developed a new approach designed to honor the music’s variety and unflagging intensity. Both works stand out for their notational complexity. They are also exceptional for the skill they demand of the performers: we find hair-raising rhythms, intricate counterpoint, and long melodic phrases. Rather than mitigate these challenges with a large ensemble and a generous acoustic, this recording enhances them: the performances are one-on-a-part, featuring energetic tempi, close miking, and minimal reverberation. This approach is unforgiving—but together with bright vowels and a flexible vocal technique, it has the benefit of allowing the music to come across with uncommon directness and clarity.

Intimacy, intensity, passion this album explores the unfamiliar idea that fifteenth-century songs might cause us to sigh, weep, or laugh out loud. In bringing to life a world in which crying in public was not just acceptable but required, we have to take seriously the crushing despair of a line like My only sorrow is that I am not dead, or the undisguised sarcasm of This is how she chopped and cooked me up. In Johannes Ockeghem's (d. 1497) roughly two-dozen songs we find not only unparalleled compositional prowess, but feelings that range from happiness to loss, anger to despair, and bitterness to merriment. The album's all-vocal, fully texted, close-mic'd performances are rooted in a flexible, full-blooded vocal technique that aims to capture the music's technical brilliance and emotional depth.