For the eighth time, legendary Black Metallers Summoning open the gates to Middle Earth, choosing to sink deeper into its shadows. In fact, the track Mirdautas Vras is sung completely in the black tongue, the language of the Orcs! Those who dream of a return to Tolkien's incomparable universe should not be without this release – another classic from Middle Earth!

两年后的新专辑水平提升了一个档次.10首音色丰满、细腻、沉静、忧伤但却无比浪漫的新古典氛围歌曲,我确实感到它的美丽.新的女主唱Tania Borsky明显要比Julia更加合适,她的嗓音来演绎Percy Bushe Shelly那优美的黑暗诗篇再为恰当不过了.专辑的同名歌曲Come Heavy Sleep就是我在本期广播中为大家播放的,Protector与Tania深情悠长的对唱堪称经典.而MISERY这首歌我最为喜欢(Protector自己也十分喜欢),高潮段落飘扬的笛声华彩令人心旷神怡.另外值得一提的是D.V.K.E的作品创作全是Protector用他的合成器及电脑录音和做后期.封面也是他自己创作后用计算机做的效果.（看过一段D.V.K.E访问,发现Protector特别喜欢他的计算机:)）

The Moon Lay Hidden Beneath a Cloud´s final release gathers various tracks from deleted limited edition vinyls and compilations.

金乐队Abigo的vocals/keyboards Tharen在1997年建立了这个与金属完全无关的个人计划Dargaard（Dargaard一词来源于奇幻小说龙枪系列中亡灵骑士索斯爵士的居住地，达加堡，一个与索斯一同受到无尽诅咒的黑暗城堡，破碎的外墙上尽是代表罪恶的黑玫瑰，无数受诅咒的精灵怨灵日复一日唱着那首记述当年毁灭情景的歌谣.....）,他想尝试一条新的路径，一条同样通向黑暗的路径。98年，曾经昙花一现出现在abigo 95年专辑Nachthymnen的女主音Elisabeth加入了dargaard.以这个阵容，Dargaard在Napalm records的分支厂牌Draenor Productions下发行了他们第一张专辑"Eternity Rites"，这张darkwave风格的专辑以其庄严宏大的音乐把人们引入了属于剑与魔法的古老世界，那仿佛来自于地底的狰狞邪恶之声，那漂浮与灵动音乐之上的仙音，一个纯粹由键盘与古典乐器建造的虚幻世界。这张专辑非常的成功，而Dargaard的整体风格也由此确立。

第二年8月他们再次进入录音室录制专辑In Nomine Aeternitatis，并于2000年6月发行。这张专辑在保持dargaard style的基础上做了一些细节的变动，去掉了Tharen邪恶的唱腔，整张专辑只会听到Elisabeth的缥缈仙音，对氛围营造更加炉火纯青。2001年发行"The Dissolution of Eternity"，2004年发行专辑Rise and Fall ，保持了一贯的高水准，为一变化的就是他们越来越成熟的技巧。这是一个darkwave迷们不可错过的乐队。每一张专辑都可称为极品。

imilar to Kruder & Dorfmeister and Jazzanova, Vienna-based Hamburg native Ulf Lindemann aka [dunkelbunt] is part of the creative DJ movement which transcends standard Central European techno and house music by drawing inspiration from other genres and cultures. His remixes for artists as various as Balkan Beat Box, 17 Hippies and the Amsterdam Klezmer Band have gained [dunkelbunt] international renown. While spinning records in San Francisco, Istanbul, Barcelona, Melbourne, London, Budapest and Capetown, [dunkelbunt] was exposed to Piranha's rich catalogue of global sounds and the idea for a remix album was born. A passionate blender of spices in his spare time, dunkelbunt sees composing and cooking as related arts: both concern the mixing of different ingredients, be they herbs or instruments, sounds or colors. Both are about making a harmonic whole for body and soul. With "Raindrops and Elephants" [dunkelbunt] applied his passion for blending to selected Piranha original tracks and transformed them into a fresh, summery, Mediterranean-flavoured whole; electronica á la ragga, dub and house paired with rap, singing and samples. The geographical origins of the selected Piranha artists are as wide spread as their associated musical genres. These include Cape Verde (Simentera), Albania (Fanfare Tirana), Serbia (Boban I Marko Markovic Orkestar), New York (Frank London Klezmer Brass Allstars), Marseille (Watcha Clan) and Egypt (Jalilahs Raks Sharki).

D.V.K.E巅峰之作.沿着上张专辑指明的道路坚定的前进,更加低沉更加宏大.最先买的就是这张专辑,一下子就将我迷住了（那时候我还没听过他们其他兄弟组合的任何作品）.辽远的键盘旋律、大提琴、木笛与军鼓齐奏让人瞬间便被Intro带入了那神秘的黑暗国度.Brief Even as Bright来了音乐和着那军鼓节拍渐强,Protector独唱而后Tania的女高音加入进来,配乐华彩后两人合唱.浓郁的中世纪气息...磅礴过后忧伤随之而至On a Faded Violet里大提琴潜入我们的内心,而后小提琴和低音鼓进入.优美的男女声二重唱再次显示了它独一无二的魅力（这也是D.V.K.E独步众多同门的绝技）Overpast中有一段很熟悉的古典旋律,（但我的古典造诣太低了,实在想不起来它是出自哪里）Cease Sorrows Now中最为抢眼的除了小提琴外便是Protector的嗓音,看国外的碟评有一个将他与Dead Can Dance的Brendan Perry相比.这倒是真的让我有所感受:是有很大程度的近似.特别是在In Darkness Let Me Dwell专辑中.另外歌词方面Protector也颇为用心,古体英语诗歌.忧郁黑暗的情绪游动在宏大深邃的音乐空间里.

一张感人肺腑的新古典专辑（其水准足可以与德国的STOA相比）.

Despite decades of activity and having crossed paths in various collaborations Editions Mego is honoured to release the first ever duo recording from two of the most highly regarded citizens of planet experimental electronic. Individually, Jim O’Rourke and Christian Fennesz have been responsible for numerous legendary works which merge the traditional avant-garde with contemporary sensibilities. On It’s Hard For Me To Say I’m Sorry these giants of experimental electronic practice come together for an immensely powerful sonic experience.
The signature of both O’Rourke and Fennesz cohabit this new release with O’Rourke’s gurgling harmonies swimming amongst the shimmering frequencies and strummed melodies produced by Fennesz. Two side long tracks situate themselves as a warm electronic adventure. Simultaneously radical and comforting these works shift from gentle sonorities to fully distorted explosions all of which reside within a template of tension between musical and non-music matter.
Timeless in execution and presentation It’s Hard For Me To Say I’m Sorry is a deeply rewarding sonic experience from two of the most romantic gentlemen active in experimental music today.

Universally acclaimed as one of the major releases of 2004! ''Venice was recorded on location in the summer of 2003 and subsequently assembled and mixed at Amann Studios, Vienna in January/February 2004. Venice, the fourth studio album by Christian Fennesz, finds electronic music at a crossroads between its early status as digital subculture, and the feeling that there has to be something more, an emotional quality that rises above noise and moves towards melody and rapture. Includes the continuation of his collaboration with David Sylvian on the track 'Transit', following the success of their duo on Sylvian's 2003 solo album, Blemish.'' on the UK Touch label.

Shoegaze duo from the Alps!