Chandeen在1990年由Oliver Henkel和Harald Lowy建立， 第一个歌手是伊朗血统的Aline Akbari，于1991年加入，第二个歌手，大家熟悉的Antje Schulz在1992年加入，她们二位就是乐队最初两年的主唱。同一年Oliver Rosch建立了著名的天音厂牌Hyperium，并且有幸听到了Chandeen的音乐，他们拿到了一纸合约，开始录制Shaded By The Leaves，在此期前Aline Akbari离队，代替她的是Catrin Mallon。

FURVUS
"Deflorescens Iam Robur"
Beyond?Productions
rating: 2 of 6
In comparison to that outstanding "Thieves Of Kisses" CD by DRASTIC, this one's pretty worthless. Led by Mr."A-man-of-thousand-projects" Luigi Mennella, FURVUS delivers quite anonymous mixture of dark ambient, neo-classical and baroque music, undoubtedly far from being enigmatic or, once again, outstanding. Usual sort of stuff, a bit similar to early works by PAZUZU. Not really convincing, nor memorable. And as there're billions of alike acts when it comes to the contemporary scene, I doubt if FURVUS would gain anything by bringing this CD forth the light. (Herr Stalhammar)

Remastered collection of songs belonging to the tapes
"Prophetia", "Nosce Te Ipsum" and "Arazzi".

2002.6.30 IHVHLXXII的黑暗新古典分身Legousia Hybrida的Les nuits larmoyantes翻唱小专辑仅做赠品发送,限量50.优美的夜曲与迷离的思绪。

好评如潮.
Artist: Decadence
Album: Something to love something to spend
Catalog: HR!55
Country: Greece
Style: Neoclassical/Neofolk
Info: mp3, 256k, 64.6MB

试听：

一个乐团要在音乐方面有所建树，除了基本音乐功力要扎实，还必须要有足够的创作能力来表达音乐人想要传达的意图。当这两个方面都达到一定程度时，优秀的乐团都会形成一种自己固有的风格来表达自我感受。我们如今接触的优秀乐团几乎都有自己独特的个性。不过，却很少有谁可以像DARK SANCTUARY一样出道八年从头到尾将自己独特的风格坚持到底却依然不见颓势。这是需要何等扎实的音乐功力及对该风格极其透彻的理解程度啊。
DARK SANCTUARY1996年成立于法国，开始只是ARKDAE的一个单人乐团，用合成器和吉它玩一些简单的氛围音乐。到1997年乐团推出第一张专辑Royaume Melancolique时，DARK SANCTUARY已经发展成了一个五人团体，并且在原来的基础上在音乐中引入了小提琴和女声演唱。DARK SANCTUARY阴暗而大气的交响化新古典风格基本于此形成。次年，乐团加入了第二位提琴手并推出了第二张专辑De lumiere et d’obscurite。国内乐迷多是通过这张专辑认识了DARK SANCTUARY，其严谨而完整的新古典模拟交响化配乐，学院味十足却不失感情的流露。虽然在氛围上的渲染不如早期ELEND煽动感那么夸张，但其点到为止的遍排和朴素的女声反而把音乐人阴暗的感觉表达得更出尘脱俗。相比之下，ELEND过于悲悯的煽情反显得有些无法超脱于凡间的尘世情结。2003年，DARK SANCTUARY用同样的手法推出了第三张专辑L’envers du miroir。此时，乐团已经赢得了“拥有如同葬礼一般黑暗氛围的交响音乐”这一难能可贵的称号（不过这种称呼好像经常可以在国内乐迷写的乐评上看到，可运用范围广泛，如新古典，暗潮，黑氛围，歌特金属，歌特黑金属，力量金属，甚至……新世纪……·。·|）。
在2000年以后，阴暗音乐的大牌乐团都很热衷于改变自己的固有风格，尤其在新古典领域，流行化，新世纪化和民谣化的侵染非常严重。2003年，DARK SANCTUARY在坚持的基础上还有所发展已经让人刮目相看。2004年，DARK SANCTUARY又推出第四张正式专辑Les Memoires Blessees。在专辑里，乐迷惊喜的发现DARK SANCTUARY依旧将黑暗交响进行了下去。开篇曲la clameur du silence是中规中矩的引子，沉重的钢琴让乐迷准备好了即将开始的一次阴暗旅程。但是第二首歌presence却让我捏紧了一把汗。编排和演唱都有些飘，感觉上多了些温暖的气息，听起来受到了一些新世纪的影响，难道DARK SANCTUARY也要放弃新古典这道如今已十分薄弱的阵线吗？随着音乐的行进，我的惴惴不安被完全消除，DARK SANCTUARY并没有变，模拟弦乐重归大气阴郁。其中概念曲目ladieu a lenfant上下两部分的演绎非常出色。先用缓慢凝重的曲式将气氛铺造得足够深刻，让听者陷入情感的迷宫，再由箱琴吉它的抒缓和弦将人慢慢带出徘徊的狭小空间，给人一种豁然开朗的感觉，Marquise Ermia自顾清影的演唱似乎可以直接通往人的内心世界，引导听者在音乐世界中徜徉漫游。直到音乐最后一个音符敲落，听者才如梦初醒，却已对过往的沉醉不知归路犹似浑然不觉。足够好的音乐是需要有足够好的文字才足以形容，我缺少这样一支足够好的笔，所以我只想再说一句：聆听本身重于一切。
最后，说说DARK SANCTUARY的一些缺陷。就这张专辑而言，总的来说还是比较平淡，出彩的地方固然有，却没有那种直击心灵，顿时让人无话可说的感觉。相比之下，乐团上一张的专辑确实水准要高出一筹。对于DARK SANCTUARY整体而言，我想他们还是该意识到，同样的风格挖掘范围终究还是有限的，虽然乐团八年来坚持不懈的态度很让人敬佩，但是只要能保留固有的特点，适当变动一下音乐形式我想乐迷也完全可以接受。现在将DARK SANCTUARY所有专辑用一个半天来聆听，可能听到最后，已然后分不清楚哪首歌属于哪张专辑。现在的DARK SANCTUARY还可以用扎实的功力打动乐迷，可是这条路还可以走多久呢？

(Alice In...) Avalist is one half of that deadly germanic duo Misantrophe, but here they strike out solo for this 6 track CD. It's an instrumental more like Ghosting's Enter My Crypt than Shinjuku Thief, - yet seems to remain true to a classical style of music. 'Silence' and 'Noise Abatement' slowly build up to a crescendo that explodes into 'Without Reason', backed with Gregorian chants, through the watery '...conquer' with it's military style drumbeats, the very short '...epilogue' and the very silent and sparse 'The Entire Silence'. Those with an ear for new wave neo-classical instrumental will not be disappointed.

加盟英国Fat-Cat的首部作品「Un Autre Décembre」得以让Sylvain Chauveau走出法国独立厂牌DSA以外的天空，更因此获得与Sigur Ros巡迴演出的机会；相信许多人仍会记得在Sylvain Chauveau过往的作品里头，总是透过钢琴与提琴，揉合静謐的电子氛围来营造出一种简约、几近无调性的音乐演出。然而阔别多时的全新作品「S」亦是如此，非但没有一扫旧日的阴霾、反则更加投向深遂难理的实验电子创作领域。在简单的吉他、钢琴、电子仪器及少许歌声的佈置之下，「S」已脱去昔日「Un Autre Décembre」里的优美与雅致，也不见「Down To The Bone」的古朴盎然；只见恍若Oren Ambarchi、Fennesz乃至德国Raster-Noton等人的极简电子脉动，尤其在ER一曲当中便能领略Sylvain Chauveau独特性质的Minimal音乐。唱片开场曲Composition 8那猛然的Drone Sound叫人印象深刻；Sylvain Chauveau适度地加入电吉他的即兴演奏，的确颇有Oren Ambarchi、Fennesz等人之势。不到2分鐘的N这部曲子，则带有Sylvain Chauveau昔日秀气的钢琴演绎，也许会是乐迷最熟悉的影子。此外，像是第二首曲子P也有著那种万籟俱寂的气氛；你拿捏不住Sylvain Chauveau的琴声、他的十指，如何地在黑白琴键上翻云覆雨。本月26日Sylvain Chauveau的另一部作品「Nuage」(意指Cloud)也即将面世，则是他替Sebastien Betbeder所执导的短片「Le Mains d’Andrea」而撰写的电影配乐，据悉会是钢琴、提琴与一些新的声音的尝试，真叫人满心期待。
转自：verycd

This is the long-awaited sixth release for French composer and electro-acoustic producer, Sylvain Chauveau, and his first release for the Type label. Since his 2000 debut Le Livre Noir Du Capitalisme, Chauveau has been a pioneering figure in the world of modern classical/electronic music. This status has seen him inhabit the same creative space as Max Richter, Jóhann Jóhannsson and Ryan Teague, and Type welcomes him to their label and community, beginning with the issue of this brand new mini-album. S. sees Chauveau taking a daring new direction since his last record, moving away from the haunting strings and piano work of his best known works and temporarily stepping into the world of minimal electroacoustics, using the guitar as a focal point. The first track, "Composition 8," probably best illustrates this move with its expertly processed prepared guitar drones, layered together to create a menacing piece of bass-heavy ambience and growling doom, perhaps even comparable to experimental metal pioneers, Earth at their most esoteric. This piece is expertly balanced, however, against the second track, simply titled "P.," in which Chauveau returns momentarily to caressing the ivories, but using the notes (and the space between the notes) to dictate something far more minimal and far more related to the brooding drone of the opening piece. Elsewhere we hear Chauveau's take on glacial digital minimalism with the epic electronic piece "E/R" and more delicate piano experimentations before we are brought to a satisfying and subtle close with the gritty, slow-burning ambience of "A_." All in all, this is possibly the most thoughtful and unusual selection of tracks Chauveau has ever set his name to: give them time and they are sure to reveal their immense depths.

The long absence of Stoa from the musical world has been glaring since they left Hyperium Records in 1997. It also does not help that they have not released an album since 1995 with "Porta VIII" (a re-release is expected shortly).
Cut to 2002 and Olaf Parusel has re-emerged under the banner of the brilliant band which is Stoa. This is worth owning more than any number of the so-called "neo-classic" samplers which have exploited this style which creation Stoa was part of in the early nineties. Along with bands such as Ophelia's Dream, Anchorage and Love Is Colder Than Death, Stoa was part of Hyperium's elite in terms of this style. The pairing of synthetic instruments with classical arrangements is what neo-classic is all about and these bands, led by Stoa brought into the world a wonderous new style; truly a classical approach without any of the dreaded world music influences which later derailed pioneers Dead Can Dance.
The classic style of Stoa flourishes beautifully on this new album. Masterful string arrangements abound and are accompanied by some scorchingly astounding vocals by Antje Buchheiser. Add to this some sombre oboe work and crystalline cello playing and you have an album which will reduce you to a torrent of emotional jelly.
There is one thing and one thing only which angers me about this album, of the eleven tracks, only eight are new. The other three have been issued on compilations over the past eight years. It is for that reason they only get a seven.
This disc is a fine return to form for Stoa and I really hope they don't take so bloody long with the next one.

Sad and decadent Medieval/Neo Classical with mournful female vocals. For fans of Arcana, Sopor Aeternus and Autumn Tears.

"Night Thoughts" could well be said to come forth from the same womb than gave birth to names like Arcana, Autumn Tears or Ataraxia, yet this particular birth seems to have been somewhat more laborious - they are slightly less bold than Arcana in their endeavors, and hardly as theatric as Autumn Tears or as ecclectic as Ataraxia. Gothica delve slightly deeper in the decadent beauty of neoclassical/medieval music, and evoque its darker side, sometimes using the same colors that Sopor Aeternus used for "Todeswunsch", but with song structures that still recall what Dead Can Dance established in their work. Solemn church organs resound, yet it is as if the dust that had been accumulating for ages still hangs heavy on its notes. Violins seem to mourn the lost ones we once held dear, and the delicate flute melodies join in on their weeping, as if whispering calm blessings. The dense keyboards weave a ominous shroud around it all, and finally, we have the blissfully sad voice of Alessandra Santovito, whose classical formation comes to add a more formal and severe tone to things every now and then. Tracks like 'Spirits Of The Dead' add a ritualistic mood to things: tribal percussions and minimalist synth lines serve as the backdrop for the mesmerizingly monotonous voice of Roberto and memories of Endvra will certainly come to mind quickly. 'Penelope', on the other hand, bring these tribal percussions to a more contemporary timeframe thanks to the use of electric guitars. I don't really recall ever having heard anything so miserably beautiful and somber in a long while, and although I cannot recommend this enough, "Night Thoughts" may sometimes prove to be slightly disturbing.

曲目
Enter Laoris
Ministrels of Old
Yesterday You Danced With Me
Black Flower
Two Faeries
Bog Dance
The Court of Faerie
The Forest
Summer Night
Fearies Stole Bridget
Exit Laoris
Maple

"I made many pilgrimages, the flowing water and the ancient stone were my masters, History and Time were my mother and father..."

Everything has its origins in the stone and the stone is at the origin of everything. The stone is a natural element that can be embroidered to create daring architectures or remain massive and impenetrable to the light. ATARAXIA have built the foundations of their manor with that rough material to make them stronger and unaffectable by time. The water, symbol of death, re-birth, eternal rest and regeneration, has become their spiritual guide and has given them the chance to progress, to shape and to transform their art throughout the years. Then, the doors of the realm of dreams have opened to allow them to cross deeper dimensions belonging to an ancestral past and attain contemplation. At the end, walking through a labyrinth leading to a painful and surprising knowledge of themselves, they achieved a new state of enlightenment. What distinguishes a raw stone from a precious one lies in its capacity to be crossed by light and filter it. 'Arcana Eco' is a journey from the rocky underworld up to an eden of light.
'Arcana Eco' is a book describing the story of ATARAXIA's albums through the images of voyage that inspired them.
'Arcana Eco' is also the travel diary of Ferruccio Filippi, a music journalist who reached ATARAXIA's place to talk with them about their art.
'Arcana Eco ' is a voyage within a voyage.

BOOK : six chapters developping through Livio Bedeschi's photos, Ferruccio Filippi's reflections and Francesca Nicoli's writings; an exhaustive interview; a full discography and the 'Arcana Eco' Cd lyrics.

CD : 7 exclusive tracks recorded and mixed between April and July 2004 (total length 36 mn), four of them are new, the other three are older songs revisited with a today sensibility.

Music for endless white landscapes. Alabaster cliffs, the rough thundering sound of the ocean, the flight of sea birds over nuanced surfaces, a deep refreshing sleep under a tree in a rainy summer afternoon.
Some white words, never pronounced, some white emotions, never revealed, white breaths of a lost season.
A concept album containing three long suites inspired by the Norman landscapes where struggle leads to purification and the communion with nature to the abandon of the body armor to get the lightness of birds and the purity of the air.
Classic, synth and bass guitars, textures of keyboards, clarinet, flute and Francesca's voices take the path leading from human suffering to naked contemplation.
In a leave falling, in a wing shivering instant we lived the essence of an infinite spiritual voyage.