Tracklista: 1. The End Of The World 2. Nature Boy 3. Can't Help Falling In Love 4. Spoonful 5. The House Of The Rising Sun 6. A Taste Of Honey 7. Who's Sorry Now 8. Speaking Of Happiness 9. Sometimes I Feel Like A Motherless Child 10. Love Hurts 11. Lonely Mound Of Clay 12. I Only Have Eyes For You 13. Who's Lovin' You 14. Unchained Melody 15. Lead Me On 16. All Alone Am I 17. Living In A Trance 18. Get Happy
Tracklista:1. Burn2. You Fool No One (Interpolating Itchy Fingers)3. Love Child4. Sail Away5. The Gypsy6. Lady Double Dealer7. Mistreated8. Holy Man9. Might Just Take Your Life10. You Keep On Moving11. Soldier Of Fortune12. Lay Down Stay Down13. Stormbringer
Tracklista: 1. Mind Is Probably2. Own The Road3. Want To, Bad4. Pier Pressure5. Nice Night6. Every Night You've Got To Save Me7. Money Counter8. Territory9. Soul10. Subway Phone
TRIBES OF NEUROT "GRACE" CD
Tracklista:1. Get Ready2. Nancy3. Forever Fool4. I'm Back5. Pretty Please6. Treat Me Kind7. Running8. Promises9. Save Me from Another Day10. Marianne (20,000 Acres of Moonlight)11. Father's Son12. Situate Yourself13. Fragile
Tracklista:1. Deep - Psalm 1302. Interlude3. Refuge - Psalm 904. Praise - Psalm 150
Tracklista:1. So May It Secretly Begin2. Chan's Song3. Luiza4. Save Your Love for Me5. If I Should Lose You6. So in Love7. Dindi8. Almost Like Being in Love9. Everything Must Change
Tracklista:1. The Phantom Limb2. Old Fuel3. Stacked Smoke4. Blackout5. Cyanide Sky6. Where the River Ends7. Thursday8. Fury (Forging Tempests Part I)9. Shadow North (Forging Tempests Part II)10. Shift to Silence (Forging Tempests Part III)11. Beacon (Forging Tempests Part IV)
Tracklista:CD 11. I. Allegro Con Moto2. II. Allegretto3. III. Allegro Molto4. I. Andante Quasi Adagio5. II. Allegro Con Moto6. III. Allegro RisolutoCD 21. Allegro2. Allegretto Con Moto3. Andante4. Allegro
Whether one uses the slightly anachronistic term »cantata«, or the more appropriate geistliches Konzert (»sacred concert«) to describe the form of sacred vocal music created during the course of the 17th century in the northern German lands, one is struck, above all, on listening to this music, by the depth of feeling — a blend of humility, pain and anguish — on the one hand, and by the power of the musical composition itself on the other. The Thirty Years' War (1618-1648) was the stage for bloody clashes, joined in the name of religion, attended by their cortege of atrocities, famines and epidemics, resulting not only in destruction, but also, above all, a deep demoralisation. What faith could reside in Man, when his spirit could only hope to find rest in the afterlife? It was a period for reflection on the misery of the human condition, on the precariousness of life, on the futility of engagement, somewhere between culpability and mortification, lucidity and cynicism, doubt and despair.The 17th century in Germany witnessed a power struggle between the solidly anchored traditions and a renewing musical trend, and over the course of a few decades the forces of innovation would move from a marginal position to one of dominance.Religious musical practice consisted largely of plainchant melodies, supplemented by the polyphonic repertoire from the beginning of the century, or even of the previous one. The stile antico was considered more suitable for devotional and reflective purposes. A certain hostility towards the new Italian style, generally considered to be artificial and contrived, was expressed most clearly by the Pietists, led by Johann Arndt. This group — flowing from their conviction that the scriptures and their theological commentary were at first sight impenetrable to the laity, and so were failing to fulfil their pastoral task - insisted on the need for better guidance in bible-reading, encouraged group discussion and individual study of specialist literature, and demanded simplification of the texts and their musical setting. They took issue with the inadequacy, in their ears, of Italian music, comprised as it was of »animal noises«, and recommended rather the use of polyphonic music in the sacred sphere to promote reflection and devotion. Flowing logically from their principles, they also promoted a new form of »spiritual song«, ironically inspired by the Italian strophic aria — the only concession to the stile moderno — as a melodically simple and musically sober form in exclusive service of the comprehension of the text.Opposed to the Pietists in the debate about the role music was to be afforded within the protestant liturgy was an orthodox current decidedly more open to new developments in music. The expressive content of the text as a whole, and its Affekt, were considered more important than its word-by-word comprehensibility. Music, as a gift of God, was the principal conduit for fitting homage to him. An increasingly important element in sacred music would be the representation of emotional drama, requiring a compositional method unashamedly elaborate, even virtuosic, one reinforcing further the role of instruments — and gratifying an existing predilection in Germany for instrumental music.