Post Modern Music

What kind of inferno are the musicians talking about?
The profane one we all experience day after day?
Or is “inferno” meant to be a metaphor for the freedom of the improviser?
Are they blowing it out or are they blowing it off?
Or are they cancelling it because it is not going to happen?
Or could it be a persiflage on the slippery music business that both musicians have gained experience with from various points of view? more...

This work for orchestra, choir and solo voices returns us all to the basics of real living, as written by King Solomon, and transplants these basics back into our overly modern lives. We desire to once again build upon the principals of good living that bring back peace, tolerance, and prosperity. more...

While Adams’ music is inspired by minimal art, rock and jazz, Sumera's style vibrates the atavistic magic of runes. Both attract our attention through their extraordinary art of instrumentation. more...

The flute concertos of the Baltic composers Peeter Vähi and Urmas Sisask have a deep feeling. Maarika Järvi's facile and light-winged performance lets it sound in a mellow mood. more...

A powerful stream of chamber- and symphony music proceeding, say, from Prokofiev to Pärt... The music is so full of emotion. Everything borders on something else - this is the succession of the seasons, isn't it? There is a continuous flow. more...

This classical band opens the doors to new music of the 21st century, crossing cultural boundaries and abolishing pre-conceived definitions about music, grooving like the hell. more...

“Chrysanthemum Garden Chant” is based on Haikus by famous Japanese poet Matsuo Basho. TARA is a very popular Buddhist female bodhisattva

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Historical film cuts and texts of speeches from JFK, NASA, Truman, atomic scientists, military leaders polarize with the colorful orchestration and vocals. A vote for life and peace. more...

SINGAPORE. A Geopolitical Utopia abounds with both surprise and accessibility. The surprise derives chiefly from Martynov’s decision and ability to pay tribute to an Asian country with music that overwhelmingly comes from the Occident in inspiration and style.

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What kind of inferno are the musicians talking about?
The profane one we all experience day after day?
Or is “inferno” meant to be a metaphor for the freedom of the improviser?
Are they blowing it out or are they blowing it off?
Or are they cancelling it because it is not going to happen?
Or could it be a persiflage on the slippery music business that both musicians have gained experience with from various points of view? more...

After the two download-only albums „Blowing Off The Inferno“ and „The Return Of The Inferno“ (both released on the CCn’C label) it seemed entirely logical to entitle the third part of this “infernal” trilogoy „Living With The Inferno“. Those who suspect some kind of so called program-music behind this project are protagonists of the obvious, but then again, if you want to take the title seriously, one look at the anarchic events of the day is enough.
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