The Genitorturers are an industrial metal/industrial rock band from the United States, with influences extending into the 1990s Hardcore punk and Electronic music. They proclaim themselves to be "The World's Sexiest Rock Band". This is Morbid Angel's bassist/vocalist David Vincent's wife band. He is also member of Genitorturers - plays bass under nickname Evil D. The band is internationally renowned for its exploits, pornographic show content, and unique style of music.

Seance is a Swedish death metal band. The band was formed in March 1990 when two local Linköping bands, Orchriste and Total Death, fused. They split up after two albums in 1998. Most band members were also involved in the bands Satanic Slaughter and Witchery. Patrick Jensen later joined the band The Haunted. They reunited in early 2008.

Acis and Galatea (HWV 49) was originally a masque composed by George Frideric Händel. He first composed this piece while he was living at Cannons (the seat of James Brydges, 1st Duke of Chandos) during the summer of 1718. It is set to a libretto by John Gay, Alexander Pope, and John Hughes, who borrowed freely from John Dryden's English translation of Ovid published in 1717, The Story of Acis, Polyphemus and Galatea...

The Three Sounds had a remarkably prolific career, releasing a steady stream of albums throughout the 1950s and `60s. By the time of 1969's SOUL SYMPHONY, the group's final album, both the make-up and the sound of the group had changed. Only one of the original trio remained, and the music, far removed from the spare, groove-oriented instrumental post bop that had defined most of their output, was now dominated by string arrangements and easy-listening-style vocals. Pianist Gene Harris brought in outside musicians to complete this ode to urban life in the late `60s. The results may not please old-school fans of the Three Sounds, but will certainly fit a niche market interested in jazz and fusion experiments from the era. Arranger: Monk Higgins. The Three Sounds: Gene Harris (piano); Henry Franklin (upright bass); Carl Burnett (drums). Additional personnel: Freddy Robinson (guitar); Buddy Collette (flute); David Duke (French horn); Alan Estes (percussion); Specialties Unlimited (background vocals). Down Beat (p.74) - 3 stars out of 5 -- "[T]he early parts of the 26-minute title track are imaginative, combining tender piano lines against subtle string accompaniment followed by a slow funk groove..."

From the notes: …" For more than half a century Rosé was at the center of musical life in Vienna - and even then, it took Hitler's Anschluss of 1938 to displace him. Rosé's destiny was intimately bound up with the two most controversial figures in Viennese music at the turn of the century, Gustav Mahler and Arnold Schoenber; and he represented the final glory of the 19th-century Viennese string style which Fritz Kreisler, a crucial 12 years younger, so soon overthrew…"

"In 1881 he was made leader of the Vienna Court Opera and two years later founded his quartet which was considered - not least by Brahms - superior to Hellmesberger's. Rosé, who wed Mahler's sister Justine in 1902 (his cellist brother Eduard was already married to the composer's youngest sister Emma), played Goldmark and other contemporary composers as well as the Classics. From 1888 to 1896 he led the Bayreuth Festival Orchestra and when his own organization appeared in concert as the Vienna Philharmonic, he was the leader…."

The KORG Legacy Collection delivers classic Korg synthesizers reborn as software. Taking advantage of the technical know-how uniquely available to the original manufacturer, Korg has received high acclaim for turning some of their most legendary instruments into software while adding modern parameters and up-to-date ideas.
The classic sounds of the MS-20, PolySix and Mono/Poly are reborn in KLCAE07! Korg’s proprietary Component Modeling Technology recreates not just the sound, but the characteristics and response curve of each aspect of the original analog signal flow, to provide results that are completely faithful to the original hardware.

Nearly everyone that was seduced by Chumbawamba's irresistible "Tubthumping" wasn't aware that the band had not only kicked around for over decade, but that they were politically active, social satirists with a penchant for anarchy, both in their politics and music. Of course, nobody would be able to discern that from "Tubthumping," since its sendup of lads shouting "lager, lager, lager" was so accurate that it appealed to the very audience it was spoofing. Still, it was a terrific pop single, and it broke down the doors for the group in America, where Alice Nutter made headlines when she encouraged fans to shoplift their record. If America was amused by Chumbawamba and their antics, the band was even more amused, even befuddled, by the U.S. – so much so that they decided to make What You See Is What You Get, their sequel to Tubthumping, a snapshot of their view of the land of excess. Consisting of 22 songs in under 48 minutes, WYSIWYG is as fast and furious and saturated with pop culture – just like life at the end of the 20th century. Every song moves so fast that the album initially seems a bit like a blur, albeit a tuneful, clever blur. The very brevity of the tracks guarantees that there isn't a track here as chart-friendly as Chumbawamba's fluke hit, but there are plenty of melodies and catchy hooks – they just happen to be pieced together like a collage with a bunch of sound samples, found sounds, snippets of television, spoken words, drum loops, and the like, with all of it folding back onto itself in the second half of the record. As social satirists, the group is a little obvious this time around – "Hey Hey We're the Junkies" is set to the tune of "Hey Hey We're the Monkees," "Pass It Along" sends up Microsoft's slogan "Where Do You Want to Go Today," the 1999 Woodstock riots are justified by "I'm Not Sorry, I Was Having Fun," there are shout-outs to "any Branch Davidians in the house" on "Jesus in Vegas," and they name-drop Jerry Springer – but maybe the point is that America is a little obvious and superficial.

Stephen Thomas Erlewine, All Music Guide