The "War Eternal Tour : Tokyo Sacrifice" live DVD/Blu-ray, which was recorded at Shibuya O-East in Tokyo in March 2015. Features: A new vocalist Alissa White-Gluz and a new guitarist Jeff Loomis performed in the gig. Comes with lyrics and a description.

Agony is the second studio album by Italian death metal band Fleshgod Apocalypse. Max Lussier of The NewReview said that Agony "is a very different album than its predecessors". While he praised the speed of the songs and the guitar and drum work, he thought that the orchestral parts were "too large a part of the album's sound", resulting in "the guitar playing [becoming] slightly muddled and lost in the shuffle".

Moon'Doc, the band built around former Sinner / Accept and Victory guitarist Hermann Frank, have attractive melodies, underpinned by the guitar parts being livened up by varied and interesting arrangements and this is they third album (new line-up for this one). "Real Of Legends" contains ten more than impressive pieces - simply crying out to be rendered live and kicking.

Antony Blaze is the New Age alias of Antony Kalugin, a prolific musician and composer from Ukraine. His bands Karfagen, Sunchild and Hoggwash plus his solo albums has gained him many fans.

Alva Noto + Ryuichi Sakamoto with Ensemble Modern - utp_ (2008) [CD + DVD] {Raster-Noton r-n 96}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 409 Mb | MP3 @320 -> 181 Mb
DVD9 -> 6.23 Gb | All Regions | NTSC 16:9 | Dolby AC3, 6 ch / Dolby AC3, 2 ch | ~ 113 min | ISO Image | Subs: English, Deutsch
Full Artwork @ 300 dpi (png) -> 149 Mb | 5% repair rar
© 2008 Raster-Noton | r-n 96
Electronic / Classical / Leftfield / Avant-Garde / Glitch / Abstract / Modern Classical / Minimal

Commissioned by the city of Mannheim (Germany) for its 400th anniversary, UTP was co-composed by Carsten Nicolai (aka Alva Noto) and Ryuichi Sakamoto. The work, whose title is deducted from the word "utopia," is scored for electronics, piano, and chamber ensemble, the latter being Ensemble Modern. It consists in extremely slow-paced tableaux of stretched out octaves and skeletal motives, a Butoh-like performance. The piece is solemn and entrancing, like Morton Feldman's music – more elegant, perhaps. It marks a new step in the evolution of Nicolai and Sakamoto's music, together and apart, as neither of them had yet concocted something this sparse, this naked.