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    Symphony No. 1 & Other Works
    Alexander Negerevich began writing Symphony No. 1 in September 2007 at his home in Stanthorpe, Queensland, Australia and completed the four movement work after a prolonged illness in late 2008. The four-movement work aims at exploring the relationship between tonal and dissonant harmonic structures. The tonal elements of the Symphony contrast against the dissonant subject material, creating an almost 'love-hate' relationship. The First Movement (Moderato) begins with a melancholic theme doubled by oboes and trumpets. It is accompanied by underlying semiquaver woodwind passages that give way to brass and string flourishes. After a brief pause in the strings and horns, a short rhythmic figure is announced by the first trumpet and mimicked by other brass and woodwind instruments. This motif is explored and soon joined by slow ascending and descending glissandos in the upper strings, followed by horns. This is accompanied by similar glissandos in the lower strings. English horn and oboe then follow with brief lyrical melodies that give way to a new subject announced by the 1st and 2nd Violins. A triplet motif hovering on the same pitch appears above the strings and leads to an echo-like figure punctuated by the brass. Another detached three note rhythm is played by the 2nd horns and copied by various Wind and Brass instruments which leads into a crescendo chord with an underlying timpani roll that announces the Allegro Vivace. A change of key signature at this point, introduces dramatic string passages that are interplayed between Woodwind and Brass flourishes. After some jostling between parts a small fugue develops between opposing String voicing that eventually lead to a high pitched 4 note semitone cluster that is soon released by another new String triplet motif which soon leads to a brief Moderato section where the 1st Oboe nonchalantly remembers the opening theme of the Symphony. Immediately, the Allegro Vivace is then re-introduced and hurries towards a dramatic finale, with Timpani hammering along in high gear. With virtually no pause the Symphony progresses into the second movement (Adagio) by a long held sustained note introduced in the bass clarinet. Immediately, a five note bird-like motif, which is developed throughout this entire movement, is announced by the English horn. With continuous obstinacy this motif is re-introduced many times by different instruments. A second melodic motif is played by the Clarinet with a same pitch triplet that often is interrupted by minor second clashes in the background, that again argue between consonance and dissonance. The movement progresses to a second dramatic flourish which finally gives way to a receding minor fifth fall in the strings followed by a small bass clarinet solo which dies away completely to nothing. The Third Movement (Moderato) is introduced by a chord shared between woodwind and strings that quickly leads to a chorale style Brass passage. Each individual String part then announces a Canon-type motif, played in a minor key which bears the sound of "burgeoning optimism". When the lower strings finally take up the minor-theme, short triplet motifs are sounded by Flutes, Bassoons and Clarinets that lead to a long held Contra Bassoon and Timpani pause which introduces a delicate String tremolo section. After a "softly treading" pizzicato figure in the strings that accompanies French Horn solos, the Brass announce a new melodic figure which is expanded by all sections of the orchestra. An urgent crescendo leads to a loud spine-tingling climax within the movement. Lower Woodwind and Brass then develop a rousing Fortississimo, which drops in tension to a Flute flourish and English Horn solo. Finally the strings play a series of chords that are accompanied by Flutes and Horns which mimic the earlier pizzicato of the Strings. The fourth movement Allegro Moderato begins with an "urgent", "pressing" motif announced by Horns and Trombones whilst Timpani rolls thunder underneath. Wind and Brass announce short thematic motifs that are strongly accompanied by rapid broken chord passages within the Strings. A two-bar Timpani solo leads into a slowly expanding crescendo, of small semiquaver motifs, played by the Strings to a huge climax. Towards the conclusion of the movement a slower tempo change occurs heralded by a long Bassoon note which is joined by a small Bass Clarinet solo, reminding the listener of the second movement thematic material. Gradually the musical focus changes into a punctuated dotted rhythm with rising triplet flourishes that culminate in a dynamic ending. The Lament on Shattered Lives was composed in 2007. It reflects the tragedy of daily life for innocent Iraqi citizens going about their daily business in the unstable environment post Saddam Hussein. Influenced by the daily news reports filtered through the worldwide media, the Lament depicts the atrocities committed by terrorists and extremists, bent on causing mayhem and destruction. Upon listening to one such news report, telling of the deaths of more than fifty people killed by a senseless act of destruction, the composition aims at reflecting the belief that no religion can condone the death of innocents for any reason, nor can any human justification be given for such barbarism. The Lament is composed for String Orchestra alone. Cellos introduce a melancholy five bar melody which gradually is taken up by each section playing the same theme. The work then moves into a forceful passage of suspensions. After a climax of repeated notes, the tension is released and then interrupted by a surge of dissonance that depicts the peace of daily life being forever interrupted by shattering explosions. Another tonal cluster with each section appears in two bar intervals and grows in intensity into a frenzied rhythmic attack. This climax unwinds into a fading, but ominous sounding duet between the cello and double bass sections. New thematic material emerges in the middle section, with the theme being enveloped by tremolo and counter melodies. After a second round of dissonant triplets, the original theme returns in a new key and fades to a peaceful ending. The Manhattan Requiem was composed on the very day American citizens and the world witnessed the tragedy of September 11th, 2001. The composition is a tribute to those Americans and individuals of different nationalities who lost their lives as a result of the terrorist attacks that occurred. The composition was originally conceived and written for Piano Quartet, but was subsequently reworked one year later for full String Orchestra with timpani in an expanded form. The work depicts the horror and tragedy of the day through long, drawn-out chord clusters with suspensions. The unison movement of the work portrays a chorale structure, reminiscent of a hymn. The work concludes with layered sections building towards a climax.
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    Blue World
    Blue World is the second solo piano release from British pianist/composer David Izen, following his 2003 release, Ocean. More improvised and 'in the moment' than Ocean, Blue World conveys the joy of creating music spontaneously without allowing conscious thought to get in the way of the creative process. The son of professional musician Bernard Izen, who was named one of the top five clarinet players of recent times, David has been involved in music for most of his life. Classically-trained, Izen worked on the fringes of the pop music industry in London after university, composing songs and performing with a variety of bands. Influences from these musical experiences are discernable and give Izen a distinctive voice. Blue World opens with 'Honfleur,' a piece that begins with a simple rhythm and very spare melody that remind me a bit of Erik Satie. As the piece develops, a variety of themes emerge, adding complexity as each tells it's tale. 'Improvisation 2' is somewhat darker, looking inward and spontaneously expressing emotions as they are encountered. 'Old Waterfall 1' is the first of a suite of three pieces entitled 'Old Waterfall.' #1 is slow and a bit on the melancholy side, #2 is livelier and more optimistic, while #3 is in a state of constant movement although it is leisurely and calm. 'Improvisation 3' is almost conversational, speaking freely and sometimes passionately. 'The Golden Hour' is a lively and very intense two-movement piece. The title track closes the album with a lovely, flowing melody that is gently soothing and graceful. Blue World is an impressive and enjoyable second release from David Izen and should establish his place in the solo piano musical realm. Kathy Parsons MainlyPiano.com 2011.
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    Witchboard
    It's called a Ouija Board and it's been used for thousands of years to communicate with the souls of the afterworld. For beautiful Linda Brewster (Tawny Kitaen, BACHELOR PARTY), it brings the playful ghost of a dead ten-year-old boy. But when the friendly spirit develops a sudden taste for violent murder and demonic possession, Linda's boyfriend (Todd Allen, DJANGO UNCHAINED) and her former lover (Stephen Nichols, HOUSE) must race to destroy the ferocious portal of the damned. Kathleen Wilhoite (ROAD HOUSE) and Rose Marie co-star in this chilling thriller from Kevin S. Tenney (NIGHT OF THE DEMONS).
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    Moods
    'Moods' is based on the theory that different frequencies and tones when processed by the human brain can transport the listener to a different state of mind. This CD contains 3 titles which depending upon the track being listened to, can induce a state of relaxation (Alpha Moods), stimulation (Beta Moods) or deep meditation (Theta Moods). When listening to this music best results are achieved when headphones are used. To avoid unwanted side effects no use was made of the 'Brain Sync Research' extra frequencies function on this CD. 'Alpha Moods', a composition made specifically for a scientific group for the purpose of inducing relaxation, was the building block upon which the foundation of this album has been built. Press Information The three long tracks here are designed to suit or induce a certain mood, namely relaxation and meditation in the case of the 32-minute 'Alpha Moods' which builds from an abstract base that reminds me of Schulze's Irrlicht gradually attaining a more melodic feel that ends up having a surprisingly strong sound. An even stronger Schulze influence (from the 80s & 90s this time) characterises the gradually emerging sequences of 'Beta Moods' (stimulation & animation) which eventually gain a suitably surging, punchy feel to them, especially once the backing rhythm kicks in. The album ends with 'Theta Moods' (deep meditation, trance & dreams), a relatively short (9 minute) track that builds in a similarly pleasant way to the first piece, only nowhere near as long! Carl Jenkinson This CD is a daring work in minimalist electronic music at the purest cosmic style. The three long electronic pieces that integrate this CD flow in a consistent, uninterrupted stream of unearthly soundscapes. 'Alpha Moods' and 'Theta Moods' are slow suites. Musically speaking, listening to these two pieces has a relaxing effect. 'Beta Moods' has quite fast rhythms, performed with sequencers. More than concrete melodies in the traditional sense, there are chords and melodic atmospheres that come and go, thus contributing to weaving an unreal environment. Edgar Kogler This release from 2006 offers 78 minutes of scientifically based electronic music. This music is based on the theory that different frequencies can alter the listener's state of mind, alpha inducing relaxation, beta generating stimulation, and theta initiating deep meditation. The CD's three long tracks explore these relationships between sound and cerebral response. The 'Alpha' composition was made specifically for a scientific group studying these relationships. Densely layered ethereal tonalities dominate the 'Alpha' track (which is 32 minutes long), streaming with apparent infinite determination. Auxiliary textures are employed to give the harmonic flow textural body. Dramatic punctuations occur deep with the piece, accruing stamina as the music progresses and injecting a sense of ascension. Two-thirds of the way through the piece, the flows grow softer so as not to disturb the accomplished sedation. The textural backdrop of the 'Beta' track features an assortment of electronic effects to liven things during this 36 minute selection. Pulsations surface, squea and disappear with regularity. Bongo beats enter the agitated mix, providing a lazy rhythm that propels without disruptive significance. Melodies nibble at the flow while temporary sounds continue to rise and fade. As the piece progressed, the bongos swell with vigor and volume, injecting a sense of urgency. Choppy keyboards assist that sense of vitality. Complex patterns emerge gradually, bestowing substance on the harmonic flavor of the track. A lull toward the end proves false as everything rises again for a demonstrative coda. With a duration of only 10 minutes, the 'Theta' composition utilizes astral sighs and bubbling diodes to achieve a mesmerizing efect. Periodic presences of deeper consistency generate expanses of mental calm that swell and contract according to a celestial pulsation. While sparse in melody, this music explores the viable therapeutic value of electronic music. Matt Howarth / Sonic Curiosity With the three tracks on Moods (77'47') Frank Klare further explores the concept of mood sustainment first heard on Klaus Schulze's early cosmic efforts. The opening track, 'Alpha Moods', works within the classic sonic architecture found on albums such as Irrlicht and Cyborg. For this piece, Klare develops a deep-freeze of synthy iciness. With it's revolving chord progressions and dense layers of frosty electronic timbres, the music conjures up a vast tundral expanse. 'Beta Moods' produces a prolonged energy similar to that of the more vibrant tracks on Schulze's later work Audentity. The rhythm parts build up, fill out and become insistent enough to attract the pulse of the listener. Each chord shift feels like a course correction on this wild cosmic ride. 'Theta Moods', the third and shortest track, is the most nuanced of the three, and a well-chosen pendant to the longer pieces. Here Klare rolls out sci-fi space blip and raygun blast effects which flash high above a slow current of phasing pads and hollow tones. Somber harmonies rise up and play out in a brief but epic gesture. This stark rendering of interior space is profound in it's simplicity, and is a testament to the magnificence of the original. Chuck Van Zyl / Star's End Molto più interessante Moods (2006) di Frank Klare: tre lunghissimi brani ispirati alle teorie sulle onde, le frequenze e i toni che possono alterare la percezione - e dunque gli stati d'animo e le emozioni - dell'ascoltatore. Partendo da questo presupposto, Klare ha messo in piedi un progetto sperimentale, in cui ha puntato su diversi tipi di o-nde (Alpha per il rilassamento, Beta per la stimolazione, Theta per la meditazione profonda) allo scopo di stimolare differenti risultati interiori. L'autore suggerisce l'ascolto in cuffia per un effetto ancora più profondo. Donato Zoppo / MovimentiProg Frank Klare is an experienced musician from Germany who already has a long career behind him in electronic music with band like Synco and Traumklang, numerous solo-releases, many collaborations and a lot of appearances on compilation albums. Until now, his solo albums have been primarily retro/Berlin School excursions. On "Moods" he changes the mood (so to say) to a more atmospheric album. "Moods" is based on the theory that different frequencies and tones when processed by the human brain can transport the listener to a different state of mind. The CD contains three long tracks that can induce a state of relaxation and meditation ("Alpha Moods"), stimulation and animation ("Beta Moods") or deep meditation, trance and dreams ("Theta Moods"). These results can best be achieved by using headphones. "Alpha Moods", a composition made especially for a scientific group for the purpose of introducing relaxation, was the building block upon the foundation of this album has been built. It consists of multi-layers of sounds and effects as well as an intriguing melody. "Beta Moods" is a more traditional track which has the most references to the music we know from Frank. It has some great sequences and fitting, slow, rhythms. Here, Klaus Schulze (from the early eighties, that is) and Mario Schönwälder greet us. "Theta Moods" is an atmospherically affair with fine strings. "Moods" is an album you don't just put on while washing the dishes. You have to sit or lie down for it... Paul Rijkens.
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    Scenes
    One of the delightful mysteries of music is the power it possesses to stimulate visual impressions in the minds of listeners. Certain works-even small musical fragments-can fire the imagination with images from our world. A chevron of birds in flight, a serene mountain lake, the morning after a snowstorm, a starry sky, a cityscape, all from melody, harmony, and rhythm. Certain musical strains can release floods of memories that instantly connect us with the poignancy of times and places that we long to glimpse again. Like many before me, pursued a lifelong quest to find and capture the notes that may move others to feel such things. The guitar has been an excellent musical companion in this pursuit. The range of musical styles into which it's voice fits has enabled me (in different seasons of my life) to delve into folk, rock, jazz, and sacred music in addition to the classical repertoire. Consequently, the pieces I've written for this album have been shaped by my passage through diverse stylistic territories. The suite Four Scenes From a New England Calendar offers pastoral impressions of the part of the country where I've spent most of my years. The individual movements bear the subtitles "January", "April", "August", and "October" and attempt to convey feelings about the seasons as experienced in America's Northeast. As well, each movement explores different guitar textures and techniques and harmonies. "January" employs block chords struck vigorously in an eighth note pulse throughout. "April" is an atmospheric but melodic waltz at a medium tempo. In my mind, the rolling triplet arpeggio texture of "August" suggests ocean waves. "October" is dark and introspective with a lyrical melody. It brings the suite to a close with a coda that's as warm and peaceful as glowing embers on a chilly night. Descent to a Dream explores the moments of waning consciousness as we drift into sleep. The piece opens with a serene melody that becomes more rhythmically animated as it develops. Whole-tone scale motives, suggestive of the dream state, appear periodically for transitions. Fragments of the main theme emerge again in the coda above a bass line and hypnotic arpeggios. Four long chords signal the final break with the waking world. In the blues Mississippi Revisited, astute listeners might detect inspiration drawn from various blues guitar stylists blended with harmonies slightly reminiscent of George Gershwin's music. The middle section with it's walking bass line and chord jabs gives a nod to jazzmen Joe Pass and Lenny Breau. Three Hymn Tunes is a group of settings of popular hymn melodies: "Where Can I Turn for Peace?" "Abide With Me," and "Come, Come Ye Saints." My first serious exposure to hymn tunes began in 1984 when my wife MaryAnn and I joined the Church of Jesus Christ of Latter Day Saints and felt the uplifting power of hymns through singing them. The canon of American hymn tunes includes original melodies and adaptations of folk songs that have enjoyed long lives in both Europe and America. When I began making guitar settings of hymns in 1993, my approach was to take them out of the vocal domain and into the instrumental world and attempt to illustrate aspects and images inspired by the titles and lyrics. Joleen G. Meredith (1924-2004) wrote the melody to "Where Can I Turn for Peace" in 1971. Of the three hymns in this grouping, this melody has the shortest history, but has touched millions with a buoying message about turning to Christ for peace amid life's tumult. "Abide With Me" is considered a masterpiece of the Christian hymnody. British organist and composer William H. Monk (1823-1889) wrote this melody, which he titled "Eventide," and joined it with lyrics penned by Reverend Henry F. Lyte as the latter was succumbing to tuberculosis in 1847. The line "the darkness deepens, Lord abide with me" builds on a metaphor relating the inevitability of the close of the day to the end of life. "Come, Come, Ye Saints" is the best known of all Mormon hymn tunes. The melody is from an English folk song with lyrics written by William Clayton (1814-1879) after he and thousands of other Mormons were unlawfully ejected from their homes in Nauvoo, Illinois in the winter of 1846. This setting opens with the single-line melody accompanied by a snare drum effect (produced by plucking the fifth and sixth strings after crossing and fretting them at the midpoint of the guitar neck), alluding to the forced exodus and historic Mormon pioneer trek across America's plains. The ebb and flow of rhythmic and harmonic activity are meant to conjure up images of the energy and vibrancy of the pioneers who built a new city in the Salt Lake Valley. Malenky Etude is a short arpeggio study created to help master the right-hand fingering pattern found in "Etude 1" by Brazilian composer Heitor Villa Lobos. Virtually all classical guitarists have grappled with the unusual demands of that piece. "Malenky" is a Russian word for small, and the piece is dedicated to my Russian-born former teacher Dmitry Goryachev. Beneath the Lowering Sky seeks to portray the reaction to the sight of angry clouds overtaking a formerly clear sky. It's based on angular question-and-answer phrases built from the arrangement of nine tones. I worked this curious little melody through several permutations, presenting it in a number of harmonic and textural guises to fit a range of shifting moods. Metheny is a tribute to the great jazz composer and guitarist Pat Metheny. Over the years he has named several tunes for people. Two musicians whose work has moved him-songwriter James Taylor and bassist Jaco Pastorius-inspired the tunes "James" and "Jaco." I'm not aware of any musician returning the favor, so I named this piece for Pat. While it doesn't directly quote any of his music, it does contain allusions to aspects of his style in the articulations of certain melodies, unusual chord voicings and progressions, Latin rhythms, vigorous strumming, and a button ending. It's a tribute to an artist whose music has been a recurring theme in the soundtrack of my life since 1976. Farewell is the only piece I didn't write or arrange for this project. John Doan, best known for playing the 20-string harp guitar and for his Celtic-influenced compositions, came up with this gem. It's tinged with a bit of Irish dolor that affected me deeply the first time I heard it. Who hasn't experienced bittersweet resignation when the time for parting arrives and we desperately wish it could be postponed? John's simple but eloquent tune captures that sentiment perfectly, making it an ideal choice to close this album. -Mark Small.
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    Blumhouse of Horrors: 10-Movie Collection
    Ten-disc set includes: The Purge (2013)In the near future, the corporations that govern the United States have devised a way for citizens to release negative energy. It's called "the Purge," an annual 12-hour period during which all crimes are deemed legal. When James Sandin (Ethan Hawke) and his family provide sanctuary for a stranger in their locked-down home, they find themselves surrounded by bloodthirsty killers who want the man dead. Lena Headey, Max Burkholder also star in this terrifying sci-fi suspenser. 86 min. C/Rtg: R Ouija (2014)The shocking suicide of a young woman devoted to playing the famous supernatural board game brings together her grieving friends, who try to solve the mystery of her death by establishing contact with her spirit using her personal Ouija board. At first, their séance appears to be successful... but they soon discover that opening the doorway to the netherworld can allow sinister forces to seize control. Olivia Cooke, Ana Coto, and Daren Kagasoff star. 90 min. C/Rtg: PG-13 Unfriended (2014)The cyber-shaming that led to a teen's suicide comes back to haunt her peers in this unconventional horror story told from the perspective of online video chatting. On the anniversary of the girl's death, her friends find their gab sessions on the web disrupted by an online user who claims to be their dead classmate, is it an elaborate prank, or a supernatural predator privy to their secrets and hungry for revenge? Heather Sossaman, Matthew Bohrer, and Renee Olstead star. 82 min. C/Rtg: R The Boy Next Door (2015)Separated from her husband, middle-aged high school teacher Claire (Jennifer Lopez) and her hunky, 19-year-old new neighbor, Noah (Ryan Guzman), have a steamy one-night stand. At least, that's what she thought it would be. Convinced they're meant to be together, young Ryan develops an unhealthy fixation on Claire that slowly turns into a dangerous-if not deadly-obsession. Kristin Chenoweth, Ian Nelson, and John Corbett also star in this sexually charged thriller. 91 min. C/Rtg: R The Visit (2015)In writer/director M. Night Shyamalan's chilling found-footage horror tale, young siblings Becca (Olivia DeJonge) and Tyler (Ed Oxenbould) go to spend a week at a remote farmhouse with grandparents (Peter McRobbie and Deanna Dunagan) they've never met. And when the strange behavior exhibited by the old folks becomes more and more sinister, the kids are soon fighting for their lives against Nana and Pop Pop. Kathryn Hahn co-stars. 94 min. C/Rtg: PG-13 Split (2016)A mesmerizing performance by James McAvoy drives writer/director M. Night Shyamalan's terrifying shocker. Three teenage girls (Anya Taylor-Joy, Haley Lu Richardson, Jessica Sula) are abducted by Kevin (McAvoy), a man with 23 distinct personalities. Now, they must desperately try to escape their disturbed captor, even as a 24th personality-one that possesses seemingly superhuman strength, speed, and durability-begins to emerge. Betty Buckley, Brad William Henke co-star. 117 min. C/Rtg: PG-13 Get Out (2017)Comedian Jordan Peele earned an Oscar for his screenplay for his directorial debut, an unusual and topical horror tale about Chris (Daniel Kaluuya), a young African American man about to meet his white girlfriend Rose's (Allison Williams) parents for the first time. The trip to Rose's family estate begins with some uncomfortable racial tension, but quickly turns into a fight for survival as Chris becomes the unwilling subject of a bizarre procedure that could cost him his mind. With Bradley Whitford, Catherine Keener. 103 min. C/Rtg: R Happy Death Day (2017)A slasher movie spin is put on "Groundhog Day" in this shocker focusing on Tree Gelbman (Jessica Rothe), a college student who is brutally murdered on her birthday. But when she wakes up alive and well, Tree realizes she's being forced to relive the same day over and over, and the only way to break the grisly cycle is to find out who killed her and why. Israel Broussard, Ruby Modine, Rachel Matthews, Charles Aitken also star. 96 min. C/Rtg: PG-13 Blumhouse's Truth Or Dare (2018)The klatch of college kids spring-breaking in Mexico should've left that creepy abandoned mission off their itinerary... because the seemingly innocuous round of "Truth or Dare" that they engaged in there has transformed into an unending curse, and an unshakable demonic entity is making sure that the truths are ever more devastating-and the dares are ever more dangerous! Unnerving shocker from Blumhouse stars Lucy Hale, Tyler Posey, Violett Beane, Landon Liboiron, Nolan Gerard Funk. PG-13-Rated version, 100 min./Unrated version, 101 min. C Ma (2019)When a group of small-town high schoolers buttonholed middle-aged veterinary aide Sue Ann (Octavia Spencer) to make a package store purchase, they were pleasantly surprised when the older woman offered up her home as a regular safe zone for them to party. However, it slowly becomes obvious that their clingy and demanding hostess has her issues... and when she snaps, the surprises will be anything but pleasant. Distinctive chiller co-stars Juliette Lewis, Luke Evans, Allison Janey, Missi Pyle. 99 min. C/Rtg: R
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    Etched in Twilight
    Etched in Twilight (a trio for horn, violin, and piano) is dedicated to Neesha Joseph, whom I met at Stanford during the summer of 02', and who was the catalyst for the piece. Neesha translates, roughly, to twilight. The piece blends together microtonal, Neo- classical, and serial treatment of pitch, synthesizing abstraction with affectation. The work's drones and microtonal inflections allude to Neesha's Indian heritage, it's clave rhythms to her passion for Latin culture, and it's open lyricism to her tenderness. The Well-tuned Synthesizer was written for a synthesizer whose tuning can be adjusted in real time, so that a lot more notes can be used then the usual twelve per octave. This work uses integer ratios tuned to the nearest cent, creating pure, beatless sonorities not possible in conventional tuning. Intervals alien to classical Western music such as frequency ratios of 8:7 and 7:6 are prevalent. Each inflection is finely carved down to the minutest detail. The work's slow, sub-chromatic descents move through a large variety of shades whose differences are obscured in standard tuning. Étude and Meditation for Marimba was actually an exercise in which I was instructed to write a composition using transformations of a single five-note cell of my choosing. The freely composed first movement develops the motive of parallel fifths moving down a minor third, but the cell from the second movement is foreshadowed at several key moments. Shades of White is a theatrical production that intertwines spoken word, spectacle, incidental music and musical settings of textual collages drawing from a multitude of sources. Orlando mixes sections of Virginia Woolf's Orlando, Wordsworth's Tintern Abbey, and Coleridge's Dejection: An Ode and Aeolian Harp, Statue Plays is performed by a statue of a violinist that becomes animated when a quarter is dropped in it's moneybox, and Dance is a dance scene involving spirits that takes place at a café. Duluth 99' is a duet for flute and percussion consisting of three movements, each inspired by a different personal experience in Duluth. Gnossienne starts off calm, moody, and introspective, much like a Satie Gnossienne, but as the theme is developed, it shifts away from Satie, towards my own more elaborate idiom. Joshua Musikantow is a Chicago born poet and composer with a special interest in microtones. He graduated with honors from Lawrence University and Conservatory with a BA in English and a BM in theory/ comp from the studio of Joanne Metcalf. He is currently pursing his masters in composition at the University of Buffalo. Offbeatjm@aol.com.
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    Hentai Heaven Collection 3
    Media Blasters and it's Kitty Media label are proud to announce the Blu-ray release of the third volume in their best-selling Hentai Heaven line- DOUBLE DUTY NURSES and PAID & LAID. PAID & LAID details the dilemma of a hot high school teacher, Kasumi, and her sister, Kaho, who are both in deep financial debt to a local gangster loan shark. Okura, one of Kasumi's concerned male students, learns of the sisters' predicament and offers to pay off their debt in exchange for some very special favors! As payment for his charitable gesture, the girls agree serve as Okura's personal sex slaves and satisfy his every fantasy and desire until the debt is fully reimbursed. (Two Episodes). DOUBLE DUTY NURSES exposes the secret experiments of the sexy Doctor Makimura who possesses a shocking anatomical secret and develops a new revolutionary sex stimulant drug. To observe the unpredictable and erotic effects of the strange red and blue pills, Makimura diabolically doses her staff of nubile nurses! When they pop the pills, the night-shift nymphs go on a wild gender-bender! The doctor's bizarre plan and the unexpected body-altering side effects explode into an extreme trans-sensual experience! (Two Episodes)
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    The Lincoln Lawyer
    In the gripping thriller THE LINCOLN LAWYER, Matthew McConaughey stars as Michael Mick Haller, a slick, charismatic Los Angeles criminal defense attorney who operates out of the back of his Lincoln Continental sedan. Having spent most of his career defending petty, gutter- variety criminals, Mick unexpectedly lands the case of a lifetime: defending a rich Beverly Hills playboy (Ryan Phillippe) who is accused of attempted murder. However, what initially appears to be a straightforward case with a big money pay-off swiftly develops into a deadly match between two masters of manipulation and a crisis of conscience for Haller.
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    Big Shots
    Ivan Reitman producer of National Lampoon's Animal House and producer/director of Ghostbusters brings you Big Shots a slam-bang comedy-adventure with a heart as big as Chicago. It centers on the unlikely but very special friendship that develops between two 11-year-old boys. Obie is a kid from the lily-white suburbs struggling with the recent death of his father while Scam is a product of the inner city streetwise but equally alone. Together they share an odyssey full of outrageous humor and riveting excitement that teaches them that it's character and love note size age or stature that truly makes someone a big shot. Robert Mandel director of FIX has give Big Shots a percolating rhythm that maintains a deft balance between the story's scares and surprises and it's warm knowing exploration of two boys on the brink of manhood. With a sterling supporting cast this is a film the whole family will enjoy.
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