The long absence of Stoa from the musical world has been glaring since they left Hyperium Records in 1997. It also does not help that they have not released an album since 1995 with "Porta VIII" (a re-release is expected shortly).
Cut to 2002 and Olaf Parusel has re-emerged under the banner of the brilliant band which is Stoa. This is worth owning more than any number of the so-called "neo-classic" samplers which have exploited this style which creation Stoa was part of in the early nineties. Along with bands such as Ophelia's Dream, Anchorage and Love Is Colder Than Death, Stoa was part of Hyperium's elite in terms of this style. The pairing of synthetic instruments with classical arrangements is what neo-classic is all about and these bands, led by Stoa brought into the world a wonderous new style; truly a classical approach without any of the dreaded world music influences which later derailed pioneers Dead Can Dance.
The classic style of Stoa flourishes beautifully on this new album. Masterful string arrangements abound and are accompanied by some scorchingly astounding vocals by Antje Buchheiser. Add to this some sombre oboe work and crystalline cello playing and you have an album which will reduce you to a torrent of emotional jelly.
There is one thing and one thing only which angers me about this album, of the eleven tracks, only eight are new. The other three have been issued on compilations over the past eight years. It is for that reason they only get a seven.
This disc is a fine return to form for Stoa and I really hope they don't take so bloody long with the next one.

Stoa return with Silmand after seven years with international line-up. The new album of the music philosophers surprises in more than one way. Surprising is the release of Silmand itself if you consider that there was no news around Stoa for the past 7 years!
Fans will be happy that the STOA mastermind stays true to himself with his fourth album. Besides the usual melancholy, unusual pop rhythms found their way on the various albums, but the typical Stoa sound is still distinct. The vocal lines harbour some surprises as well. For once there’s the angelic voice of singer Mandy Bernhardts, known from the live performances of the band; on the other hand, the voices of three guest singers sound on Silmand. The first voice belongs to the Australian multi-instrumentalist Louisa John Krol. The Dutchman Peter Nooten (Ex-Clan of Xymox) could be engaged for Silmand as well as the Leipzig-based Ralf Jehnert (Love is Colder than Death).
With Silmand Stoa created an album for the calmer moments in life, for cuddling, to get lost in thoughts, to philosophize. The sound of Stoa deludes to seek the inner sadness and to fly away with it on angel wings. The dark side of the human soul is unveiled, without falling into clichés. The melancholy gets touched and the soul gets musically caressed.
A foretaste on the new Stoa album is provided with the songs Hanuz Nist and Broken Glass on the bands official MySpace profile
. One of the songs on Silmand was already used as film score. Silmand means soul month. With it the month September is titled in an almost forgotten German dialect. Olaf Parusel says 'Besides the strength and spirit of the summer, the September harbours a shimmer of the autumn’s melancholy. A glimpse of winters implacability all life will retreat to.'
Of course, the album is suitable for all months of the year. How about a glass of red wine while listening to it?

Urthona
In the mythological writings of William Blake, Urthona is one of the four Zoas, who were created when Albion, the primordial man, was divided fourfold. Specifically, he is the Zoa of inspiration and creativity. His female counterpart is Enitharmon. Urthona usually appears in his 'fallen' form, that of Los.

D.V.K.E巅峰之作.沿着上张专辑指明的道路坚定的前进,更加低沉更加宏大.最先买的就是这张专辑,一下子就将我迷住了（那时候我还没听过他们其他兄弟组合的任何作品）.辽远的键盘旋律、大提琴、木笛与军鼓齐奏让人瞬间便被Intro带入了那神秘的黑暗国度.Brief Even as Bright来了音乐和着那军鼓节拍渐强,Protector独唱而后Tania的女高音加入进来,配乐华彩后两人合唱.浓郁的中世纪气息...磅礴过后忧伤随之而至On a Faded Violet里大提琴潜入我们的内心,而后小提琴和低音鼓进入.优美的男女声二重唱再次显示了它独一无二的魅力（这也是D.V.K.E独步众多同门的绝技）Overpast中有一段很熟悉的古典旋律,（但我的古典造诣太低了,实在想不起来它是出自哪里）Cease Sorrows Now中最为抢眼的除了小提琴外便是Protector的嗓音,看国外的碟评有一个将他与Dead Can Dance的Brendan Perry相比.这倒是真的让我有所感受:是有很大程度的近似.特别是在In Darkness Let Me Dwell专辑中.另外歌词方面Protector也颇为用心,古体英语诗歌.忧郁黑暗的情绪游动在宏大深邃的音乐空间里.

一张感人肺腑的新古典专辑（其水准足可以与德国的STOA相比）.

1984 年组建的“仙女”有两位成员Spyros Giasafakis和Evi Stergiou，组建伊始她们就将自己的音乐追求锁定在再现神秘的远古希腊音乐这个目标上。98年Daemonia Nymphe发表了自己的第一张黑胶专辑The Bacchic Dance of the Nymphs，后又参与了法国黑暗独立名厂Prikosnnvenie的合辑Belladonne 2的创作。着名小提琴制作家Nicholas Bras更是特意按文献图样为组合制作了一系列远古希腊器乐，这让仙女们的音乐才华得以充分展示。2001年正式专辑Tyrvasia发表，希腊神话中的奥林匹克诸神一一复活，纯粹的地中海异教音乐。2002年Prikosnnvenie发行了Daemonia Nymphe的新同名专辑，简朴神秘的音乐再度袭来。不禁手之舞之，足之蹈之....
Daemonia Nymphe专辑中看似简朴的音乐框架中蕴含了太多才华和心血。除2名固定成员外还有17位特约艺术家在其中演奏了包括牛角号，bag短笛，响板，圆手鼓，牧笛，萨恩蒂厄琴(一种类似扬琴的波斯拨弦乐器)，双簧管，木吉他等诸多乐器。整张专辑起始于器乐曲MISSAGE HORN'S ENCHANTING ECHO（远古号角迷人的回响）中那音色如中国古箫般孤寂沉郁而又辽远的牧笛吹奏。“噢，在韵律中舞动你的手臂，旋转的脚步敲打大地，山颠的情人们为酒神而呼喊”——IDA'S DACTYLS（艾达的诗篇）在一段萨恩蒂厄琴/竖琴与木吉他的合奏中男女声吟唱着酒神节的欢娱。轻盈缥缈的SUMMONING DIVINE SELENE（召唤圣洁的月亮女神）显然是月神的赞歌。接下来是牧笛与萨恩蒂厄琴合奏的器乐曲——冥王圣歌HADES。简单甚至有些简陋的调式如此阴暗压抑。但痛苦随即被森林之神的舞蹈（DANCE OF THE SATYRS）中的热情洋溢所取代。这是专辑中最好听的一首器乐曲！一首雕像的情诗（korai rejoicing in antron）过后，Daemonia Nymphe开始歌颂居海中仙女涅瑞伊得斯（NYMPHS OF THE SEAGOD NEREUS），酒神巴克斯（HYMN TO BACCHUS）和牧神潘（INVOKING PAN）。
所有歌曲如此的独特，不同于我曾听过任何地方的民族/中世纪音乐，这就是在那远古希腊城邦中回响的音乐？那么迷人，恍如从月亮中传来，忽然想到了村上“斯布特尼克恋人”书中在希腊的小岛被神秘音乐掠走的堇，我想她那时听到就是这种音乐吧...久远的，早已失去的再次浮现...必然带来莫名伤感。虽然绝大部分歌曲是纯器乐演奏，但偶尔出现的人声吟诵短暂且内潋，带有希腊特有的典雅，简朴。整张专辑听下来只有一个感觉：意犹未尽，意犹未尽。
--------文字转自黑潮！
Daemonia Nymphe are trying to recreate the sound of Greek Antiquity. They are working with legendary Greek instrument maker Nicholas Bras.They also use instruments that few of us have heard of : lyra, varvitos, krotala, pandoura, syrinx, keras, seistro, samviki, anyone? besides slightly more ordinary percussion and some vocal chants. The album is punctuated by distant battle cries, voices that evoque dancers, revellers and people in ritual celebration of Orpheus.

《ALL BEAUTY IS SAD》或許又是上個世紀的曇花一現，高興的是，新世紀伊始，即誕生了《STABAT MAT》EP，這是一張更為純粹的古典樂，相比《ALL BEAUTY IS SAD》的焰氣沖天，《STABAT MATER》更忠實于原作悲憫深沉的宗教救贖美感，放棄了戲劇化的激情，在弦樂、管風琴、古鋼琴的搭配中追尋回古典巴洛克時期音樂的典雅風范，霸氣的唱腔也不再出現。古典樂迷最貼切的評價或許就是“極端浪漫的改編”。 这张专辑的歌词就是歌名到下一首歌名之间的诗句。
Stabat Mater－圣母悼歌（拉丁文）: 1-8節 史實的陳述
1．Stabat Mater dolorosa, Juxta crucem lacrimosa, Dum pendebat Filius.
圣母痛苦侍立，含泪十字架旁，当圣子高高悬起时。
2．Cujus animam gementem, Contristatam et dolentem, Pertransivit gladius.
她心灵长叹，郁闷恸伤，被利刃所刺穿。
3．Quam tristis et afflicta, Fuit illa benedicta, Mater Unigeniti!
何等愁苦悲伤，那当受称扬者，独生圣子的母亲！
4．Quae moerebat et dolebat, Pia Mater dum videbat, Nati poenas inclyti.
凄楚感伤，慈母仰视，荣耀之子受难时。
5．Quis est homo qui non fleret, Matrem Christi si videret, In tanto supplicio?
谁能不一同号哭，看到基督之母，忍受这般痛楚？
6．Quis non posset contristari, Christi Matrem contemplari, Dolentem cum Filio?
谁能不满怀悲愁，瞻仰基督之母，与其子同忧共苦？
7．Pro peccatis suae gentis, Vidit Jesus in tormentis, Et flagellis subditum.
为了他子民的罪辜，仰视耶稣受苦辱，鞭迹杖痕无完肤。
8．Vidit suum dulcem natum, Moriendo desolatum, Dum emisit spiritum.
眼见自己亲爱生子，孤苦伶仃与世长辞，救主耶稣咽气时。
9-18節 對聖母的傾訴
9．Eia Mater, Fons amoris, Me sentire vim doloris, Fac, ut tecum lugeam.
啊，慈母，爱心之源，求你使我感受凄楚，好同你一起哀哭。
10．Fac ut Ardeat cor meum, In amando Chriatum Deum, Ut sibi complaceam.
使我内心燃起爱火，全力敬爱基督天竺，一生常能取悦主。
11．Sancta Mater, istud agas, Crucifixi fige plagas. Cordi meo valide.
恳求圣母广施慈恩，将你圣子苦架伤痕，强力铭刻在我心。
12．Tui nati vulnerati, Tam dignati pro me pati, Poenas mecum divide.
将你变身受伤之子。为我罪人所受苦难，分我一份共承担。
13．Fac me tecum pie flere, Crucifixo condolere, Donec ego vixero.
教我同你一齐痛苦，并与耶稣共分凄楚，在我有生岁月中。
14．Juxta crucem tecum stare, Et me tibi sociare, In plantu desidero.
与你共同侍立苦架，教我站立在你身旁，是我含泪所期望。
15．Virgo virginum praeclara, Mihi jam non sisi amara, Fac me tecum plangere.
童贞女中最卓越者，我的心愿请勿拒绝，是我与你共哀嗟。
16．Fac ut portem Christi mortem, Passionis fac consortem, Et plagas recolere.
教我担负基督之死，做他苦难中的良伴，所受创伤永怀念。
17．Fac me plagis vulnerari, Fac me cruce inebriari, Et cruore Filii.
是我感受他的伤痛，沉醉在他十字架下，共受圣子的酷刑。
18．Flammis ne urar succensus, Per te, Virgo, sim defensus, In die judicii.
免我身被水火焚炙，赐我蒙受慈母恩护，在我接受审判日。
19-20節 向聖子祈禱
19．Christe, cum sit hinc exire, Da per Matrem me venire, Ad palmam victoriae.
基督，我离此尘世，赐我倚恃慈母慈恩，到达胜利的光荣。
20．Quando corpus morietur, Fac ut animae donetur, Paradisi gloria. Amen.
在我肉躯亡故之日，使我灵魂蒙受恩赐，获享天堂的荣福，阿门。

Ordo Funebris是来自西班牙的新古典团。乐队成立于2002年4月。Ordo Funebris的音乐融合了中世纪、古典、民谣。整张专辑精彩纷呈、意境优美，散发出中世纪神秘而黑暗的一面。序曲的The Dark Ages简短开场。Ordo Funebris在鼓声中激进，开腔竟然是一个男声的黑嗓。勇往直前的骑士在风雪中前行……风笛悄然而至，一片仓凉。很快听到美妙的女声。中世纪乐器的闪亮之处在此曲中展露。音效做的自然贴切——雨声、雷电，女神屹立于山颠，看尽一片汪洋。Torre Salvana在管弦的铺垫下呈现出新民谣的气质。在的世界里我们听到了纯净的中土之声。那是一个被魔法和黑森林包围的世界，无畏的骑士在风中呼啸而过，是那美妙的乐曲和奇异的幻想

Steeped in tragedy and legionary heroism, this musical odyssey recreates the penultimate 1453 siege of the Byzantine capital beside the shimmering waters of the Bosphorus. A neo-classical cocktail of atmospheric keyboards, cello and pounding drums frolic alongside militaristic anthems about European imperium, hooliganism as modern warfare, vanquished heroes, Turkish hordes, architectural majesty and defiant optimism. The diverse lyrical styles and sheer breadth of instrumentation on this release make it one of the most original and captivating albums of the last few years.