The Alex Skolnick Trio is an American jazz music trio comprising the guitarist Alex Skolnick, Matt Zebroski on drums, and Nathan Peck on bass. Previously, John Davis played bass for the group. The Trio is known for its inventive jazz take on hard rock and heavy metal "standards". Alex Skolnick himself is a member of thrash metal band Testament.

"Last Day In Paradise" consists of seven original compositions along with three arrangements of hard rock 'standards,' (a concept upon which the trio has built a strong reputation as an instrumental group that appeals to straight-ahead jazz fans and rock fans alike). Feeling the inspiration of European jazz and other influences, the group has now gone beyond the limitations of the traditional guitar trio format on many of the songs, incorporating electronic loops ('Last Day In Paradise'), vocal melodies ('Mercury Retrograde') and slide guitar ('Western Sabbath Stomp'). There are also special effects, bowed bass tracks and other studio embellishments, resulting in their most original and cutting edge album to date.

Eugenio Catone has received awards in many national and international competitions, including first prize and Bluthner Trophy for the youngest finalst in the Hastings International Piano Concerto Competition 2012; ‘Biella’ Prize at the Pozzoli International Piano Competition in Seregno; ‘Albano’ prize at the Arcangelo Speranza International Piano Competition 2012 in Taranto and first prize at the ‘Chopin Golden Ring’ Competition in Ptuj (Slovenia).

Wu MuYe has been awarded prizes including the “Best Audience Award” in the Piano Campus Competition on European Piano Day, the “Grand Award” of the French Classical Magazine, and the “Top Prize” in the 2005 European Young Pianist Contest. This performance features works by Schubert.

"Hermeticus" is composed of a powerful and evoking sound coming from oldschool european roots. The concept merges history, nature and literature in a symbolic portrait tributing the esoteric myth of the Emperor Frederick II, the medieval Suevian sovereign better known as “Stupor Mundi”, who ruled for a long time in Italy and mysteriously marked Apulian culture. The work is a personal metaphor bearing the ancient hermetic heritage of the band’s homeland, connected with traditional atavistic heathendom. The story is narrated through eight songs composing two main historical and spiritual chapters and is also performed with several Latin and medieval Italian Poetry inserts.

The Irish crazy gang are back with a new monster of an album, putting the fast, fabulous and fun back into old school thrash metal and dragging it kicking and screaming into present day. With its crisp, clean production, distinctive lyrics, irresistible hooks and a huge sense of enjoyment, this new album is an absolute must for thrashers of all ages and fans of Tankard, Municipal Waste, Havok and Warbringer. Speed Between The Lines ", released by AFM Records on October 12, 2018, and is the sixth studio album in 16 years

Gidon Kremer … his tone colour changing in chameleon fashion to match mood and style. He is wispy and wiry in the spare, fugal opening, but as the music blossoms into Straussian warmth, he plays with a creamy, ripe sweetness that could grace an old Hollywood weepy. Yet there is always clarity in the playing, a feeling for the contours of the music and where they are leading. –Tim Homfray, The Strad, about Kremer s Bartók Violin Concerto

Fascinated by the piano and with a little reluctance in regards to working on more electronic music, "Darkly" by Long Arm (Georgy Kotunov) was originally started in 2015. Although it took him a while to get accustomed again to playing only the piano, at some point he had some raw and unfinished work. Around the same time he also got back into more electronic musical experiments, including different textures and multilayerdness. While simultaneously working on soundtracks for NOIR films, he was able to finish two compositions that would later help determine the direction of the new album and served to bridge the early solo piano compositions and the later electronic tracks. At the start of 2018 he was finally able to get back to his solo piano compositions and adding those missing elements that he could not hear three years earlier.