Robin Grey writes beautifully ironic, poetic-based tracks for the story-lover in all of us. His voice and attitude harkens back to Bob Dylan, with the masterful lyrics and deadpan delivery. It's not quite folk, though, as the music is more complicated, feeling more like a get-together of musicians who have known each other their whole life: no longer seeking to impress, they settle into their grooves and just let the vibe emerge and flow.

With influences that range from the classic sounds of Led Zeppelin and Black Sabbath to the metal power of Metallica and the informed vitriol of Rage Against the Machine, punters can expect potently raw riffage and a groove-oriented sound.

Commerce versus art; capital greed or creative freedom; the cathedral and the bazaar? Inspired as much by philosophy as the need to make very loud noise. This new power-trio are intent on creating great, hard-hitting tunes and playing them live. The title of their debut album, "The Cathedral and the Bazaar" is a tribute to the free music philosophy that inspires them.

On the album Seraphim, David Modica reveals a style that lifts your spirit and keeps you wanting to hear more.

David dives into his influences: from Stevie Ray Vaughn and David Gilmour to Pat Metheny and Lyle Mays, bringing about an album of pure harmony and elegance fused with spirit and soul.

From the first cut and title track "Seraphim" you'll find yourself immersed in a deep and mystical journey that you'll want to take again and again.

No one casts a larger shadow over eighteenth century Spanish keyboard music than the Italian Domenico Scarlatti (1685-1757). His sonatas written after 1729 are full of imitations of the guitar, and folk tunes with their distinctive rhythms, harmonies and shifts between major and minor. Scarlatti's genius is that his music preserves the intensity of its provincial elements while raising them to the level of high art. Before Scarlatti, Spanish keyboard music was mainly in the sacred contrapuntal tradition inherited from Cabezon and Cabanilles. After Scarlatti, the spinning out of contrapuntal material or sets of variations were abandoned for the Scarlatti model of secular sonata in binary form, often in sets of two or three by key.

Two of the most remarkable Spanish keyboard composers of the generation after Scarlatti are Padre Antonio Soler (1727-1783) and Manuel Blasco de Nebra (1750-1784), while the music of Juan Sesse (1736-1801) represents the sort of Spanish keyboard music that escaped the influence of Domenico Scarlatti.

The harpsichord used for this recording was built by John Phillips in 1993 and is based on mid-eighteenth century Florentine models, the cousins of the lost Spanish originals.