Define Believe is a testament to what is possible within the realm of truly independent music. Born of necessity, grown of experience and matured through tenacity. The eleven tracks are a cohesive unit as much as they are a songwriter's showcase, ranging from mellow acoustic tunes to all-out rockin' celebrations of music, life, and freedom. Recorded in the summer and fall of 2012, Define Believe is Zeph's first album as sole songwriter/producer.

Engineered and Mixed by Jake Dempsey @ The Music Lab in Roanoke, VA and Mastered by Garrett Haines @ Treelady Studios in Pittsburgh, PA, and featuring an all star cast of musicians from the Southwest VA area.

The album was released independently at the end of March, 2013.

From the rainy city of Seattle emerges what could possibly be the freshest new Roots Rock Reggae to hit the airwaves. The Wet City Rockers have been compared to the likes of Bob Marley, Shinehead, Police, and steel Pulse. With a humorous viewpoint the Wet City Rockers maintain the foundation of roots Reggae while adding an appalling new dark flavor.

Releasing their debut self titled album in 2005 critics have given the Wet City Rockers rave reviews and high regards. The band is not only deeply influenced by the sounds of King Tubby, Scientist, and Bob Marley but the band has also worked with some of the classic Jamaican artist like Winston Jarrett, and Wadi gad. Sinci lovers sit back and indulge in the Rootsy, Dubby sound of the Wet City Rockers.

Evil is the second hard rock album of Sophia Marie. Also released under her live band name of 'Wicked Wench', the goal with Evil was to get a more raw, hard hitting sound than her first album, 'Twisted', without losing any of the high quality production.

Though Sophia has written songs in many different genres, she uses Rock to express the most intense emotions. 'Rescue Me' is a classic power ballad; 'Underneath it All' a rage against people who disappoint you in life; 'Circle of Lies' about the screaming souls a loveless couple; 'Fear is the Enemy' an inspirational motivator and 'Winter Kiss' a Snow White fantasy duet with Male singer Clayton Mitchell.

Sophia also continues as she did on her first album to try and honestly express female sexuality, without falling into the contrived titillation of modern pop music, with 'Take Me', 'The Swinger' and 'No Escape'. She sends a message out to those who may pass judgement with the anthemic song 'Wicked Angel'. Originally this was to be the title of the album, but late inclusion of the song 'You Are Evil', induced a change, which, it is hoped, will produce a little thought about what 'Evil' actually is.

Collectors of Souls is positive and full of emotional depth, resonating long after the record has ended. The compositions evoke serious and compelling thoughts, emotions and contrasts. The album is deeply tuned in with the current zeitgeist. Its political and socio-economic standpoint is clearly illustrated in its lyrics (High Noon, The Angels Forgot How To Fly, Trade, Madness Is My Home, Winding Road, Nothing In You).

Collectors of Souls is charged, rich, and captivating. It is a mature, brilliantly composed and meticulously crafted collection of songs that is certain to leave a long lasting impression. It is no surprise that critics hurry to proclaim it as "Chiwawa's best to date!"

Collectors of Souls is the seventh full-length album by Montreal based duo Chiwawa (Laurie Gordon and Krassy Halatchev).

Yes, they have raised the stakes yet again. Just as the opening track High Noon, and Trade (Track 6) call for it: "Staring the fiend straight in the eye I can now tell he won't back down till he has found his way to hell"; "Are you sure you want to trade? Don't you feel betrayed? Shall we raise the stakes? How long till you wake up?"

The first single Madness Is My Home (Track 8) is irresistible and laden with hooks. It's bold and uncompromising guitar riff hypnotizes while the lyrics gradually possess you with shameless intimacy.

The second single The Same Mistake (Track 2), sets the mood for a hypnotic listening experience. What follows is a consistently intriguing adventure taking unpredictable turns and direction, combined with mature musical aesthetics.

It is a pleasure to see the rerelease of Paul Beier's first effort on the Baroque Lute, recorded in a small church in Switzerland nearly twenty years ago. He had originally planned a program that included the works presented here, plus the suite in E minor by Bach, but after editing we found that the total time of the recording was over 90 minutes, and so sacrificed the Bach suite to be able to release the CD (which can hold no more than 80 minutes worth of music).

Somewhere, in some now forgotten tape archive, lurks that E minor suite, completely edited but never released! (later re-recorded for an all Bach album.) One of the pieces for this program is the remarkable "Prelude nel quale sono contenuti tutti i Tuoni Musicali," which means "Prelude, which contains all of the Musical Keys." The title sounds a bit funny (it's in antique Italian), because the word "Tuoni" also means "thunder", so it sounds as if there will be lot of musical thunder here, and, in fact, this turns out to be quite true! The style of the music is very much in keeping with the latest musical currents of the 1740's, and you can hear that Falckenhagen's music has much in common with that of the most radical and innovative composer of the period, Carl Philipp Emanuel Bach, both in its propensity for cyclical and improvisatory forms and in the development of the Empfindsamer Stil.

Beier has paired this with a long, late work by Silvius Leopold Weiss found in the Glinka manuscript in Moscow. While this work is probably nearly contemporary with that of Falckenhagen, it is another world, musically. It comes at the end of the long, distinguished and prolific career of one of the finest lutenists who ever lived. And even though Weiss's musical style is rather old-fashioned compared with that of his pupil Falckenhagen, in this D major suite one can nevertheless detect that the old hand was not entirely immune to new ways of musical thinking, especially in the Courant and the final Minuet.

This album, when it was first released by Stradivarius, had many great reviews in CD magazines of the time, and it was even chosen as "Le Disque Du Mois" (January 1998) in the French magazine Rèpertoire, featuring on its cover. I hope it finds favor at its new home with Magnatune!

Transfado is a gem in the Magnatune catalog by a cult figure in the Portuguese music scene. Simple acoustic accompaniment on piano, double bass and Portuguese guitar puts Anamar's smoky, passionate voice in the best possible light, in songs that are both vibrant, sultry, emotive, and cathartic. Fado songs are defined by their feeling of "saudade," a Portuguese term best translated as a genuine and intense yearning. Transfado has yearning to burn, but it's also a deeply sophisticated work with unexpected melodies and profound warmth. Ravishing.