Sophisticated electronica with sultry vocals; female, male and a choir, eclectic in its choice of languages, from English to French via Latin connected with ancient Indian poems (known as cheez in Hindustani classical music) and the hoary Dravidian tongue of Tamil, electronically filtered samples; this album explores musical textures from every angle and language!

The ambiance also shifts in a pleasant kaleidoscopic array, from a happy monsoon welcoming song, to seductive love songs sung to a lover, some also to God, to metaphysical and linguistic contemplation on silence and words, to the grand Latin phrase "Veritas Vos Liberabit"!

Step into a luxurious resort tucked away under the green fronds in a magical forest, or far out on in deep space, high above the clouds and the mist of a moonlit night, or simply deep inside the recesses of your heart and find yourself wafting peacefully into your zen lounge where you are always welcome! So, trip along!

J. S. Bach, (1685-1750) a prodigious talent at the keyboard was known for his formidable technique and improvisational skills. His keyboard compositions are widely varied, encompassing the entire course of his lifetime. Having never received academic training in composition, he acquired his knowledge of counterpoint and harmony by analyzing the works of others. He studied the music of notable composers of previous generations as well as his European contemporaries. The concertos of Vivaldi profoundly influenced his ideas of harmony and musical form. The first track on this recording (Allegro from Sonata #5) reveals the Vivaldi influence yet bears the indelible stamp of Bach.

Bach's music often seems to exist beyond any particular instrument. The same piece of music can work as effectively on a piano as a guitar, as an orchestral arrangement or a choral work.

Bach's exploration of harmony delved deeper than many composers of the time and occasionally his music contains surprising dissonance and can transition to unpredictable harmonic areas. It is interesting to note that for someone whose compositions are said to be the basis for Western music, there is no textbook written by Bach. His work stands on its own and has been the source of musical knowledge for many generations.

The third album in Eric's series of World Music albums is entitled 'the New Art of Urban Flamenco'. 'I think I went a little OTT with that album title! I should have simply called it 'Urban Flamenco'. The full title reflects the realization which had solidified in me that I had created somewhat of a new form or a new branch of music ... thus 'the New Art ...'

Well, regardless, 'Urban Flamenco' too is selling quite well and contains several of my most successful tracks ... notably 'Tango de Zorro''. I think 'Tango de Zorro' is my own favorite track, on all 3 of my World Music albums so far! I just let it rip ... and this is what came out.' What is surprising about Tango de Zorro is that it is built upon a Hip Hop acoustic piano rif! The Spanish guitar is actually somewhat of an afterthought!'

'If one wants to be a 'musicologist', the rif in Tango de Zorro strikes me as a combination of Bizet's opera 'Carmen', Mary J's 'No More Drama' ... and God knows what else. That's how art works! Each generation subliminally takes in the brilliance of previous generations ... and uses them as 'mimes' in their own work.'

'Everything comes to those who wait' by Celtic Reggae Revolution features a mix of reggae versions of traditional Irish songs and original Celtic/Reggae fusions. Well loved traditional Irish songs 'Raggle Taggle Gypsy' and 'Spancil Hill' are reworked in reggae style on, respectively, 'Raggle Taggle Reggae' and 'Spancil Hill/Gordon Wilson is a forgiver'. Original tune compositions include 'reggae reels' - a blend of reggae and traditional reels - 'Gandhi's Triumph' (with its delightfully syncopated rhythms) and 'The Very Hairy Rasta Fairy' and Brian Gilligan singing the laid back 'You Got to Laugh' and 'The United Mistakes of America' (complete with Hillbilly banjo and reggae beat).

The lineup features Northern Irishman Jarlath Henderson, one of the finest exponents of the uilleann pipes in the World, he is a talented and versatile musician who also plays, low whistle, tin Whistle, flute and cittern in addition to having a fine voice. He regularly guests with Scottish bands Capercaille, Salsa Celtica and Phil Cunningham. Martin MacDonald from Lewis also features on guitar and his performances on "Good People" and "Raggle Taggle Reggae" in particular, are highlights of the album. Tom Roche from Cork, (Accordion) also features on some tracks with his "Sliabh Luachra" style and Egyptian Aly Salam features on drums and percussion.

You all know what it's like when the work is done and the weekend lies in front of you like a magic kingdom. 'Stadtstrand' tries to recreate this cycle of anticipation, ecstasy and aftermath in itself.

'Sternflackern' kicks off with the small vibrations that run down your spine while heading for the final destination. The rising energy in front of the club, the falling night ('Nachts'), the beautiful people, the soft pumping bass, the uplifting cacophony of sounds - all comes together for the perfect yet mysterious vibe ('Vom Boden Weg').

The deeper ('Tiefer') you travel into this realm, the more you'd feel the density of this atmosphere, its complex and somehow confusing mixup carries you away. Dancing. Now solid beats pulse through your body. And then with a soft sudden shudder it slowly fades away into a fog of noise. The rays of the dawning sun ('Morgenlicht') break through and drag you to the other side of the night. And you laugh and cry and clutch to the beat like you never wanted anything else. But suddenly it's all over. You're sitting in the back of someones car and there is nothing but that odd quietness of minimalistic aftermath-beats ('Heimfahrt').

Finally you're lying on your couch. Half awake, half asleep. And a tired smile runs across your face while your stereo plays the final notes ('Ausklang').