The eagerly anticipated follow up album from 5-piece award winning progressive rock band CAIRO “Nemesis” will be released on May 5th on Spirit of Unicorn Music.
This studio album, recorded with John Mitchell at Outhouse Studios, taps into contemporary global concerns and demonstrates the band’s impressive, genre-defying approach with menacing, angular riffs, pop rock hooks and electronic soundscapes that all beautifully complement powerful and emotive vocals.
In this exciting and purposefully eclectic new album, the band venture into familiar ‘CAIRO rocks’ territory with the dynamic, moving epics. There are also some exciting departures for the band venturing into more melodic rock areas with “The Love” and “Glow,” and upbeat banger “Jumping On The Moon.”
Artwork is by Paul Tippett (It Bites, Frost, Kino, Twelfth Night, Pendragon, Europe, Inglorious, Uriah Heep), with additional artwork consultancy from Andrew Wildman (Marvel Comics, Transformers, X-Men; storyboard artist for Doctor Who; Luther, Poldark).
There is also even a short keys-based orchestral instrumental, “Save The Earth,” which doffs a cap to the likes of the sadly, recently departed Vangelis, and acts as a prologue into the title track.
Track List 1. Asleep At The Wheel 2. Tripwire 3. Glow 4. Rogue 5. The Love 6. New Beauty 7. Déjà Vu 8. Jumping On The Moon 9. Save The Earth 10. Nemesis
Vocalist Simon Bergseth had this to say about the track: “Besides being the opening track of our forthcoming debut album, it is a piece of music that contains some of the albums sonics in general. ‘The Pale Moon’ is the beginning of something greater and gives the listener a glimpse of what’s to come.”
The cover artwork for “The Pale Moon” was created by Berlin-based artist and illustrator Eliran Kantor, who is well-known for his intriguing cover creations for metal bands.
Earlier this year the band shared a teaser video of them working in the studio which you can see here:
At the young age of 7 years old, Martin Utby and Simon Bergseth made a pact that they would form a band when they got older. Now, 22 years later they’ve done just that. An album is ready – 55 minutes of music inspired by everything they grew up listening to – everything from Mew, Anekdoten and Porcupine Tree to Opeth, Neal Morse and King Crimson.
All the music has been written at a small cabin, deep into the Norwegian forests (Alvdal,Norway). Simon (composer, guitars, bass and vocals) and Martin (composer, drummer and synths) have later been joined by Øystein Aadland on bass/keys, Edvard Seim on guitars and Auver Gaaren on keys.
2023 seems to be the year of the multiple vinyl live album, first The Tangent with the triple vinyl release of the excellent ‘Pyramids, Stars & More: The Tangent Live Recordings 2004-2017’ and then Transatlantic with a quadruple (yes, you read that right!) vinyl release of the monumental ‘The Final Flight: Live at L’Olympia’. Well, it’;s now the turn of venerable prog supergroup ASIA with a triple vinyl version of ‘FANTASIA, LIVE IN TOKYO 2007’, have we got another slam dunk brilliant release? read on and you will find out…
Celebrating the 25th anniversary of ASIA’s formation, this exciting 18-track live show from their 2007 world tour features the reformed original line-up pooling the talents of lead vocalist/bassist John Wetton (King Crimson), Steve Howe (guitars, Yes), Geoff Downes (keyboards, Yes and Buggles) and drummer Carl Palmer from Emerson, Lake & Palmer.
The setlist focusses on their globally successful 1982 debut album ‘Asia‘ and features key tracks Only Time Will Tell,Sole Survivor and their worldwide anthem Heat OfThe Moment along with select tracks from their second LP ‘Alpha‘ and one song each from the band members’ previous bands – Video Killed The Radio Star,Roundabout, Fanfare For The Common Man and The Court Of The Crimson King.
The package itself is a rather fine thing with artwork form the legendary Roger Dean and a very knowledgeable LP sized booklet telling the whole story behind the concert.
Now, to me, live albums can either be good or bad, there is nothing worse than a badly performed version of a classic song with a horrendous mix from the sound desk meaning you really cannot tell what you are listening to but, when done well, they can become a lasting monument to some of our favourite musicians.
I’ll cut the suspense and get to the point, this new live release is absolutely fantastic for the die hard Asia fan and newcomers to the band alike. Stand out highlights for me are the obvious ones. The versions of Heat Of The Moment and Sole Survivor are without a doubt the best live versions you are likely to hear, John Wetton’s distinctive vocals are on seriously good form and you can literally feel the dynamism and intensity in his performance. His banter with the crowd is particularly good between songs and means there is never any lull or drop in energy levels from the band or the crowd.
Wildest Dreams, Without You, Don’t Cry, Here Comes The Feeling, the hits keep coming with passion and fervour and you really get to feel the strong bond between Wetton and Carl Palmer, a very tight rhythm section indeed. The inclusion of tracks form the band member’s previous bands is also a masterstroke, I found myself mesmerised by Roundabout, one of my favourite tracks from Yes and you can hear that Steve Howe is having the time of his life as his guitar literally dances through this classic track. John Wetton does a great job on vocals for Video Killed The RadioStar but it’s really Geoff Downes time to shine on this track and I can’t help but break into a smile when the intro to the song begins. Downes is obviously having a blast on a wonderfully inspired version of Fanfare For The Common Man and the quartet’s delivery of the King Crimson mainstay, TheCourt Of The Crimson King is positively masterful.
This three LP boxset is a wonderful way to spend an evening and the format definitely gives you a feeling of nostalgia, it’s full of memories and a lasting legacy for four of progressive rock’s greatest musicians having the time of their life, they really don’t make them like this anymore! As the last notes of Heat Of The Moment play out and the audience’s cheers and applause fade out, I can’t help but wish I’d been there that evening, right in the midst of what was obviously an amazing concert and experience and that’s what the best live albums do, isn’t it?
A 7 Disc Deluxe Book-set with Previously Unreleased Live Show – Out March 31st
Kscope are delighted to present ‘Blackfield : An Accident Of Stars: 2004 – 2017’,a collection of the band’s work from 2004 to 2017 released together for the first time . Housed in a deluxe book-set, with a 64-page book featuring liner notes by Anil Prasad at the center, it details the beginnings and inner workings of Blackfield’s journey through interviews and rare photos with both Steven and Aviv. This is a special, limited edition, one time pressing.
“The band’s palette is rich and assuredly dense. Strings stutter and fall, the tone can best be described as lush, gentle and reassuring” – Classic Rock Magazine
Aviv Geffen, one of Israel’s most iconic and best-selling musicians and Steven Wilson frontman of Porcupine Tree and solo artist extraordinaire have both built a dedicated global following. Working together as Blackfield, the two have cultivated a unique sound that brings together the best elements of both artists to create something completely unique, yet immediately identifiable. Something evident in this collection of their combined works as Aviv Geffen illustrates below:
“Steven and I connect across art, politics, and life in general. We’re always switching around between ideas when we’re together. That’s why our partnership works so well. You can feel the love in Blackfield.” – Aviv Geffen
Included are the first five albums (Blackfield / Blackfield II / Welcome to my DNA / Blackfield IV / Black V) as well as a bonus disc of the band’s previously unreleased incredible show at Paradiso Amsterdam from 2011 (Live DNA).
“melancholy Art Pop” – Visions
Alongside this will be a newly produced Blu-ray which has ‘Blackfield’, ‘Blackfield II’ and ‘Welcome To My DNA’ in 24bit 44.1kHz format, ‘Blackfield IV’ and ‘Blackfield V’ in 5.1 Surround Sound and High Resolution 24-bit Stereo, plus the bands’ promo videos from this period are also included and the 2007 concert film ‘Live in N.Y’
‘BLACKFIELD : AN ACCIDENT OF STARS : 2004 – 2017’
Blackfield II (2007)
Welcome to my DNA (2011)
Blackfield IV (2013)
Blackfield V (2017)
Live DNA: Recorded at the Paradiso, Amsterdam, The Netherlands on 10th April 2011 – Previously unreleased
Blu-ray – Blackfield Hi-Res + Live in N.Y. & Official Promo Videos
– Blackfield & Blackfield II – 24bit 44.1kHz
– Welcome To My DNA – 24bit 96kHz
– Blackfield IV & Blackfield V – 5.1 Surround Sound and High Resolution 24-bit Stereo
– Live in NY – Visual Concert in 5.1 Surround and Stereo
Flamborough Head is a rocky promontory that lies on the east coast of England between Filey and Bridlington. It is a chalky headland that reminds one of a sleeping dinosaur, it is also a walker’s haven and you can see seals at certain times of the year. We visited it last year and had a great couple of hours enjoying its natural beauty. At that time I was completely unaware of the existence of a band that had the same name, so the opportunity to listen and review this album was too good to pass up. Flamborough Head has been in existence for almost 34 years, being originally formed in Friesland in the Netherlands in 1990, they have been through several different incarnations and line ups, peppered with spells of inactivity over the years, and have produced ten albums during that time, mostly on the Cyclops label, then latterly on the Oskar label, on which we find this latest one, ‘Jumping The Milestone’.
The music the band create falls very firmly into the realm of symphonic progressive rock with excellent use of flute, keyboards and very fluid guitar solos. The band are fronted with the excellent soft vocals of Margriet Boomsma who also provides flute and recorders and Eddie Mulder who was the original guitarist but is now the bass player, with Hans Spitzen providing the guitar fireworks, aided by sublime keyboards from Edo Spanninga. Together they make a very good sound, everything a symphonic prog fan could want, expansive and intelligent with lots of interesting reference points. They combine the style of Marillion, Arena and IQ to great effect, there is much to recommend here.
The album has just six tracks, all are of an excellent standard with much happening musically within. I am reminded of Camel at times with the fabulous flute playing and the very lyrical guitar of Hans Spitzen, who makes every track shine.
The Garden Shed is about the joy of gardening and the benefits it can bring to one’s mental health and how, overal,l it can be of positive benefit, a most different sort of track but with good sentiments expressed within. Tomorrow Is Another Day is a further great track with a good opening section with great flute and a surging Hammond Organ playing throughout. The song is about depression and how it can haunt an individual, robbing them of joy in their life. This is all sensitively handled and in a positive manner and has a graceful guitar solo that really captures you as you listen. The song has good insight into fighting depression and some good advice too, I like that it is real and not patronising in its approach but sympathetic and hopeful too.
Start Of A Nightmare is an interesting track in its subject matter of an unwelcome intrusion and the prospect of injury at the hands of an unhinged, unwanted intruder. This is quite a different sort of song with lots of light and shade to depict the unfolding events making it most memorable with strong performances from each member and more great guitar to help carry the song along. The song expresses the lasting sense of unease that any unwanted intrusion can cause you and how unsettled you can be afterwards for a very long time. Fear Of Failure is about insecurity and how the fear of failure can really impact on one in a negative manner. Again, this is handled delicately and with sympathy and dignity. It’s about handling those feelings and facing them down, believing in yourself and the abilities you have. It talks about applying resilience to your situation and overcoming it for yourself, almost a self-help in reality. The music is very strong and supportive and the lyrics are excellent, making for a great song overall that’s very positive in its outlook.
Penultimate song Walls Of Words is about being left behind, overlooked and unappreciated by those around you. It is rather a sombre and maudlin piece but, once again, this is all handled very well, along with it being a well written and realised track with solid musicianship at its core, especially when the song leads to the suicide of the protagonist in the song. Final and longest song, Jumping The Milestone concludes this superb album. Opening with heavenly piano motif alongside an ethereal flute before Margaret’s delicate vocals begin, the track is about growing older and all the challenges that brings. This song handles its subject matter with great intelligence and good insight, it is a celebration of life as opposed to being rather a depressing slide into twilight. It reminds us all of the journey that is life, being one that we all have to undertake, it talks of the good things in life that we can all gather into our own storybook. This piece also tells us to be grateful that we can have these days in which we can age and that we should value these days. The song moves through different sections and movements with aplomb and style, lots of excellent guitar parts and sympathetic keyboard embellishments pepper the track insightfully. An epic for sure but it’s never a dull one at all, excellent guitar solos take the track forward in different directions, all of which are strong.
This is a most interesting and tasteful album of deep emotion and content, extremely well presented and performed by an excellent and talented band. I can only but sing its praises to you and recommend that you listen to it, if you do then you won’t regret it.
Jethro Tull recently announced the release of their 23rd studio album, ‘RökFlöte’, on the 21st April 2023 via InsideOutMusic. Following 2022’s ‘The Zealot Gene’, the band’s first album in two decades, Ian Anderson and the band are returning with a 12-track record based on the characters and roles of some of the principle gods of the old Norse paganism, and at the same time exploring the ‘RökFlöte’ – rock flute – which Jethro Tull has made iconic.
Today the band are pleased to launch the second single from the album, ‘The Navigators’. Appearing as a special single edit version, mixed by Bruce Soord (The Pineapple Thief), you can watch the video (created by Christian Rios) here:
The lyrics for this track explored the Norse god Njord, who was the god of wealth, fertility, the sea and seafaring.
Watch the previously released video for single ‘Ginnungagap’ here:
‘RökFlöte’ will be available on several different formats, including two limited deluxe formats that include bonus demo material, extensive liner notes & a blu-ray featuring Dolby Atmos, 5.1 surround sound, alternative stereo mixes by Bruce Soord (The Pineapple Thief), as well as a bonus track and in-depth interview with Ian Anderson. The album will also be available digitally in the spatial audio formats Dolby Atmos & Sony 360 RA. The full list of formats are below:
Ltd Deluxe Dark Red 2LP+2CD+Blu-ray Artbook incl. 2 x art-prints
Ian explains the album’s title & theme in more detail: “The title of this offering went through a little change or two along the way. I started with the idea of a predominantly instrumental album for rock flute – as in rock music. When the subject material of the album presented itself, I was drawn to the term Ragnarök from Norse mythology – their version of apocalyptic end times or Biblical Armageddon. The “final showdown” scenario is ubiquitous and inherent in Hinduism, Christianity and Islam, for example. Ragnarök translates as “destiny of the Gods”, the rök part meaning destiny, course, direction. With umlaut firmly in place, courtesy of the Germanic origins of Old Norse, Flute became Flöte in keeping with the spelling. With me so far? I just can’t miss the glorious opportunity for a good and legitimate umlaut.”
Jethro Tull continue live dates this year, with shows in mainland Europe, as well as a newly announced headline date in London on the 23rd May to celebrate the new album release. They will also return to North America later this year, with the first show in Wolf Trap confirmed and more to be announced in the coming weeks. Find the full list of shows here: https://jethrotull.com/tour-dates/
‘The Zealot Gene’, released in January 2022, was Jethro Tull’s 22nd studio album and it garnered critical acclaim across the board. Reaching #9 in the UK album charts, a feat the band hadn’t reached since 1972, it also debuted at #4 in Germany, #3 in Switzerland, #5 in Austria, #8 in Finland, as well as top 10 in the US Album Charts, Current Album Charts and Rock Album Charts.
With more than 30 albums to their credit and sales totalling more than 60 million, Jethro Tull are one of the most successful rock bands of all-time with a catalogue that contains classics that still resonate today. Led by Ian Anderson, Tull still continue to tour throughout the world, entertaining audiences of all ages.
The band consists of:
Ian Anderson – Concert and Alto flutes, Flute d’Amour,
Irish whistle and vocals
David Goodier – Bass guitar
John O’Hara – Piano, keyboards and Hammond Organ
Scott Hammond – Drums.
Joe Parrish-James – Electric and acoustic guitars, mandolin
I’ve been reviewing albums for over a decade or more now and I still really enjoy doing, hearing some amazing new music in the process. Progressive rock has rather a lot in common with classical music forms, lengthy pieces and the use of recurring motifs, themes and melodies being just a few to start with. Prog has courted classical music with differing degrees of success over the years from Deep Purple’s ‘Concertofor Group and Orchestra’ in 1969 to ELP’s version of ‘Pictures at an Exhibition’ in 1971 and Rick Wakeman’s quasi-classical epics, like ‘Journey to the Centre of the Earth’ and beyond through to ELO and so many more.
In all that time reviewing and commenting on the music before, I have never felt as puzzled and lost by what I was hearing as I am here with this album. I feel remarkably inept, unable and lacking any confidence with this album. I know many other reviewers have a far better understanding and appreciation of the classical than I do but, stil,l I’ll do what I can to unravel this rather interesting concept album from Magenta’sRobert Reed and crew.
‘The White Witch’ consists of three pieces, two of which have been revived from earlier Magenta albums, along with a newly commissioned piece of music. All three are linked by a common theme and also with a narrative from Les Penning, whose dulcet, measured tones open each piece of music.
The first piece is called Sacrifice and is about the time of the civil war and the plague that came four years into the war, devastating communities in the land. The music opens with a soft woodwind and strings before a bold brass fanfare leads to a classical guitar softly playing along with the lush vocals of Christina Booth. There is much beauty in her vocals, with touch of Kate Bush in places and the guitar from Chris Fry is excellent. Be aware the woodwinds that weave in and out of the music alongside sweeping violins and violas, good use of penny whistle and strong percussion embellishments. This is musically fascinating to listen to, you can hear how artfully composed this piece really is, with a really clear production that allows everything to breathe and leaves lots of space in the music. This sensitively handled with great skill and strength and really impressed me. The acoustic guitar really shines in this track playing with urgency and yet with delicacy, supporting and underpinning everything to create a masterful soundscape.
The album has it origins in two earlier recordings, namely their debut ‘Revolutions’ from 2001 and also ‘Seven’ from 2004 from which parts have been reimagined for this release. The theme of the album is benign witchcraft as practised by Sara, the main character of the album, and how she uses it for good rather than evil or harm. This in itself is an interesting concept and one that is developed especially well throughout the album with the third part, Survival, being an entirely new composition that concludes it all together well.
Part 2, Retribution, concerns itself with the defeat of the plague and the return of prejudice that is shown toward Sara and those who practise a different way of living. Emotions are stirred and the arrival of the witch finder general makes Sara fear for her life as the rise of intolerance emerges. It is this climate that begins the second part of the trilogy. Again, the music is lively with a strong folk type sound and a strident brass part that leads to Christina’s excellent vocals. This style of singing really suits her voice well and she excels here in this setting with lots of space for her voice to be clearly heard. The confess section of the song is actually rather delightful and almost cheerful to hear despite it somewhat dark subject matter. The track is well developed with more dexterous guitar lines from Chris that really evolve well. Sara pleads for light to guide her way and to allow her to reach new ways and new paths to follow that will help everyone get to a better place. The track ends with her treatise to the moon Luna to help her find her own way forward, the orchestrations in this section are especially sublime and sympathetic to the story.
Survival is the third part of the trilogy and talks of how Sara is leading the way to survival by doing new things in new ways and that how reaching out helps everyone. This is another excellent passage and the whole album is really quite gentle with no Bass or drums. Yet it is still a wonderful listen and repeated plays will reveal the hidden textures and treasures the album contains. It is all very much a soundtrack for an as yet unmade film or production. One can only wait and see what direction and indeed opportunities this album will afford the band. The album closes with a dignified flourish as we see Sara’s magic has worked, bringing peace and harmony back to her community, all’s well that ends well. This is a triumph for Mother Earth and the the album ends on a gentle guitar outro.
This album is not a simple listen and requires commitment to work with the music and to allow its delicate beauty to shine through. If you do this, you will find the reward of some great music, committed performances and a gentle tale told with style and commitment. Don’t be expecting rock rhythms and instrumentation, however but it is a richly orchestrated and well produced folk/classical hybrid with strong instrumentation and melodic themes and the glorious voice of Christina Booth aided by Chris Fry and Robert Reed. I may not return to this album often but I’m certainly glad to have fallen under its spell and charm, give it a listen for yourself and see what you think.
I first came across this band whilst browsing another prog website and reading a fellow reviewer’s comments about them. I went to the band’s website and downloaded the free track Portalis, a demo version. I was definitely taken with what I heard there, I contacted the band and asked if I could review the EP as well. Thankfully they agreed and sent me a download to work from with the promise of a physical copy to be sent to me. All of this whilst on holiday in the Canary Islands no less!
Oh the wonders of this modern technological age eh?
This EP consists of merely three tracks with the thirty six minutes of music introduced via Portalis, a song hinged on an really great guitar line with a great tone to it, strong bass lines from Mark Piercy and a syncopated drumbeat from Rick Burtonshaw that slithers around like a snake. There’s lots going on musically with great keyboards and that glorious guitar. A guitar and keyboard interplay section at the 4.05 mark catches the attention before Curtis Adamczyk’s vocals reconvene and a brief but soulful guitar solo leads to a strong keyboard section, all of this with very busy percussion syncopation happening simultaneously. The song, despite being nearly fifteen minutes in duration, moves through several different sections and parts and manages to impress throughout. There’s great performances from all involved, especially the fluid and supple guitar work of Alan Trower and BenEllis and sumptuous keys of Jopheus Burtonshaw (who also is responsible for acoustic guitars and writing the music, truly a man of many talents).
The shorter, seven minute, track AcquiescenceII follows, which has many nods and throwbacks to 80’s music and also an element of electronic ambient soundscapes with some soaring guitar lines playing their part too. The song moves with a stately pace and with the hint of power and this all works together well, the track shimmering with suppressed energy. It’s a really strong track, the sort of thing Steven Wilson would offer. There is a particularly fine synth melody that takes the song forward and it all ends with strong organ sounds.
The EP closes with Convergence which, at nearly fourteen minutes in duration, is a bit of a monster of a track fuelled by a strong bass line and excellent piano, Curtis’ vocals also being very strong and interesting. The song has lots of keyboards and another fine guitar line with echoes of Pink Floyd, the guitar soaring over everything with great sustained notes and great fluidity. There is then a lute type stringed sound that impresses greatly before a return to the rippling piano lines and synths that dance across the track. I’d say that this track is possibly best heard on headphones or rather loud so you can pick up all the subtle touches and sounds contained within. The band deliver another really impressive track and I think anyone who is going to the Fusion festival in March are in for a real treat as I’m sure they will invariably be making a rather fine impact and impression. The keyboards really impress on this track, especially in the latter section, where an almost military drumbeat ushers in an exciting section where everyone is surging forward, the bass leading the charge strongly.
This is stirring stuff, simply fantastic and invigorating to hear such energy being played out in what is a really epic and strong rhythm. You can hear elements of Pink Floyd, Camel and Marillion here, Jopheous cites Mark Kelly as an influence, along with Keith Emerson, Rick Wakeman and Tony Banks, and it shows clearly here, although he puts his own stamp and style to the songs. The whole EP serves as a great introduction to what is a band of real promise and excitement and I personally can’t wait to hear their debut album when it emerges as, based on the promise of this EP, we can hope for something really fresh and inspired indeed.
French prog rock band Nine Skies release the first single from their forthcoming album (with Riccardo Romano on vocals) and launched preorders via a crowdfunding campaign.
The album ‘The Lightmaker’ is due to be released in September 2023. So far, Marco Minnemann and Riccardo Romano have been announced as guests on the album. If you follow the band, you are used to their way to announce guests and news during the recording process and we can imagine more various announcements will follow.
You can preorder the album here, and benefit from exclusive rewards and options only available before the release:
Hard-hitting rock with a progressive flair, featuring a lineup of international talent.
What life gives with one hand, it can take away with the other. How do you keep your head, and your heart, when everything starts to crumble around you?
HeKz evoke these feelings of chaos and resilience with dramatic and intense performances on their new single ‘Mayday’ – the first release from the forthcoming double album ‘Terra Nova.’
An overdriven bass riff introduces the song and sets the tone for what will follow – the mesmerizing guitar work of Mark Bogert, the relentless drums of Moyano el Buffalo and the enchanting violin of special guest Lucia La Rezza, with the commanding voice of vocalist / bassist Matt Young leading the charge.
“‘Terra Nova’ is a concept album,” explains Young, “The elevator pitch for the story is along the lines of ‘running towards your ultimate goal won’t help you to outrun your demons, so find a different way.’ In the song ‘Mayday’ we find ourselves in a very challenging position. The song is about how we cope when our plans fail and, if everything is lost, you can go down fighting!”
On Lucia La Rezza’s contribution to the song, Young continues, “HeKz were invited to perform at the Hard Rock Hell festival in 2021. At the time, it wasn’t going to be possible for Irina [Markevich, violin] to join us for the concert, and Lucia came highly recommended. I was amazed to see her covers of Iron Maiden and Dragonforce songs, all played on the violin at full tilt!”
“Since the plan was to perform this music on stage together, we invited Lucia to contribute to a couple of the new songs. Unfortunately, the festival show was cancelled but I’m grateful we have this recorded collaboration. Lucia and Irina have very different approaches to the violin, and the music of ‘Terra Nova’ is all the richer for it.”
Written and recorded by the musicians in their home studios in the UK, Spain and the Netherlands, ‘Mayday’ was produced and mixed by Matt Young and mastered by Tom S. Ray (Audio Unity, Scotland). Artwork by Dmitris Tzortzis [Immensa Artis].