Odyssey 5ive - Looking Backward, Moving Forward
Dangerous thing to do that, you never know what you'll collide with. In this case we have American electronica that has caught the European vibe completely, unusual in it's self as most American artists just don't get it quite right. On the other hand, sounding almost totally like your acknowledged influence is surely going to limit you. This is a very nice, totally accurate take on the old Air sound and fans of earlier Air, (ie the first two albums) might well love it. Or they might decide that it's basically plagarism. Me, I'm torn. I do think it's done incredibly well and probably deserves a wider audience. Also a big apology to Michael Kirson Goldapper for having this for so long without posting the review, it's unforgiveable even if I gave you the long and complicated reason why. ( GE )
Sianspheric - The Sound of the Colour of the Sun
( Sonic Unyon 02)
I was really looking forward to this, (incidently the apology should also be extended to Sianspheric and Sean Palmerston), I'd heard rumblings on line, as you do, frequently positive. So I have to admit a little disappointment when I actually listened to it. And the reasons for my disappointment. Well, I think the lack of originality. Anyone who was into the so-called 'shoe-gazing' bands will have heard all this before. The opener is Slowdive, the second track is Slowdive with a little more distortion, nasty digital-sounding distortion too. The third track is Slowdive with even more really nasty digital distortion and so on. Or put in the name Bowery Electric. The only thing Sianspheric seem to have brought to that whole genre is nasty sounding distortion. Now some people will love that. I'm not averse to it myself, I mean Loveless is a classic. But this just doesn't sound quite right. When we get to track six, 'Radiodiffusion', things pick up a little, a mellow ambling number not going anyway fast but more influenced than replicated. And it has to be said things improve from then on. It's almost like two different bands. If they carry on in that vein then the next release could be very special indeed. Though changing pace occasionally might be a good idea. (GE)
A Lesson in First Principles - Aporia Sampler
Samplers. Very valuable tool. Give you a taste of a labels output, or those ones attached to magazines can let you hear music you might not ever have tried else, I've made some lovely discoveries through samplers. This isn't one of those. Five bands, six tracks. There's a nice mix of styles but nothing stunning original. Pity. I still love samplers, just not that fond of this one. I'd like to hear anything else Dither produce though so it's not a total loss. And I'm enormously grateful to Aporia Records for sending it to me. check them out at ( GE)
Borgo Pass - Slightlt Damaged (US private 02)
Can't help but like this heavy sludged out unit. I loved their first CD from a couple of years ago and this follow didn't do anything other that send my ears to hell (a place they like to live) Although only 5 track s and 20 minutes long this mini-CD album is full of a dark gloomy post-metal sound. All 5 cuts are killers and with BURGO PASS having developed that rawness from their debut CD this has set them up to come to the fore in this increasingly expanding music fairground. "RAZORLINE" stamps itself as the top cut for me along with "STEEBLOODACIDGOD" with its revolutionary fuzzed guitar sound ends this CD in total brain frying style. If you have already place your acid drenched mind inside the world of "stoner rock" and found you want more of this mind intoxicating music I recommend you get this CD with out hesitation.
Nothing 2 Declare - Frozen Child (UK private 02)
Not like me to over look something this good! Been on my desk now a number of weeks and just got pushed around without too much notice I'm sorry to say. Now the CD, well get 4 seventeen year old lads together in the UK and you'd expect to come up with some dodgy "boywestlife" type of all singing and dancing boy band, not here! What you get is four lads who of the quality of this CD are about to push "real" music back to the fore and hopefully start a trend for good music again. This CD is a little short at about 23 minutes but this is as good as any "showcase" CD I've had sent here in four years of reviewing stuff. 6 self penned numbers which draw on (more than rehash) elements of classic rock music. Opening title track is influenced with a nod of the head to Mr Hendrix while the rest of the CD has an intriguing rawness about it; solid numbers follow and show the band are more than accomplished musically for their age. I hate to say this about such a great sounding young band but unfortunately in today's musical climate I can't see "Nothing 2 declare" breaking down the door at major record label or even sadder making large sales of this CD, what they have done (and I hope do again) is to create a CD full of energy and restored my faith the UK music scene isn't dead!The Bevis Frond - What did for The Dinosaurs (UK woz 02)
So time comes to pass and the UK leading runners on modern day psychedelic sounds are here again entertaining the increasing numbers of us who need our fix of their musical trips! With this outing Nick Saloman (Mr Bevis) has to my ears surpassed himself and come up with their best releases to date. A more eclectic selection of numbers this time round but all seem to fit within whole CD. Still using Adrian Shaw and Andy Ward this time the CD is packed out with helping hands. From the off you move from number to number on this release with ease, from more straight forward acoustic folkier based songs to longer more complex tunes with some "cataclysmically" good guitar blasts the whole CD is filled with more ambition than I felt BEVIS had done before. If you have yet to set foot inside the world which is "The Bevis Frond" then the time is now! This might just be their finest hour. The only sad note on any of this is I don't think there is going to be a vinyl issue this time, which for all us lovers of "vinyl delights on dark eastern nights" is a crying shame.
Canned Heat (featuring Walter Trout) - Live In OzCD issue of a live set recorded not long after the tragic death of the man behind Canned Heat original vocalist Bob Hite. Already contracted to touring Australia Canned Heat went ahead with the tour hiring one said Walter Trout. I guess in the wake of losing such a BIG frontman in all sense of the meaning of the word the "old" era of Canned Heat had gone forever. As when all great things come to pass and the band finally arrived in OZ they were ready to start to rock again, what this CD does is to capture the re-birth of a great band. Classic tracks "on the road again" could have been the only choice to open this CD still played with the vibrancy you expect from such a classic cut, "Going up country" a favorite track of mine for nearly three decades is handled with great care and so is the following mixture of blues rock. It's never easy for a band to attempt to carry on after losing the main stay of the band, but on this CD you get to feel Canned Heat where never ready to quit recording or touring. Considering the circumstances this CD was recorded under and the then fresh faced Walter Trout on board you could wish for a none finer CD offering from these guys who could still show all how to have a good time blues boogie!
Earlier this year Dream Theater almost reinvented the benchmark to which other prog-metal artists should aspire to with their latest magnum opus 'Six degrees of inner turbulence'. Meanwhile, German band Vanden Plas have steadily been treading their path to the top of the European scene with a career spanning three previous full length albums, plus mini lps, and now the loosely conceptual Beyond Daylight, of which their label and my personal favourite Inside Out, suggest is their best to date. VP have the classic prog-metal set up ala DT, and I have read in certain places the 'merely a clone' quotes. Sure they are influenced by DT and Queensryche, but how many bands are truly unique and not swayed by the masters? The true test is in the quality of the songs. The vocals of Andy Kuntz are clearly accented but having said that, his use of emotion and the incredible multi-layered vocal harmonies make them some of the best in genre. Guitarist Stephan Lil's crunching chops, heavy riffing and clever guitar runs and solos dominate most of the music. The keys of Gunter Werno not only add depth and mood to the songs, but the variety of sounds and textures create much needed breathing spaces as well as musical diversity. The band sound incredibly tight and seem to come up with atmosphere building tracks and memorable melodies/choruses effortlessly. At times a sense of dark and brooding, but always musically uplifting. Nine tracks in all, intelligently arranged with flawless sound and production. Opener 'Nightwalker' with its mood setting sound-bites and synth strings, immense guitar/keyboard interplay, vocal hooks and smouldering undercurrent, set the tone. Continuing with 'Cold wind', with incredible heavy guitar and passion drenched harmonies. Then the gloriously symphonic 'Scarlet flower fields', with acoustic leanings and superb eclectic chorus. The ballad 'Healing Tree' is followed by the tempo-changing 'End of days' and a kind of sci-fi impression. 'Can you hear me' is down-tempo, piano and guitar with mellow, subtle vocals. 'Phoenix' gives an air of the vampirish and sinister, full of complex rhythms and soaring solos. Title track and closer, the chilling 'Beyond daylight' has this mesmeric vocal hook, haunting keyboard and fretwork, beautiful to sombre, mellow to heavy, a track of epic proportions. I must admit, I never realised how good this band are. Undeniably, in a heavily cluttered genre, up there with Threshold as Europe's finest. (I.D.)
BIG BIG TRAIN - Bard (TFCD001)
I write this review with an air of sadness. Talk of negativity, lack of sales, maybe the final Big Big Train album - I sincerely hope not. I have been a fan of the band through demos to this newie, the third 'proper' album 'Bard'. The band, for the newcomer, are lifers Greg Spawton, chief writer, lyricist, all guitars, some keys and main inspiration. Andy Poole, occasional co-writer, producer and bass. Also, Ian Cooper - keys, Tony Muller - piano and new drummer Phil Hogg. The vocals are the main change in the band. I know Martin Read has had his critics, unjustly I believe, but the band have decided to vary the vocals to avoid the feeling of 'sameness'. Muller performs lead on some tracks, more rougher and gravelly in tone. Also, Jo Michaels adds some beautiful, female vocal parts to the album. I.Q. and Jadis engineer Rob Aubrey mixes the sound and ensures a record of clear and perfect clarity. BBT play quintessential English progressive rock, probably the most laid back of bands in the genre. Sublime, intricate instrumental interplay, acoustic and electronic. Memorable melodies and warm, dreamy harmony vocals. Sophisticated and complex songs and yet wholly melodic, full of subtlety, almost poetry to music. Similar to perhaps Hackett era Genesis, Jadis and recent Pendragon, but with their own fragile, distinctive flavour. The new album 'Bard' is a title hoping to describe the very English feel of music and lyrics by the use of one word. 'Bard', I feel is undoubtably BBT's best album to date, even better than 'Goodbye to the age of steam'. I remember the band being quite self-critical of their previous album 'English boy wonders', lacking cohesion and being over-long. This has been corrected on the new album. It is a pleasure to listen to, with recurring themes throughout culminating on the final track 'A long finish' (8:20), exploring passages from previous songs then smoothly running into track one 'The last English king' (5:50). An English history lesson about Harold and 1066. Spawton also delivers some of his most heartfelt, personal lyrics to date. 'Broken English' (14:09), is a story a his parents' break-up at the age of twelve. Also on 'For Winter' (16:47), the lyrics examine the destructive forces of love and betrayal, the ravages of a doomed relationship and all the emotional damage connected with it. Lovely, gentle Mellotron, piano, synth, bass and guitar interplay and emotion clad vocals. Spawton's more varied and improved playing particularly evident. So many ideas floating around , and yet knitted together like an emotional tapestry. Both tremendous tracks. An all together more mature album, leaving a subtle, everlasting impression. Well worth the wait, and one that gets better with repeated plays. For fans of the genre, simply a must have and now released on their own 'Treefrog Records'. (I.D.)
THE JELLY JAM - The Jelly Jam ( EU IO 02)
The Jelly Jam is the name of the band formed after the departure of keyboard player Derek Sherinian from the now defunct 'Platypus' project. The remaining members are familiar faces. Ty Tabor of King's X ( producer, vocals and guitar ), John Myung of Dream Theater (bass) and Rod Morgenstein of Winger, Dixie Dreggs, Rudess/Morgenstein project (drums). I just love Ty's playing, heavy crunched up guitar one minute, beautiful melodic tone the next. I get the impression Myung excels with the extra responsibility and his bass runs often lead the tunes. No fighting against the double bass drum in DT. Gone are the jazzy elements in Platypus, this album is more direct and song-based. The usual Beatlesque vocal harmonies, melodic choruses to die for and classic power trio instrumental passages. Together the band create an unbelievable rock groove. The lyrics are all penned by Tabor and the majority are based on his busted marriage and the healing process. Personal favourites are 'Nature's girl', a track about a 'free spirited friend'. The main riff reminded of an old Jim Matheos (Fate's Warning) song with some blistering fretwork and changes in tempo, ala Alex Lifeson and Geddy Lee (Rush). Also 'Reliving' with Myung on lead, a down-tempo track about those youthful years, with gorgeous vocal harmonies. The band experiment somewhat on two of the tracks, the spacey instrumental 'The Jelly Jam' and the psychedelic and mystic rhythms of 'Under the tree'. I do actually prefer this to the Platypus project, and its not clear whether there was any rift, however Tabor and Sherinian again work together on the forthcoming 'Jughead' project with Greg and Matt Bissonette. Not ground breaking, and I know Ty's vocals are not going to be everybody's cup of tea, but this is a good rock album, recommended to the open-minded and fans of the above mentioned bands. (I.D.)
TUNGSTEN 74 - Await Further Instructions (US TER 004 02)
Tungsten74 are a live touring, instrumental band from Brooklyn, New York and AFI is their second full album. Their record label, Technical Echo seems appropriately named as the band uses different ideas and technologies to create musical rock explorations and soundscapes impossible to categorise. Indie-rock, electronic, ambient, space-rock, experimental, progressive, psychedelic, improvised, power trio are tags that all spring to mind. Their style uses spacey backdrops and atmospheres, overladen with driving, pulsating beats and tempo changes to create mesmeric braindances. Take track one 'Generic Foreign Accent' for example. Guitars, bass and drums creating a vibrating rhythmic beat with spacey synths tapering in and out. Then, increasing in heaviness and tempo to an almost hypnotic trance. Some tracks with throbbing bass-lines with melodic guitar synths and driving rhythms, whist others have non-descript tunes over tapestries of sound effects and patterns. The band don't take themselves too seriously though, with humorous sound-bites and titles such as 'What Hip-Pop Smells Like', also suggesting a disillusionment with the current USA rock scene. There are many rough edges to this release, and I detect that the band wouldn't expect any great commercial success, but no doubt the band are creating an underground niche for themselves in and around New York. (I.D.)
Ironia - A granite scale (US private 02)
Not the easiest or most accessible CD on my desk at present, I'd given this New Jersey rock outfit (no we aren't talking Bon Jovi clones!) a couple of listens but none of it had really stood out so I have finally came back to it to write a few words on this their debut CD. Their mix of rock styles from hard rock, progressive overtones and big AOR numbers did very little to excite me. On the whole the CD is going to be palatable to most rock fans with its Steve Vai styled guitar work opening many avenues in that direction. The vocals were the overall let down for me, not because of quality, they just sounded low in the mix for my ears. The power ballads were the better sounding numbers; Around The Bend and Song of Parting both of these should find favor amongst the legions of soft rock fans around. For a debut CD maybe I have been unduly hard on Ironia I just think they have aimed to showcase too many different styles in a short space of time and none of it fully jelled for me.
Pain of Salvation - Remedy Lane (EU inside out 02)
Respected Swedish progressive metal band Pain of Salvation return with a new CD REMEDY LANE, a thoughtful but dark autobiographical release based on the experiences of guitarist and vocalist Daniel Gildenlöw. Publicly putting his personal life on show for all to examine here, with influences from, Queensryche and Dream Theater (a bench mark all prog-metal bands have to reach) touches of Clutching at straws era Marillion mixed with tones of Nu-Metal and rap. Personally I have found this CD to be the most challenging encounter so far this year (mainly down to the nature of the desperate lyrics "ropes end" a place where only the most tortured of souls go). Musically faultless this is as highly prized as you are likely to find from any band in the "porg metal" category. The overall sound on the CD demands the listener to take care while listening after several listens I'm still separating each section as I go. From the opening number, Beginnings, you wonder trough the mind of madness to the resolvement of torture, not detracting from the musical content I found the lyrics here to be the most dominant feature of the CD. PoS have found favor with many listeners around the world and with this CD they are sure to build on their firmly fixed foundations as leading exponents of "Nu Prog Metal".
Big Brother & The Holding Company - Do what you love (UK mystic 02)
First release in over 20 years from this legendary SF band, yep we all know about Janis so no going into detail here. This CD is very much in the vain of what so many classic 60's bands have been doing in the last decade re-forming and making some good tunes (as well as some cash) touring, and treating so many of us who where to young to have seen them some 30 years ago too. I'd missed the recent UK visit of BBHC to the UK due to family commitments so this CD made for a pleasant insight into what they are about now. The music still is largely dosed in psychedelic influenced blues rock, with great female vocal from new girl Lisa Battle. 13 tracks including a couple of older number which JJ wrote and away you go for 50 minutes of great "rock 'n' roll" circa 2002 with a great late 60's feel. OK so it's a bit retro round the edges but that's a good recommendation round here. Opener TAKE OFF has some weird loops and last cut X FACTOR has a weird eastern tinged vibe. Its Cool is a jazzier number with a rap styling open vocal passage, showing that BBHC have at least been listening to new music in the last few years. This is great if you're like me a bit of a "retro rocker", not quite sure how many "new" fans this CD would if any find, but is sure to keep the legions of BBHC fans from way back when more than happy, just regret missing those live dates now.
Single Unit - Family of forces (Norway VME 01)A16 track outing is from Norwegian one-man-band Are Mokkelbost. Totally paranoid in sound with a mix of schizophrenic ambient metal add a firm nod of the head towards dance floor Drum & Bass, while staying true to the faith of the avant garde musicians around the world. Possibility the hardest CD I have had to review in over 3 years of writing for ACID ATTACK, I have struggled to find a set of words which would suitably fit the music. All number are short (around 2 minutes each) and this is one of the things I found most difficult to attach too, just has I got to start to like (?) or understand a number it would either finish or turn at such a sharp right angle I would be lost again. With its eccentric mixing of drums, guitar, electronica styled organ sound, its a brave man who even considers unleashing such an abstract work onto the music buying public so I would not dare to pass judgement over such an alluring 33 minutes of music. What I would say is for those of faint heart stand well clear, while those with the mind to be musically challenged I say enter the noise infested world of SINGLE UNIT.
Larry Kucharz - Techno Unit 32 (US private 01)
I'd been a fan of earlier works from LK I'd heard, his brand of modern classical sounds had found favour on my ears. With this CD I feel Larry has lost some direction, not in his ability has a musician (I feel no one could question this) but in the cross hybrid of styles you get on this CD, its not that I don't like listening to CD's of different styles it was the way this release is presented I found disappointing. 11 tracks all numbered and labelled in styles, Techno, Drum and Bass, Dub, Progressive Classical the list goes on. No one track in particular stood from the crowd but saying this not one track stood down either. I found this CD"much ado about nothing", having played it now a number of times I still find myself not been able to attach to anyone number, pleasant background music but no more than you would find on any number of zillion music library CD's released every month.
Mississippi Sludge - Biscuits & Slavery (Eu RH 01)
Hard edged southern rock fused with a heavier stoner sound made this an appealing item around here. This took awhile to hit the CD player (you guys should see my "to be reviewed" pile) but once there it was on solid rotate for over a week. This 4 piece unit haling from the LA spend the whole of this CD showing off their ability to cause a hard ass sound while still been able to chill in the breeze. With a sound not unlike early ZZ TOP and not a weak cut in sight you southern rock boys are in for "treat city" here. 10 cuts spread over 48 minutes (with Back to Back clocking in at over 16 minutes) this is a worth while investment to any good rock & roll collection. For you southern rock guys who might be put off by the "stoner" link, don't be there enough blues edged slide guitar, and harmonica around here to keep the most die hard southern boogie boy happy. This works well on all fronts and for a none southern boy like myself there was enough hard rock here to keep me going back to the repeat button. These guys aren't (well from the cover art anyway) taking themselves too serious, it's the music these boys take serious and boy does it show!
Demon - spaced out monkey (Eu RH 01)
Returning to the fold after an 8 year absent Demon (who were at the fore of the UK's NWOBHM sound some 20 years ago) after a number of line-up changes over the years only Dave Hill remains from those early influential LP's from way back when. The sound Demon had created and been noted for is still here, although there's no attempt to clone the old sound and rehash something which had been done before. This line-up of Demon has gone further into the new rock/metal sound which is starting to consume the global metal community. Some great tracks which are of note are, Sound of the Underground a great rocker which would fill the stage in any stadium, Homeless a ballad which is totally in-capturing in sound and shows just what a great vocalist Dave Hill remains, other numbers worthy of mention are, Dreamline and Alone . I can't see demon picking up legions of new fans with this CD, what I do feel is that after a couple of CD's I thought were lose cannons Demon have returned and finally laid any ghosts to rest. If this CD turns out to be Demons "swan song" they will have bowed out in fine form, I just hope this isn't to be the case because after hearing this I think there is far more and maybe even better to come.
The Lens - A Word In Your Eye (UK GEP 02)
The Lens, a pre incarnation IQ (Mike Holmesand Martin Orford ) have always commanded the respect of UK neo-progressive fans. Formed around 1976 (their dimes took place around late 1980) The Lens play(ed) a spacey mix of instrumental prog-rock and ambient soundscapes. I have always followed the UK neo-prog scene though never delving into the deeper area's, so until this CD arrived here I had not previously heard these numbers (a demo tape from around 1980 exists). For any fan of IQ this CD is a winner, what more could you ask for than "lost" recording from 22 years ago new re-recorded digital sound quality. As I am unaware of the demo tape (and the numerous bootleg recording of these songs) I can only comment on what we have on the CD, working of numbers that made it to the demo tape and some slightly later early IQ versions. Instrumental almost in its entirety the 10 tracks are spread on 55 minutes. There is a feel of IQ to these recording (without the vocals of Pete Nichols) but on the whole this CD has taken away any restrictions that IQ may have placed on Mike Holmes and Martin Orford to explore fully their intercreative progressiveness! Lashing of synths and guitars fill the CD, with it's obvious debt to Floyd, Camel, Steve Hackett and more, this CD is sure to provide IQ and progressive rock fans as good as any starting point on their "to buy" list for the year.
THONK - Earth Vision Impact ( Eu GR005 01)
Small Swiss label Galileo are steadily building up a reputation for quality progressive releases, recent albums by Scythe and Forgotten Suns bare testament to this. This new record is their first home-grown release, a young instrumental three piece of undoubted potential. Marc 'Rak' Grassi is the main writer, keyboard player and inspiration behind the band. Fredy Schnyder, bass and guitars and Flavio Mezzodi on drums and percussion are also great musicians in their own right. The band describe the record as 'an art rock album with jazz influences' and list 70's artists ELP, Yes, PFM, UK and more recently Dream Theater as influences. Listening to their music I would suggest maybe a fusion of ELP, Ars Nova, Greenslade, Tangerine Dream, Jordan Rudess, and occasionally Swedish prog as closer to their style. Beautifully produced by Par Lindh, like his work it is dominated by a plethora of different retro keyboards, Hammond, Mellotron, grand piano and various synchs are included. Also some beautiful acoustic guitar interplay and throbbing bass lines. As you come to expect form Galileo the booklet is excellent, and with every track are words attempting to create a vision of underlying themes. It does beg the question that if a vocalist was available would lyrics have been used? Some of the musical passages just lend themselves to vocals. The tracks themselves are rich in melody and texture, varying from the gentle synths of 'Sulm', rock based 'Thonkland', the bombast of 'Rak' and 'Insharp', the ELP influenced 'Square Root' and the modern Rudess sounding 'Garden'. My own personal favourite though is 'Ela', so beautiful in its simplicity, a classical guitar/grand piano piece so poignant and subtle, and a clever use of light and shade. I look forward to see how this band evolves but this is a good starting point. (I.D)
I know this French-Canadian prog-fusion band from Quebec are highly rated among the U.S. prog press, they seem to prefer originality and complexity to the more traditional, subtle and melodic approach we enjoy in Europe. Spaced Out wouldn't be out of place on American label Cuneiform such is their experimental approach and are far cry from Unicorn label-mates Mystery and Hamadryad. The band centres around the writing and production skills of Antoine Fafard, self-acclaimed the 'Prince of Ambiguity', and responsible for bass and keyboard programming. Ably assisted on guitar by Louis Cote, Martin Maheux on drums and Eric St-Jean on keys. This is one cohesive, tight band, and freedom of expression, improvisations, jazzy meanderings and dynamic playing, form the nucleus of their music. In fact, at times it sounds like one smoking, crazy jamming session. Complex, structured, energetic instrumentals, virtuoso, twangy bass slapping, frenetic drumming, shrieking, rapido guitars with wah wah, backed with synths and piano/string interludes, and uncomprehensible voices. This is no easy ride and I must admit I find the compositions a little too breakneck and samey for my tastes. They also run the self- indulgence hair-line. More changes in pace, subtlety and less intensity needed but perhaps I'm missing the point here. However, for fans of the genre, or fans of challenging music prepared for the Long Run, should give Spaced Out a try starting with their most recent, Eponymous II. (I.D)
Transatlantic- Bridge Across Forever
It seems in recent months quality progressive releases just seem to roll off the Inside Out production line. Possibly their biggest hyped band of all, Supergroup Transatlantic, now release their second album 'Bridge Across Forever'. I've had this cd ticking away for some twenty plays now and in my opinion it is absolutely AWESOME. The band members' pedigree is beyond question. Mike Portnoy , widely regarded as one of the greatest drummers on the planet and key influence on the Dream Theater sound. The under-rated Pete Trewavas of Marillion on bass. Roine Stolt, chief songwriter, voice and guitar player with Sweden's finest, The Flower Kings, and last, but certainly not least, the prolific Neal Morse, songwriter, keyboard and guitar player, lead voice of U.S. band Spock's Beard, described by Roine as the 'walking music machine'. The band had a job on to better 2000's SMPT:e but this newie is better prepared, more mature, relaxed and definitely more of a collaboration in writing terms. It seemed with the previous album already written songs were presented to the rest, then various members added parts here and there. In particular epics 'All Of The Above' sounded too Spock's Beard, likewise 'My New World' very Flower Kings. Having three strong 'Captains' it appeared when meeting for the first time it was a case of getting use to each other's style without necessarily treading on any toes. On the new album the four met up at Neal's house for a four day writing session prior recording and the new found chemistry and trust from gigging and jamming has resulted in everyone's personality being cemented on the record. Also, a more fuller, layered sound and better improvised and experimental instrumental sections, all unashamedly in the Classic 70's prog rock style. Only four songs this time, no covers, and wholly melodic throughout and as usual gets more rewarding with repeated plays.
The album kicks off with 'Duel With The Devil' ( 26:43 ), classic prog in five sections, which I feel is about discovering yourself and the soul-searching in children without the benefit of parental encouragement and leadership, and how they are easily lead into uncompromising situations. 'Motherless children wandering nowhere' and 'Duel with the devil living in your mind' are repeated themes throughout. Real cello/violin intro leading to fantastic symphonic piece with Neal on vocals, great musical interplay and a meaty throbbing bass-line. Then a mellow acoustic section with Roine on vox, a heavy riff-based part, then a spacey, jazzy piece with wah wah guitar and soprano sax ending. Then a Spock's keyboard piece, harmonic vocals and a beautifully melodic Choir section and Howe-like ending. Great opener.
Track Two 'Suite Charlotte Pike' ( 14:30 ) is another five piece track but quite different. The sections appear loosely related to the title character and are mainly a medley of 'Abbey Road' Beatlesque songs. There's even a great quote of 'becoming the Beatle inside of me' in the first section. It starts of with a humourous, bluesy, jamming section that ends abruptly to the laughter and cries of 'whatsup?' and 'take two'. This track give everyone a chance to shine vocally. Great Grand piano/guitar interplay, bass and drums, and fantastic harmonised vocals throughout.
Track Three 'Bridge Across Forever' ( 5:32 ) is beautiful, heartfelt, spacey ballad that reminded me of Dream Theater's 'Wait For Sleep' on first listening. So simple in its brilliance, just piano and Neal's voice with accompanying harp and synth washes. It deals with the spiritual world, eternal life and the pathway to heaven. 'We will meet again one day on the bridge across forever'. Stunning piece from the pen of Neal Morse.
The final track 'Stranger In Your Soul' ( 26:06 ) continues in the same vein as track one, in six parts, and I feel deals with finding love - the 'Stranger in your soul'. Another cello intro and bombastic start with superb Hammond/ guitar interplay leading to a mellow vocal section with a melodic musical passage. Then a heavy riff-based part with Roine straining on vocals 'Whatever you're looking for don't ever start looking behind'. Very Dream Theater. Then a instrumental section straight out of Liquid Tension Experiment, into a spacey psychedelic part with piano and guitar synth. Then the laid back and blissful 'Awakening The Stranger' piece, instrumental passages and recurring themes leading to an unusual grande finale. This is what prog is all about.
A feast of ideas, memorable hooks, majestic and grandiose, and sounding like a unique new band. Who knows what this four are capable of ? Be quick, the Limited Edition version contains an extra disc with covers of 'Shine On You Crazy Diamond' and 'Smoke On The Water' plus video clips and other bits and pieces. It should not really need saying but here goes anyway - Essential Listening.
.
Ian Doughty
Church of Chaos - Snow white and the seven deadly sins (US sc 01)
Not what you would expect to find on the pages but thought I'd give you the chance to make your own mind up on this one. From Sanity Check a label we'd covered, you get an hour's worth of metal meets dance, rap and techno. Well produced this mixes male/female vocals to maximum intensity which proved intriguing if nothing else. The rhythms are far to dance like for my ears but with its new-metal approach and riffs, that kept me going through this for a second time. I'm not really into the industrial dance scene, but as I know plenty of you who are I'd suggest you give these guys a listen, if me the confirmed non-dance fan can get more than one listen I'm sure many of you will get much more from this release.
5.15 - death of a clown (Eu record heaven 01)Another successful offering from this great classic/hard rock outfit from Finland. Mixing male/female vocals over classic guitar riffs and sounding bold and brash with the intention of doing so. Kicking things off is The Prostitute, the best number for me on the CD. On first listen here I had to go back over the opener 3 times! With its small build opening drums over acoustic guitar this builds and builds, just 5 minutes long (guys you could have made this last 25 minutes and I would have still loved it!). The rest of the CD takes a conceptual theme, but not to the point as the tracks don't stand alone on their own merit. She kicked your presents of the bed again mixes the softer touches with a harder heavier middle section. While Sometimes it helps and From London with love are both hard rock burners from the off. Ending the CD is title track and brings the whole proceedings to an appropriate ending. I'm an easy convert to the music on 5-15 they play what I want to hear non-pretending rock with that great 70's edge. From what I have now heard from 5-15 this is their finest hour to date, building on the strengths of their previous releases.
Saturnia - The Glitter Odd (NZ CRM)
This is a joy, even though it gets a little lost in the middle and just meanders around a bit to no great effect. When I first listened to this I wrote down the words, 'Jean Jacques Perrey meets the Stone Roses'. Not sure if that accurately describes how I now feel about a quite spacey, psychedelic sound with definite touches of Air in places. For a duo they make a large sound, which is fairly understandable given studio technology, though the range of instruments they use, theremin, sitar, gong, lap steel, guitars, chimes, castanets, e-bow and effects and that's just Luis Simoes, Francisco Rebelo adds organ, synthesizer, bass, metalophone and other keyboards, well it's quite stunning. As I say, it loses something with the flute in a rainforest track, 'A trick of the light', but not enough to take away from what they have achieved, a meeting of the best of the 60s and the best of the 90s. I'm a total sucker for that organ sound, a Philips Philicorda apparently, and I can imagine this being liked by fans of Broadcast, in places it reminded me of a well wasted Bowery Electric, yet has enough individuality to stand up to comparisons with other artists and find a niche of it's own. Probably best played in a nicely darkened room with a suitable incense burning and a close personal friend of your choosing. (GE)
Osaka - Life for dead spaces (Roisin 10 01)
This one is operating in a similar vein to the Saturnia release above. Drifting along barely powered by the beats, though they are much harder here when they are used, we're still not talking Aphex Twin, rather we're still in Air territory. No idea of the number of people involved nor what they are playing, guitars are used in that gentle Cocteaus way or Michael Brook is another name that it evokes. Subtle vocal samples float in and out. It all meanders around nicely, perfectly pleasant listening if not terribly challenging. And, just for once, I don't mean that as an insult. Whether I'd want it to fill in my dead spaces that often with it I'm not so sure. It's a nice place to visit occasionally but it's giving me the desire to go and get my Electric Wizard album out. Another one for the subdued lights and fragrant candle baths. (GE)
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F2 - A Prog Rock Sampler (uk f2 01)
This sampler is really a reintroduction to a label that's been around a few years now. With a re-designed web site, claiming to be the "home or progressive rock" they have issued this 8 track sampler to make people aware of the new web site and the fact they carry some great prog titles. I'd need a page and half if I was to give fair coverage to this sample but I'll run through the tracks and you can go check the web site out for more details. First off is a 20 minute epic from new band Magenta, female vocal fronted prog outfit from the UK The White Witch is about as progressive as you can get, lots of nice keyboard arrangements clever vocal and hook lines with some great guitar work winding its way through the whole of the track. This is cut from their double CD Revolutions, released earlier this year. Second track on the CD is from The Fyreworks here is the 9 minute cut of Master Humphries Clock, another great prog-rock tune a little harder in its direction than the opening track on this CD. Fyreworks have a long and interesting history that running back over the years. This again is another winner for prog-rock fans around. Third and fifth tracks come from Cyan another familiar name around the world of prog, I find this band a little more mainstream and almost AOR in some directions, two tracks Guardians and The River the latter here been the better of the two numbers. Scottish act Abel Ganz get a track to highlight the fact there is a new CD due soon, Alan Reed who went on to (and still does) front Pallas started his career here. Lee Saunders gets one track and to finish off you get a more R&B type number from Swing Gang (Danny Chang / Fyreworks) although not at all prog I'm sure these guys would give you a good night out. I have and still do find samplers hard work, too many styles moving and trying to expose you to so many acts in one place. F2 have tried hard to bring you a good cross section of their work, if you are at all into progressive rock and who's issuing what right now, the least you could do is check out F2's web site.Galahad - Other Crimes & Misdemeanours 3 (UK voiceprint 01)
Originally issued in January this year direct from Galahad (as a CDr only) now getting a full release via Voiceprint. Galahad hail from the south of England and continue to issue excellent progressive rock releases. This CD is a collection of Radio sessions and other works split into four sections. Section one and two are both from the work Galahad have done for various radio shows, section one consists of Aries (musically strong for an opener), The Chase and Learning Curve these track are taken from the self titles radio sessions EP (which is long out of print) and more than a welcome inclusion here. Section two is a session recorded for BBC Radio One's Friday Rock show, with the inclusion of Face to the Sun you see why so many comparisons over the years have been drawn to the influence Marillion have played on this band. Section three finds Galahad live at the Classic Rock Society in Rotherham England. Exorcising Demons for me is the pinnacle on this CD, full of atmosphere these 10 minutes will delight the many Galahad and progressive rock fans. The Final section sees the pulling together of three tracks that over a period of time were recorded for various "tribute" CD's, Genesis, Camel and Twelfth Night all get treated with fair favor. Galahad have for a number of years been selling their brand of progressive rock, finally shaking of the "Marillion clone" they got tagged with so early on in their career. I for one think it's time they issued a CD of new material, but for now this compilation is more than enough to fill any gap my CD collection may have had.
Ed Gerhard - House of Guitars (US virtue 01)
Only on rare occasions does a CD grasp my ears on first listen but from the off this CD had me listening with enthusiasm. Ed Gerhard is from Philadelphia and has issued here a CD of instrumental acoustic guitar numbers. The CD mixes self penned song, older folk and blues numbers, along with contemporary tunes. It's this cosmopolitan approach which I found to be of favour. The self penned numbers stand well on their own, while it's the coupling together with known numbers that adds that extra dimension. Ed has the ability to play in many styles, something as a failed guitarist I can full appreciate, one of the strong point when looking at any guitarist has to be if he/she can play in more than one style. Here's there's no doubt left, Guitar Picking, Blues, Folk, Modern Classical all infuse with enchantment. This CD will have wide appeal to audiences, from those who want to examine a guitar player's work through to those who just want to sit and listen; House Of Guitars offers all.
