Forward Shapes: Legacy (2012)

FORWARD SHAPES is a studio only project formed back in 2005 by Brian Andrews (keyboards) and Andrei Kryssov (guitars). Their aim was a simple one: To record a full length album of progressive rock. The manner in which they chose to do so was a tad less conventional however. The songs themselves were mapped out by 2008, and then the formative duo invited musicians from around the world to contribute their parts, assembling the different instruments used in a specific and not too common order. The website of this project chronicles these developments in minute detail to anyone interested. The end result became the CD "Legacy", self released in the early spring of 2012. Containing 8 tracks and clocking in at just under one hour, and as far as debut albums are concerned it's a reasonable well conceived production too.

In terms of style the compositions tend to stick within the progressive rock realm, with occasional detours bordering the softer side of progressive metal. Piano and keyboards are key elements, and the instrumental foundation is built around the interaction between piano and guitars in particular. Acoustic guitar and wandering piano in tightly interwoven lead motifs, darker toned, dampened guitar riffs as a contrasting subtle undercurrent to the tangents as well as more dramatic and flamboyant guitar riff and piano interactions more thoroughly exploring and focusing on the differences in tonal range and resonance. Most pieces also feature the vocal talents of Alison Vance, whose powerful, emotional delivery adds a distinct dramatic flair to the proceedings as well as combining splendidly with the piano. Keyboards are applied somewhat more sparingly, and arguably most effective in calmer instrumental passages combined with melodic guitar soloing to produce moods and atmospheres not too far away from late 70's Pink Floyd in expression. But as far as comparisons go, I suspect the stated influence of a band like Nightwish is a better one. If you can imagine a stripped down version of that band, with less dramatic guitar motifs and the symphonic backing replaced by piano, then you're starting to hone in on the sound of Forward Shapes.

Personally I found them to be more interesting than the norm on three distinct occasions: Mirrors of You, due to a nifty and effective powerful recurring vocal section that elevates this piece. Holding On, a slower paced ballad where the interactions between vocals, acoustic guitar and piano are stunningly beautiful. And finally in the brilliant, twisting and turning dramatic intricacy of instrumental piece Elusive, an aptly named and fairly sophisticated number that explore the dramatic dynamics of the piano and guitar interactions in sequences that are truly stunning at best.

The end result is pleasant enough, just how much so depending on musical taste more than anything else I imagine. If you have a taste for melodic, fairly intricate hard rock that avoids pompous arrangements but doesn't avoid a certain dramatic flair, Forward Shapes debut production "Legacy" is a disc you probably should spend a few minutes investigating further.

My rating: 70/100

Track list:
1. I Live On
2. Never Forget
3. Mirrors of You
4. Degrees of Freedom
5. Elusive
6. Holding On
7. Proclivity
8. Legacy

Rumour Den: Melancholics Anonymous (2002)

Northern Ireland based band RUMOUR DEN was formed towards the end of the 1990's, and for a few hectic years they were on a good roll that suddenly stopped, as the band had to split shortly after releasing their debut album "Melancholics Anonymous" in 2002 due to non-musical reasons. These days original members Al Gilmore and Steve Simms have set up a new version of this band, and while busy creating new material they are also giving this 10 year old debut album a belated, promotional push it never truly got when it was originally released.

The core of this album isn't one that resides in the music itself. It is the moods and atmospheres explored that comes across as the main element. Dampened, controlled sadness and quiet desperation are the main ingredients, frail and fragile emotions that has been run through a filter to tone them down from the dramatic to the subtle. Melancholic for sure, but with a constant trace element of something stronger, hints of words unspoken and emotions bottled up and hidden away in a closet about to overflow and explode. Or perhaps implode.

The key provider of these moods are vocalist Al Gilmore. He has a pleasant, melodic voice able to incorporate those faint and almost hidden traces of emotions far more dramatic than what the music and at least to some extent the lyrics themselves reveal. Careful in delivery, with finely controlled details of grit and power utilized when needed. His voice carries the majority of these songs, adding the element needed to bring them out of the realm of relative anonymity.

The compositions themselves aren't really that remarkable. First and foremost a foundation for the lead vocals, generally all built up on a specific formula. Careful, gentle light toned verses with a stripped down arrangement dominated by acoustic guitar and lead vocals, often with a dampened rhythm section beneath and the occasional faint keyboard texture hovering nearby. Sometimes we're treated to an intermediate section with a carefully enriched arrangement, while the chorus tends to broaden the palette rather extensively, with darker toned guitar riffs adding dark undercurrents to the proceedings as well as a harder edge, supplemented quite nicely by richer keyboard textures for a suitable majestic and careful dramatic effect. It is a formula that works fairly well too, and the songs generally does come across as pleasant excursions. Like a lighter toned, bottled up version of early Madrugada or a harder edged variety of Hinterland. In case anyone reading this is familiar with these bands from Norway and Ireland respectively.

A few variations to this approach are provided too, which makes this album to be not quite as much a uniform experience. Down By Degrees, a careful, stripped down vocals and acoustic guitar only ballad, is the least impressive for me. Well made and performed, but amongst thousands of tunes of a similar nature this one doesn't really stick out in any manner for me. Demon Seed is perhaps the most intriguing composition on the album as a whole to my ears, with more of a basis in electronic pop music of the kind that reminds me ever so slightly of veteran dream pop band Bel Canto. At last House of Cards is a darker toned, harder edged affair that showcase how the band gets about crafting a song with more of a gritty, forceful atmosphere. And it's a well made specimen of it's kind too, three compact minutes sporting some of the more energetic passages on this production.

While not a brilliant nor historic disc, "Melancholics Anonymous" is a fine album that should find plenty of favour amongst those who enjoy calm and controlled rock music where sadness and melancholy are the key ingredients mood wise, in particular by those who have a soft spot for lead vocals being the key ingredient in such a setting.

My rating: 68/100

Track list:
1. Under A Cloud
2. Scared of Dying
3. Nadir
4. Down By Degrees
5. If I Told You
6. Demon Seed
7. This Night Holds Nothing For You
8. House of Cards
9. Guilty Days
10. Slumber

Corvus Stone: Corvus Stone (2012)

Multi-national band CORVUS STONE is a studio only project that found it's shape and form early in 2012 following chance encounters on Facebook resulting in the core trio of Colin Tench, Petri Lemmy Lindström and Pasi Koivu finding each other. They developed the majority of the material at hand on what is their self-titled debut CD, with a few supplemental details provided by their most recent members Blake Carpenter and Robert Wolff. The album itself was released in the late fall of 2012, initially as a digital production but with a physical CD edition following shortly afterwards.

The mammoth 21 track CD the core founding trio have developed is a rollercoaster ride that will inspire a multitude of different opinions. Those in close touch with band and musicians alike, of which there are many, will most likely herald it as one of the better productions of 2012. That will most often be the case when people have a strong attachment to a project, and in the case of Corvus Stone a great number of people have engaged themselves in this project. There's a good few hundred people out there who have followed the proceedings and development closely who does feel something of a personal ownership to this album I suspect, and quite a few of them will be visible and vocal advocates of this production.

I know a few of the people involved myself, and care quite a lot about Colin Tench and Sonia Mota. The latter something of a nexus for band interactions as well as the provider of the cover art of the album. And a delightful, charming and spirited person to boot. But while I have an attachment to some of the people involved, I can't allow myself the luxury of treating this production in any other manner than other albums I cover. But just in case someone should point out that my views might be tainted by personal relations in this case, I have chosen to bring them to the table straight away. Then it's up to anyone reading this to decide whether or not this does cloud my judgement.

Personally I feel this production is an up and down experience. The material itself tends to have something of an improvisational nature to it. Improvised by time delay I suspect, as I don't think any of the instrumentalists have been in studio together nor even recording in the same studio. I can imagine quite a few of these tracks flying back and forth between members however, with each successive session resulting in just a few more details added in. Other pieces are more straight forward in nature however, to the point where I suspect quite a few of them only had one session in each members recording studio.

Which of the songs that fall into either category I can't really tell, but personally I'll readily admit that there are excursions here that failed to impress due to the end result becoming a bit too chaotic and somewhat lacking in structure and general cohesion. The least interesting ones assembled in a row starting with the schizophrenic JussiPussi and ending with After Solstice. The latter of these opening up brilliantly I might add, but unravelling into a less than interesting soundscape for this pair of ears.

The high points just about outweighs the low ones however. Ice King is a solid song with vocals and a brilliant one as an instrumental workout. Floydian in nature and with a sound that gave me an automatic association to Canadian Rick Miller's productions admittedly, but a fine effort nonetheless. And amidst plenty of songs featuring playful organ motifs, I'll Leave It All Behind and Moron Season are truly captivating yet also rather different instances of minor magic in that department. The smooth, elegant and mostly Floydian environment explored on epic length Cinema is another high point for me, 10+ minutes of smooth elegance. But Corvus Stone has still has a lot of unfulfilled potential in the songwriting department, and the inclusion of the Black Widow tune You're So Wrong documents this quite nicely, as this piece is the best developed composition by far on this disc. Perhaps not the most intriguing, but a well developed, cohesive affair that feels planned in all aspects and details.

It'll be fun to see where this band project heads off to next. With a drummer joining their ranks too late to really be able to contribute much on this occasion it'll be intriguing to see just how much this addition will elevate the material of this band, as the drums were something of a detrimental factor for this album. The inclusion of a vocalist might also alter somewhat the manner in which future material will be developed by this band. By and large I generally expect their next production to be a better one, at least in terms of coming across as developed and cohesive, and with the now five musicians getting to know each other better the internal band members knowledge about their individual strengths and weaknesses should also see a more interesting second full length production by this act.

As it is, Corvus Stone debut album is a marathon collection of bits and pieces of which some will intrigue, some will not and quite a few will be somewhere in between. A promising but uneven first chapter in the history of a band that those who know more about it will always associate with Facebook. An album I suspect should find favour amongst fans of melodic progressive rock of the Floydian kind, especially if they also tend to like improvisational material of the instrumental variety.

My rating: 70/100

Track list:
1. The Curtain Rises
2. October Sad Song
3. Highway to Emptiness
4. Ice King
5. I'll Leave It All Behind
6. Corvus Stone
7. Moron Season
8. Horizon
9. Intermission
10. Moustaches in Massachusetts
11. Pilgrims
12. JussiPussi
13. Iron Pillows
14. After Solstice
15. The Rusty Wolff Attack
16. Lost and Found
17. Scary Movie
18. Cinema
19. You're So Wrong
20. Ice King
21. Ten Inch Lisa

Scarlet Hollow: What If Never Was (2012)

US band SCARLET HOLLOW was formed sometime around 2006, consisting of Allison von Buelow (vocals, guitars, synthesizer), Gregg Olson (guitars, synthesizer, programming), Jeff Mack (bass) and Diego Meraviglia (drums, percussion). They first appeared with the EP "Sanctuary" in 2010, and two years later they are now ready with their full length debut "What If Never Was", released on US label Melodic Revolution Records.

In terms of style, this is band that hovers in the borderland between progressive rock and progressive metal. I kind of assume that it will be a generation issue where you'll eventually place them yourself, people a bit long in the tooth and bald at the top will be most likely to apply the metal tag, while those a bit more wet behind the ears most likely will be able to comprehend why this band is associated with metal at all. A case of perspective more than anything I guess.

The key ingredient in this band's mix of styles aren't instrumental however. While Scarlet Hollow does have a fair amount of good and frequently intriguing instrumental themes, it is the lead vocals that carry the compositions, which is for better and worse both. I get a distinct impression that von Buelow's voice are given the task of replacing key melodic details that otherwise would have been catered for by keyboards of one kind or another. An approach that does give the band a somewhat unique sound, but which also comes with it's own set of pitfalls and curve balls.

Returning to the instruments and compositions for a bit, the main ingredients of those are relatively calm and mellow themes sporting acoustic guitars and light toned, undistorted electric guitars as key ingredients. Drums and bass are well applied, with the lead vocals hovering on top. Darker toned guitar riffs are applied sparingly, most often for the chorus and dramatic effects. Keyboards are even more rare, at least in terms of being given a dominating spot in the proceedings. But when applied and in a more or less upfront manner wandering piano motifs and more commonly symphonic inspired backdrops are used to good effect.

A few exceptions aside I found Scarlet Hollow to be a band that excel at the calmer moods and atmospheres. And this is mostly due to the aforementioned part of the vocals. Von Buelow has a distinct, melodic voice and a finely controlled delivery, but at least as I experience matters she seems to struggle when employing a more intense, dramatic delivery. Especially when dealing with the lower parts of the register. I generally found the harder hitting parts of the bands repertoire to be a bit hit and miss too, and while some of the finest moments of this album can be found when they explore the metal-tinged parts of their sonic palette all of the least convincing sequences are of this kind too. The chorus of the otherwise highly intriguing The Waiting one if the better examples of this. Obviously in my personal opinion only, as I'm not an oracle preaching universal truths.

Towards the end of this disc we're served a rare example of this band finding their way also in more of a purebred metal oriented creation. Nightfall Ouverture is the name of this particular creation, arguably a case of epic heavy metal more than progressive metal as such, but a fine and compelling piece it is and a case where the metal oriented themes dominate while the calmer ones are used as effects rather than the other way around.

All in all I found Scarlet Hollow's debut album to be a fairly interesting case of music residing in the borderland between progressive rock and progressive metal. And while there are a few compositions that are on the weaker side in my opinion, the majority of the material falls well under a description as solid in my book. As such a production worth seeking out if you enjoy melodic progressive rock and metal in general, and in particular if you have a soft spot for songs that by and large are carried by female lead vocals.

My rating: 70/100

Track list:
1. The Path
2. Apathy's Child
3. Thermal Winds
4. Around the Bend
5. The Waiting
6. Behind the Lines
7. All That Remains
8. As the Blade Falls
9. 20 20   
10. Nightfall Overture

Alberto Rigoni: Three Wise Monkeys (2012)

Italian composer and instrumentalist Alberto RIGONI is perhaps best known for his decade long tenure in Italian progressive metal act Twinspirits, while his side project Lady & the Bass is the one that have given him most attention outside of progressive rock circles. Besides these projects he has also found the time to kick off a solo career. "Three Wise Monkeys" is his third solo album, and was released in the fall of 2012 through US label Nightmare Records.

And it is an interesting ride Rigoni has prepared for his listeners. Kicking of with the sparse, brief instrumental Toshogu Shrine, a perfect piece of atmospheric music that showcase the very best of Rigoni's talents as a creator of captivating moods. From then on this disc is more of an uneven ride however, with versatility and variety as key elements.

It's in the following quartet of compositions I find this disc to be least interesting. A matter of personal taste more than anything else I guess, but the energetic runs through a melodic progressive metal environment we're treated to on Mizaru, Three Wise Monkeys and Blackened Tornado, as well made and performed as they are, doesn't manage to captivate anything that hasn't been done just as good by others previously. Well conceived and performed by all means, with a strong mix and production, but perhaps lacking in the subtler details department ever so slightly, perhaps a tad too repetitive to my personal taste. Songs that will find favour amongst existing fans of this kind of music but that won't convert anyone not enjoying this style already I suspect. And while the gentle, plucked guitar and bass details on Kikazaru is a welcome addition in the variety department, this more careful and reflective piece isn't of the kind that sends shivers down my spine.

Iwazaru on the other hand, now that's more like it to my mind. A stripped down arrangement that provides plenty of space for a bass and layered keyboards workout that opens in a careful, subtly jazzrock flavoured expression and gradually develops into a richly arranged, majestic creation with a distinct symphonic expression. An unexpected treat on a number of levels, and arguably the most accomplished piece on this CD too. Depending, obviously, on personal taste.

Free Falling and Between Space and Time are less intriguing compositions again to my mind and ears, the former a diverse number that moves between harder edged funky rock, melodic progressive metal and dampened elegant jazzrock in expression, the latter a tranquil bass and acoustic guitar workout that should please those with a taste for calm instrumental music with a foot wedged into the doorway of the jazz universe.

Coming Home and Believe heads into different and more intriguing directions again however, the former again a sparingly arranged effort that slowly intensifies, with bass and acoustic guitar providing a fairly nuanced foundation for the lead vocals and the electric guitar added in later on. And as far as Believe goes, we're closer to the likes of Spock's Beard or Neal Morse on this ebb and flow symphonic oriented affair, a fitting piece to conclude this album on a high and majestic note.

There's a lot to like about "Three Wise Monkeys". The 10 compositions cover a broad and diversified stylistic palette while instrumental performances, mix and production all are high quality throughout. The songs themselves are a bit more of a hit and miss affair however, some of them strong creations that will have a broad general appeal, others come across as less engaging in general, my main impression that these pieces at least to some extent have been tailor made to suit a specific audience. If your taste in music tends to be somewhat eclectic it's a disc you might want to inspect closer, at least as long as you have a particular soft spot for the most melodic varieties of progressive metal.

My rating: 76/100
Track list:
1. Toshogu Shrine
2. Mizaru
3. Three Wise Monkeys
4. Kikazaru
5. Blackened Tornado
6. Iwazaru
7. Free Falling
8. Between Space And Time
9. Coming Home
10. Believe

Focus: X (2012)

Dutch outfit FOCUS are among the veterans of the European rock scene. Initially formed in 1969, it was the first few years of their career that saw them make a big impression with tracks like Hocus Pocus and Sylvia, where the former is a staple on classic rock radio stations even today. Towards the end of the 1970's Focus called it a day, but some 20 odd years later Focus was revived courtesy of Thijs van Leer. X is the tenth studio album by this veteran act, and the third to be released after their revival.

The core style explored on this production is one with half a foot or thereabouts placed inside 70's jazzrock. It's a smooth and melodic variety of the species, with melancholic oriented guitar soloing backed by smooth organ textures and wandering piano motifs as core elements throughout. An often used and effective detail is how the flute and guitar will take turns in providing lead motifs, and even while relatively brief in length the compositions tend to contain multiple themes, or at minimum distinctly different lead motifs. The various themes and motifs are repeated, and the use of recurring elements in general are the main identity providers.

Most pieces have been given additional elements that separates them somewhat from the rest too. Like the spirited, bass riven insert in the otherwise slow melancholy of Victoria, the whimsical lead vocals of All Hens on Deck, the careful rare lead vocals of Le Tango or the spoken words that appear in Hoeratio. And for Talk of the Clown Focus opts for a dramatic shift in style, this brief piece with marching drums and elegant playful flute comes across as a theme tailor made to be used for a 70's children's TV show more than anything else. All of these are well made and well performed items, high quality material if you enjoy music of this kind. On this occasion, while I do hear the jazz and jazzrock orientation, my main impression is that those who enjoy early 80's Camel should find this production to be quite to their taste.

That is, with the exception of the first and last song of this disc. Father Bachus comes across as the perfect opening song for a concert, an energetic romp with 70's driving guitars wandering off into folk-tinged excursions closer to the likes of Jethro Tull as well as standalone driving drum sequences, while concluding piece X Roads does much of the same but now with more of a distinct, energetic jazzrock expression at the core of the proceedings. Standout tracks in style and interest both, and I kind of expect that these two pieces will be used to open and end the regular set of Focus concerts, at least in the near future. These compositions appears to be tailor made for just such purposes.

All in all a well made album, with words like accomplished and solid at the forefront of my mind if I were to describe it briefly. With two pieces of minor magic in the shape of Father Bachus and X Roads. Focus doesn't bring anything new or innovative table however, but if you enjoy bands with a secure and firm grip on endeavours of a more retrospective nature then this most recent production of their should be well worth a visit.

My rating: 80/100

Track list:
1. Father Bachus
2. Focus 10
3. Victoria
4. Amok in Kindergarten
5. All Hens on Deck
6. Le Tango
7. Hoeratio
8. Talk of the Clown
9. Message Magic
10. X Roads

Mantram: Oblivion Works Inside Us (to be released)

Venezuela born, US based composer and multi-instrumentalist Karen M. Gonzalez is the mind behind MANTRAM, a project rather than a bonafide band at the time of writing. The material for the yet to be released debut album "Oblivion Works Inside Us" was assembled in 2011, and personally I got access to it in the summer of 2012. From what I understand the album is planned to be officially released towards the tail end of 2012 or in early 2013.

An introduction of this kind demands something of an explanation I guess. Why write about material yet to be released, and how come it got to me in the first place two questions that should follow as a natural consequence in the minds of most readers. The answer to which, at some level at least, can be described as a result of past interactions.

A few years ago I covered the debut album of Karen's previous band PI XPRNC. The words which I used was found favourable by her, and we've kept in touch since then. Not in a big way, but with the occasional electronic messaging back and forth. And in one of our occasional communications I was asked to note down my impressions about her forthcoming album. That was back in June 2012, and now in November I had worked my way down to this item in my list of albums to cover.

And I find her musical universe to be an intriguing one. A key word in my notes was darkness. Not as in the brooding, menacing and negative force most associate with something grim and threatening, but rather as a warm, embracing force. The darkness that will colour the soul of someone who has endured and overcome hardships if you like. An association I get that obviously is based on me and my personal thoughts, but as it was so strong and distinct I found that it merited mentioning. A second word frequently used in my notes were melancholy. There's a subtle, careful flavour of sadness and longing in the music of "Oblivion Works Inside Us" as I experience it. Built up desires that hasn't found relief perhaps, or a longing for something that never was to be or never can't. Emotions of that or a similar kind are distinct associations for me throughout this production, and along with the aforementioned dark tinge throughout this is music that invites to deep thoughts, reflections and soul searching, at least for people like me.

Musically we're dealing with an album that resides in the borderlands between art rock, alternative metal and industrial music somewhere. Frail, light toned and reverberating guitar licks, chugging compact riff walls and wailing, emotional guitar soloing all have their place, the bass guitar can be steady and supporting just as much as driving and energetic, the rhythms non existent, basic or intricate. If you enjoy variety there's a lot of it to be found on this album, and occasional intriguing details I don't encounter too often to boot. Light toned, brittle impact riffs for instance. One distinct and notable trait that does merit a special mention are the lead vocals. Miss Gonzales has a strong, melodic and harmonic voice, pitch perfect as far as I can tell, with something of an expertise in tightly controlled, emotional delivery. Fans of high quality vocal performances will enjoy this part of the proceedings no matter what they think about the music itself.

As an album this is a total experience first and foremost. Dealing with subjects such as stylistic context and possible influences is more of a futile exercise on this production as far as I'm concerned. If I should toss in a few pointers, then Tool and Nine Inch Nails might warrant mentioning. But on suspicion I'd toss in a few electronic artists too, possibly Kraftwerk and Tangerine Dream, and occasionally I think I hear a touch of Zappa or King Crimson in there too. But these are all personal associations rather than remarks towards possible influences as such, artists that may or may not have inspired occasional details but not to the extent that it would appear as obvious to anyone I suspect.

I find "Oblivion Works Inside Us" to be a strong album. A few pieces doesn't really manage to impress for some reason or other, but the majority are solid affairs. My personal highlights are threefold. Enough, a nice and effective stoner and psychedelic rock oriented piece complete with cosmic touches, a contemporary sound and intense lead vocals. Mantram, with hypnotizing intricate rhythms and guitar riff constellations backed by a solid bass motif with tightly controlled lead vocals supplementing the totality brilliantly, shifting towards a chugging riff dominated presence prior to ending on a careful, exotic and cinematic note. And at last there's Primum Mobile, utilizing the speech of Chaplin from The Great Dictator (unless I'm much mistaken) as the basis for a nifty, fairly sophisticated run through a rock and electronic music blend, the former dominating and the latter supplementing, with a fair amount of what can only be described as emotional guitar soloing and effects thrown in for good measure.

My rating: 80/100
Track list:
1. Chaos I
2. Enough
3. Experience
4. Chaos II
5. Mantram
6. Dust
7. As You Live You Will Die
8. Storm
9. Erased
10. Falling Down
11. Chaos III
12. Primum Mobile