Soul Apart: Road to Self (2009)

Argentinian band SOUL APART started out as the creative vehicle for vocalist and keyboardist Guido Lisioli back in 2004, a project he found more fulfilling to work on than the bands he were involved with at this point. A few years later the project had developed to become a band, and following an initial demo from 2007 work commenced on what was to become their official debut production "Road to Self", which was finalized and released in 2009.

On this disc we find a band that has a good go at producing an innovative blend of stylistic expressions. South American folk music, tango and cinematic new age oriented soundscapes tightly interwoven with sequences of a more defined progressive metal and power metal expression.

A key feature throughout are symphonic backdrops, often floating textures with slight fluctuations in the calmer passages, whereas the harder hitting parts tend to feature keys utilized in a slightly more dramatic manner. The piano has a central role throughout too, in particular as the main subservient instrument in the mellower vocals parts. Wandering acoustic guitars is an infrequent visitor in the mellow passages, while dampened riff patterns is the name of the game when Soul Apart heads into realms of a distinct metal oriented nature. With varying degrees of pace and intensity as required. The most striking feature are the vocals however. Lisioli has a versatile voice, and have opted for a broad range of deliveries on this disc, from whispered mellow spoken parts to intense and twisted growls, and having a go at most vocal styles in between these two along the way.

But as creative and innovative as the approach is, the execution leaves quite a bit to be desired in this case. Adequately performed, the drum motifs a tad on the simplistic side perhaps, but other than that with a decent quality. The vocals does get a slight negative from me however, Lisioli still has a bit to learn in terms of delivery techniques in my opinion. But when that is said, his performance does suffer quite a lot from what to my ears appears to be a major flaw throughout. Where the key words are mix and production.

A minor annoying feature on this disc is some sort of tape hiss like sound that come and go infrequently, to name one slight detail at first. A major annoying feature is the mix itself. The mellow parts tend to be compressed and loud while the harder hitting ones appears to be much less compressed, and perhaps even dampened ever so slightly. From a listener point of view, admittedly one who is spoilt rotten in terms of experiencing excellently made albums, it's weird to listen intently on a mellow piano and whispered vocals part followed by a forceful power metal sequence when the former appears to be much louder than the latter. The effect is probably planned, but it's executed in a manner that feels contrived and sterile rather than natural and organic.

The arrangements themselves also appears to suffer in general. When too many instrumental textures are utilized they have been assembled in a manner that makes them cancel each other out rather than supplementing each other, and on regular occasions I get the impression that the vocals have been mixed as to appear beside the instrumental backing rather than to be a part of the larger whole. And unless the vocal delivery is pitch perfect this will affect the vocal experience negatively for the sensitive listener. Add in some instances where the instrumentation overpower the vocals, more often than not in the mellower parts of the compositions. To me this adds up to a mix and production flaw, and one that in sum is a major one.

An innovative approach and compositions of general good quality, at least as I regard them, does salvage this disc from being a failure. The end result will be an acquired taste due to the aforementioned shortcomings, and listeners with less sensitive ears than those of yours truly should find this disc to be a rewarding experience if a blend of folk music, cinematic new age oriented passages and refined energetic metal sounds like a good idea. But if you suspect or know that your perception of music falls within a sensitive description should approach this CD with some caution.

My rating: 53/100

Track list:
1. Point of Departure 5:22
2. The Always and Forever 4:43
3. Moonson 3:55
4. Southwest Tango (Grey Melodies) 5:28
5. The Three Steps of Circle 13:05
6. Existencial Fear 5:02
7. While the Rain Cries 8:23
8. Road to Self 4:52
9. Last Minute Bells 6:37
10. Rose of the Swamp 6:16
11. Road to Self 5:44

Tohpati Ethnomission - Save The Planet (2010)

Indonesian project TOHPATI ETHNOMISSION is a side project instigated by composer and guitarist Tohpati (Simak Dialog). "Save the Planet" is the first production by this outfit, and was released in 2010 by US indie label Moonjune Records.

For those in the know, Tohpati's main band as well as the record label this production was released on will spell out one piece of information in rather capital letters, namely fusion. Simak Dialog is a well respected band exploring this type of music, and Moonjune Records have established themselves as a relatively small but highly respected label catering to the needs of connoisseurs of this genre. And indeed, Tohpati Ethnomission will not disappoint those who approach their album with these associations. Tohpati himself documents his skills as a fine, technically gifted and rather versatile performer here. While not as familiar with this type of material as I perhaps should have been I can't really draw to many comparisons to established and legendary musicians active in this field past and present I'm afraid. Al Di Meola was a name that came up from time to time however, Carlos Santana another. And on a few occasions, certain details made me think of Joe Satriani too, and one instance even good, old Leslie West. Those with intimate knowledge of jazzrock and fusion will most likely vehemently protest at such associations, but even if perhaps not entirely accurate I hope they will relay something about diversity. Which is very much a part of this disc, but on a detailed level rather than in dominant expressions and guitar textures as such.

But the guitar doesn't make an album alone, even if important. And the 11 compositions explored on this album are very much part of an instrumental whole. The suling (aka Sundanese flute) is used extensively, and is perhaps the most important instrument as far as crafting moods and atmospheres go. This flute has a pleasant and distinct sound, and besides adding a massive exotic presence to these excursions and seeing to it that reviewers can flaunt descriptions such as ethnic, folk and world music, it is also used extensively to either harmonize or subtly contrast the guitar motifs. Fairly often we're treated to elongated flute soloing too, with the guitar having more of a subservient role underscoring these particular proceedings.

Bass and drums sets the foundation as far as rhythms and pace go, with the bass given the freedom expected by a fusion project to roam and take on the occasional solo. But the regular drums are perhaps given a slightly more passive role for this band however, due to the extensive use of additional percussion. Kendang, gong and kenong the instruments, given the common description as Indonesian percussion, and again with a strong and distinct presence that will make veteran reviewers find synonyms and alternative phrases for the aforementioned folk, ethnic and world music descriptions. And the percussional details does venture rather far off from any subservient role too. Dampened yes, but in a fireworks sort of way. Kind of watching a gigantic cascade of different fireworks from a mile off. They dominate the skyline. A more or less fitting allegory for how Endang Ramdan's instrumental escapades function on "Save the Planet".

Apart from the occasional dip into territories too smooth and too slick I can't really find anything negative to say about this CD. And while I wasn't mesmerized my breathtaking moments of instrumental beauty either, that has more to do with my own taste in music than the compositions and performance I suspect. To my ears and my impression, this production should be an enthralling experience to most jazzrock and fusion enthusiasts.

Tohpati Ethnomission have crafted a fine album with "Save the Planet", and in addition to fans of instrumental jazzrock and fusion in general I suspect quite a few fans of good, old Carlos Santana might want to explore this band too. While the similarities as such are few and in approach more than sound, the overall mood and atmosphere is one I think might just make a positive impression also among that fanbase.

My rating: 75/100


Track list:
1. Selamatkan Bumi (Save the Planet) 9:07
2. Bedhaya Ketawang (Sacred Dance) 8:31
3. Drama 1:47
4. Ethno Funk 8:38
5. Gegunungan (Gateway of Life) 2:56
6. Hutan Hujan (Rain Forest) 8:42
7. Biarkan Burung Bernyanyi (Let the Birds Sing) 7:27
8. Inspirasi Baru (New Inspiration) 4:13
9. Perang Tanding (Battle Between Good & Evil) 8:16
10. Pesta Rakyat (Festive People) 5:10
11. Amarah (Anger) 2:34

The Android Meme - Ordo Ab Chao (2011)

Canadian band THE ANDROID MEME was formed back in 2005, and following a few chaotic years where they hashed out details such as a firm and stable line-up, they started writing and recording for their debut album in 2009. Initially planned for a 2010 release, this production eventually was made available in June 2011, courtesy of legendary US indie label Magna Carta Records.

Magna Carta is a label that is generally held in high esteem by fans of progressive rock, releasing one classic album after another and with an artist rooster that by and large are well known and established artists in their field. And even if other labels may arguably draw more attention to themselves these days, one does take notice of signings made by this long-lasting US label. In that respect, Canadian band The Android Meme have done well to hook up with these folks.

And to my ears the label have done a wise decision too I might add. Progressive rock and metal are types of music where a relative limited set of artists are the main influences for most endeavours, and it's always nice to come across someone who does seek out shores a tad more exotic. Which is very much the case here. These guys know their metal and progressive metal, be it staggering frantic riff cascades or majestic riff and keyboard constructions creating that grandiose mood many progressive metal fans adore. Tool are cited as influences by this act, and to my ears it is one not too hard to catch. But those who enjoy artists like Ayreon will also find quite a lot of interest in the more majestic parts of this album. Warm, rich guitars supported by fluctuating, space-tinged keyboard layers for instance.

But there's also a gentle side to this production. Not in terms of ballads however, but as in wandering guitar licks emphasizing the lighter tones used as the foundation for a select few parts, creating a neat and strong contrast with the pro- or preceding darker compact one. And while the arrangements tend to be rich and at times lavish, there's ample room for simplistic ones too, again utilized as effective contrasts maintaining nerve and tension.

A minor but important details is the more or less everpresent electronic sounds and textures. rarely dominant, but adding a slight industrial feel to this disc. A subtle presence of Nine Inch
Nails if you like.

By and large it's an engaging production too. Distinctly progressive metal to my ears, but a variety that include many elements that may be described as innovative. If not in the end result than at least in approach. Right here and now I can't really find any good comparisons either, other than similarities in approach shared to some extent with artists as diverse as Invisigoth, OSI and aforementioned Tool and Ayreon. And on a more subtle plane, Trent Raznor of course. If this sounds interesting, and you're generally fond of acts exploring darker moods and atmospheres, "Ordo Ab Chao" is a CD you probably should check out.

My rating: 78/100


Track list:
1. The Machine Stops - 3:53
2. Sumii - 3:54
3. Polar Rose - 5:41
4. Sigma - 4:19
5. Ordo Ab Chao - 3:34
6. Left Right Parasite - 5:44
7. Esoterika - 4:18
8. Spook - 4:13
9. Whistleblower - 5:15
10. Stranger - 5:49

Jeremy Irons & The Ratgang Malibus - Bloom (2011)

Swedish quartet JEREMY IRONS & THE RATGANG MALIBUS were formed back in 2004, and have their base of operations in the town of Eskilstuna, Sweden. They made their official debut as recording artists with "Elefanta" in 2009, and since then they hooked up with Swedish label Transubstans Records who released their sophomore effort "Bloom" in 2011.

Transubstans Records by and large is a label focusing on artists exploring that vintage 70's sound, and Ratgang Malibus is no exception to that. This is a band that requires a certain fondness of the music from yesteryear to be enjoyed. But unlike many bands exploring this field of music, this foursome have opted to shy away from the paths most heavily explored in this scene. There's no stoner rock here for starters, not even in the detail department. No tendencies towards acts like Jethro Tull either, and even stalwart influences like Mountain and fellow Swede's November are hard to track down in the sound explored here. Instead, these guys appear to be rather more ambitious.

Straight forward, blues based hard rock is the foundation on this album. Most songs can be broken down into the good, old fashioned blues, but through arrangements this basic premise has been taken on into rather more sophisticated waters. The rhythm department caters for the stability quite nicely, and adding a slight southern touch of Allman Brothers or a similar band is an additional detail catered for quite nicely by the organ. Most often in a subservient interplay with the guitar, and as far as instrumentation goes the good, old six-stringer is the star of the show on this album. Fragile, psychedelic licks and light-toned but firm riffs form the outer edges of the motifs catered for, alongside distinctly blues based soloing. More often than not resulting in an overall sound reminding me of Led Zeppelin more than anything, but with a dampened southern expression on occasion.

Adding emphasis to the Zeppelin touches are vocalist Karlos, who at times sound exactly like Robert Plant in his heyday. He's got a good, strong melodic voice in general too, and most certainly add life and vigour to these tracks. It is when he takes on the higher parts that he makes most of an impact though, the opening half of final track Fernando one of the best examples. A creation that should send shivers up the spine of anyone who has a soft spot for early Led Zeppelin.

And it is fans of the latter I suspect will be the ones who'd most easily find this strong CD to be instantly enjoyable. In particular those who enjoy Led Zeppelin when in blues or psychedelic mode. And anyone in that crowd who also enjoy bands like Allman Brothers Band better head over to Jeremy Irons & The Ratgang Malibu's homepage straight away to sample the music. Chances are that you'll be instantly hooked.

My rating: 78/100


Track list:
1. Elefanta - 4:50
2. Skin Deep - 9:41
3. Tales of the Future - 5:08
4. Golden Hours - 5:08
5. IAOA - 7:17
6. Bloom - 5:45
7. Cosmo Tropic - 4:06
8. Fernando - 9:01

Anima Morte - The Nightmare Becomes Reality (2011)

Swedish act ANIMA MORTE have been around as recording artists since 2007, the quartet consisting of Fredrik, Stefan, Teddy and Daniel with one full length production and a single to their name in addition contributions to a handful or so of concept albums of the various artists variety. "The Nightmare Becomes Reality" is their second full length CD, and was released by Swedish label Transubstans Records in the spring of 2011.

The main inspirations for this Swedish quartet appears to be horror movies and Italian symphonic rock, with a band name like Goblin mentioned rather often in articles I've read about this outfit. Their album and song titles documents their love of movies of the creepier kind quite nicely, and while the music can't be described as terrifying in any manner whatsoever they do explore a part of the art rock universe that isn't exactly dominated by light and joyful scenery.

In terms of style I'd guess that Camel is the closest comparison I can make from personal experience, as dreamladen atmospheres is a characteristic trait shared by both. Drawn out, warm and pleasant guitar soloing flanked by at times vast arrays of tangents and knobs is very much what we're treated to. Fans of vintage instruments will have a swell time catching organ, Mellotron and various kinds of vintage keyboard and synth instruments in action. Swirling textures and fluctuating layers aplenty, with dampened wandering guitar motifs and steady controlled rhythms underscoring quite nicely. Jazz-inspired bass and drum motifs is another detail Anima Morte share with aforementioned Camel, albeit not as commonly nor extensively explored by the former as by the latter.

Where these two bands separate is in the overall mood however. While Camel excels in atmospheres either joyful or dreamy melancholic, Anima Morte thrives when they can conjure themes of a more shadowy nature. Never dramatic nor threatening, but gloomy, slightly brooding and a dampened ominous feeling traits that is a common denominator throughout. And with an ever so slightly orientation in the direction of vintage space rock as additional flavouring.

I see that Anima Morte is a band that comes recommended to fans of the darker edged Italian symphonic art rock scene. And while those may make up the core audience of this act, I'd say that those with a general interest for 70's symphonic progressive rock should spend a few minutes to check out whether or not this is a band to their liking. In particular if you really enjoy vintage tangents of all sorts and you prefer your art rock to be instrumental.

My rating: 80/100


Track list:
1. Voices From Beyond - 0:31
2. Corridor of Blood - 6:06
3. The Revenant - 3:33
4. Contamination - 3:35
5. Passage of Darkness - 4:21
6. Solemn Graves - 3:55
7. Delirious - 3:31
8. Feast of Feralia - 4:43
9. The Nightmare Becomes Reality - 3:23
10. Things to Come - 8:10
11. The Dead Will Walk the Earth - 5:45

Ponamero Sundown - Rodeo Electrica (2011)

Swedish band PONAMERO SUNDOWN have been around since 2005, and after honing their craft and producing half a dozen demo tapes they made their official debut in 2009 with the production "Stonerized". "Rodeo Electrica" is their sophomore effort, and was issued by Swedish label Transubstans Records in the early spring of 2011.

Going through this CD proved to be something of a frustrating experience. Mostly because this is music that is made with an approach I usually enjoy. These guys seek to break down boundaries, experiment with set expectations and to expand their musical and compositional palette. All positive in my book, but in this case the end result isn't as intriguing by far as what the band presumably aim to achieve.

Opening track Evil Wand kicks off quite nicely however. An intense creation closer to stoner metal than rock as I hear it, sporting rich, compact riffs of the dark and downtuned variety, excellent drumming and a powerhouse vocalist in the Ozzy Osbourne vein. Pace-filled, energetic and compelling in it's warm layers of bleak aggression. The following Highway Messiah not that impressive, but a shorter and slightly more brutal affair that should cater for the tastes of many metal heads young and old alike. Next up is Sorrow, a delightful surprise with it's gentle psychedelic guitar textures carefully and fragmented supplementing the otherwise vocals and rhythms driven ballad this compositions turns out to be. All in all a good start to this disc, with a nice, delightful surprise. And then this disc heads out into rollercoaster territories for me.

There are many good sides to this CD. It is excellently if not brilliantly produced, the guitar sound warm but clear and distinct, they have a good quality vocalist and instrumentalists of a better than decent standard throughout. With drummer Peter arguably the best of the lot. And they experiment quite a bit with the type of music they explore, be it the distinctly punk-inspired opening of 1025 or the delightful psychedelic guitars that sets Rodeo Electrica part I off into a gentle trot. Gentle and harder hitting passages are set up to contrast each other, a 50's inspired rock and roll piano are added to the chorus on one occasion, we're treated to off kilter instrumental inserts and a generally innovative take on stoner rock and metal. But for me the songs doesn't manage to gel. Dramatic stop and start inserts breaks the flow and continuity for me, the lead vocals tend to be a bit too much in powerhouse mode to suit my tastes and in general there's something of a dramatic, high impact approach used that isn't quite my cup of tea.

Final track Rodeo Electrica Part II does end this disc in a nice way however, and along the way there's a select few items of interest too: Sinners Breed and the following Not the Time the most compelling ones to my ears.

While "Rodeo Electrica" isn't a production that is custom made to suit my personal taste, it is a very well made album that should be both enticing and compelling for many. If you enjoy Black Sabbath inspired material, stoner rock and metal and also generally enjoy encountering bands that make an effort in creating material of this kind that is inventive and innovative, Ponamero Sundown is a band you should spend a few minutes with. As I see this production has been given glowing reviews many places, I'd suspect that there's a substantial amount of people out there who will be thrilled by this disc.

My rating: 65/100


Track list:
1. Evil Wand
2. Highway Messiah
3. Sorrows
4. The Dice
5. 1025
6. Rodeo eléctrica, Part I
7. Shot for Glory
8. Sinners Breed
9. Not the Time
10. The Ghost
11. Goddess of the Sun
12. Fathomless Nothingness
13. Rodeo eléctrica, Part II

Alex Carole & The Crush - Vol. I (2011)

Swedish band Alex Carole and the Crush apparently started out as recently as 2009, and issued a demo tape the same year. Since then they have honed their craft, and in 2011 they were picked up by Swedish label Transubstans Records, who released their debut album "Vol. 1" on the Troglodyte imprint.

As those in the know are aware of, Transubstans Records is a name that more or less guarantees that whatever material they've had their hands on will have a 70's oriented sound. Normally one within or closely related to the art rock universe, but there are a few exceptions to this general rule in that label's artist roster. Alex Carole & the Crush amongst them. This band have their hearts and souls placed back in yesteryear too I might add, but in a different part of it altogether. Glam rock, hard rock and late 60's garage rock appears to be the dominating aspects of this band's production, with Slade and Alice Cooper the artists that first comes to mind. Pace-filled, energetic but first and foremost positive music.

The songs are all of the shorter variety, most of them clocking in at less than 4 minutes. And they are vocal heavy constructions, mostly adhering to a classic verse-and-chorus structure. The lead vocals are just as much shouted as sung, and more often than not with power and passion taking the lead over melody and sophisticated intonation. Bouncy rhythms, gleeful handclaps and staccato, joy-filled and occasionally playful guitar riff constructions underscore quite nicely, with a steady bass providing a foot-tap inducing foundation. This is joyful music dominated by what I'd describe as a Let's Party mood. Outgoing, easy on the mind and the ears, and at best a lot of fun.

This type of music is one much harder to master than one might suspect, and while Alex Carole and his merry gang of rockers have a fair share of enjoyable efforts on this debut there's a few that leaves slightly more of a lacklustre impression too. At least for those who listen closely and with full concentration to their music. By and large a promising debut more than a strong one, somewhat depending on personal taste obviously.

If you like hard rock and roll of the positive variety, you tend to enjoy the classic Slade albums and early 70's Alice Cooper or if you just want a slice of part rock for a late summer party, Alex Carole and the Crush should most likely cater quite nicely to your needs. A well made soundtrack to be enjoyed while beer guzzling and having a good time.

My rating: 60/100


Track list:
1. High School Shuffle - 3:18
2. Hard to Get - 3:33
3. And Know About Me - 3:19
4. Will I Get It? - 3:32
5. Hell on Earth - 5:25
6. Firefly - 4:55
7. Oh Please! - 3:51
8. Dizzy Eyes - 4:08
9. Heartache Too - 4:11
10. Outro - 0:51

El Camino - The Satanik Magiik (2011)

Swedish band EL CAMINO was formed way back in 2003, and have issued a couple of demo tapes in the years following their formation. 2011 saw the band signed to newly established label Night Tripper Records, who subsequently released El Camino's debut album "The Satanik Magiik".

Once upon a time many bands went down the route that Swedish El Camino appears to have taken. They form, carefully explore the sound they want to take on for a number of years and only when the direction has been firmly established and their songs been given extensive amounts of development they let themselves loose on an official recording. In this particular case we're dealing with an outfit with more than a passing interest in the earliest sound of heavy metal, and Black Sabbath in particular.

And these guys are darn good at it. Doom-laden riffs and thundering bass lines are scattered aplenty throughout, and all aspects of these songs appears to have been given extensive work prior to recording. The bassist will pull in some relatively energetic details of a slightly more recent nature from time to time, of a kind that made me think of good, old Venom. And the guitarists impress with their ability to add some nifty details: A fragmented solo here, a lighter-toned harmonic motif making a brief appearance there, spicing up the proceedings with lighter-toned, reverberating guitars with more of a psychedelic orientation or just shifting over to pace-filled staccato riff barrages more similar to what a band Queens of the Stone Age have made a career out of. But whether in purebred Sabbath mode or in a slightly more expressive one where they cater for details and careful flavouring, the guitar duo at the core of El Camino packs a high quality punch. And the songs as such are equally good.

Personally I wouldn't have minded a slightly more sophisticated approach to the drums however. There's nothing really wrong with them, steady as they come, but personally I like a bit of flair and some unexpected moves also in this department. And then there's the element that comes very much down to personal taste, namely the lead vocals. In this case they are at the halfway point between gruffy ones akin to Lemmy and your archetypical black metal growling. Neither fish nor fowl, but something in between. And to my taste they doesn't fit. Perhaps because I'm too old, or just because I'm extremely sensible to vocals in general. I do enjoy the gruffy, evil lead vocal ploy, and enjoy the likes of Tom Fischer when he adds a certain touch of evilness to his excursions on this field, but for me El Camino are lacking in this department. When that is said, the producer have opted to dampen the vocals place in the arrangements so that they never dominate. Which makes these songs enjoyable even if the vocals might not appeal.
Oh yes, there's a song at the very end called Avra Kehdabra. Let's just forget about that one, shall we? Unless you happen to be extremely fascinated by music played backwards, that is.

"The Satanik Magiik" is a high quality debut album, containing excellent songs of the kind that should appeal to most fans of 70's Black Sabbath, in particular those fond of their most doom-laden, massive compositions. Those who generally dislike gruffy vocals or growling might want to approach with some caution, but apart from that this is to all extents and purposes a recommended production and a fine initial effort.

My rating: 75/100


Track list:
1. Prelude to the Horns
2. Hail the Horns
3. We are the Dark
4. Mountain Man
5. Rise of the Snake
6. Family Values
7. Satanik Magiik
8. Avra Kehdabra

Pocketful - Late Night Call (2010)

Since their formation back in 2002 Swedish act POCKETFUL have recorded and released one full length album and 4 EPs if I have noted down their history correctly. The latter are all EPs, digital only productions if I recall correctly, and the latest of these is "Late Night Call". As with all their other EPs it was issued through independent Swedish label Ovanbeck Records.

The music I have heard so far by Pocketful can generally be described in this manner: Compositions blending pop sensibilities with experimental features, the latter mostly in the arrangements and the former in compositional structure, melody, easy to like lead vocals and lyrics. And much the same is the case this time around. Music at the very border between progressive rock and mainstream pop if you like. And they are superbly good at exploring this particular territory I might add.

Title track Late Night Call and the following Professional are the best of the lot this time around as I regard it, the former sporting effective as-through-the-telephone-vocals, swirling electronic textures and dampened guitar riffs to emphasize the overall bleak context of this song to perfection, the latter adding dampened but effective brass, guitar licks and symphonic textures to a song that opens as a simplistic vocals and rhythms creation of the ballad orientation.

The other numbers are almost as engaging, with a particular mention to Sorry, a brief energetic display that to my ears appears as a neat and nifty blend of Tangerine Dream and Pet Shop Boys, with careful additions to the arrangements resulting in a song whose arrangements are both rich and sophisticated towards the end but still dominated by steady rhythms filled with strong pop sensibilities.

"Late Night Call" is a 6 track EP that clocks in at just over 25 minutes, and should be regarded as essential to explore if you have a soft spot for art rock with strong pop sensibilities and vice versa. In particular if you enjoy slightly bleak, melancholic moods explored musically.

My rating: 83/100


Track list:
1. I Don't - 4:08
2. Late Night Call - 4:40
3. Professional - 4:58
4. Sorry - 3:11
5. Extract - 3:52
6. Words - 5:54

Jeff Green - Jessica (2008)

Ireland-based US composer and musician Jeff Green has been an active performer since the mid 80's or thereabouts, first and foremost as a member of various tribute bands. "Jessica" is his first solo production to my knowledge, and was self-released in 2008 I understand.

Music is an intriguing concept. Historically regarded as one of the finer arts, but in modern times and especially in more recent times it has lost stature. A form of entertainment is a common description, and many talk about music consumption. But even those who disregard the artistic credibilities of music, at least the more popular varieties of it, it is still a vital part of most people's lives. Some enjoy listening to music intently and with concentration, others prefer to have unobtrusive noise in the background while busy with something else. It is a part of everyday life for most, and a part of life that means something special for some. To a certain degree one might describe the art of music creation in similar terms. Some do it as an occupation because they are good at it, the creation of music their chosen 9 to 5 occupation. To others it is a hobby, and to some it is a vital part of life. For the latter a needed aspect of reality, a way to overcome too many creative impulses or deal with emotions good or bad. Or all of these combined. It would appear that for Jeff Green, at least to some extent, might best fit into this latter category.

This due to the very nature of his first album. A concept album more than a decade in the making, dealing with thoughts, emotions and reflections on a subject personal and painful: The birth of his daughter Jessica, who was, as doctors so neutrally describe it, stillborn. A human life that flickered out before it had even begun. But rather than a harrowing, highly personal catharsis this album appears, at least to my ears, to be one dealing with the second phase of the aftermath of such a traumatic experience: Reconciliation. The music presented mostly stay clear of the melodramatic, intense emotional excursions as I experience it. But is filled with dampened, bitter melancholy and introspective moods. Reflections if you like, given the shape and sound of music.

By and large "Jessica" is very much a guitarists album as seen from a purely musical perspective. Wandering guitar licks and the occasional riff constructions underscoring a dominating guitar solo a central and recurring approach, the latter either blues-tinged in a manner not too different from the likes of David Gilmour or melodic but more intense of a more generic rock or hard rock variety. Nothing fanciful or innovative, but good, old fashioned melodic guitar soloing as they made them back in the 70's and early 80's. But an additional trait is the extensive use of keyboards, and more often than not in a style that most would describe as symphonic. Gentle, dreamladen textures close to the brand of this music that made Camel a career, but also with some nifty organ and guitar interactions that should satisfy fans of good, old Genesis. With occasional flirts in the direction of Pink Floyd. The keyboards generally have more of a subservient role however, and only occasionally will they take charge to dominate in a more expressive manner. As such I'd suspect that those who commonly enjoy bands described as Neo-Prog might enjoy this album to a grater extent than those whose heart and soul of musical enjoyment is stuck amidst the giants of 4 decades ago.

As far as quality goes, "Jessica" is a well produced and well performed affair. Mostly instrumental, and it is the compositions of that nature which are the most compelling creations too in my opinion. At best the combination of underscoring guitars, the motif explored by the guitar solo and the symphonic textures blend into intriguing and even occasionally energetic numbers. Still a few sizes shy of true perfection as far as my personal taste buds go, but highly enjoyable nonetheless. Other efforts tend to be more of the pleasant variety for me, nice songs and generally enjoyable but without managing to make a grand impact. Which is the case for most of the compositions that contain a lyrical message too, the emotional impact of these creations being a textual one to a much greater extent than musical.

As I always make my thoughts on an album based on the musical content alone, existing fans of this production might be slightly disappointed with my overall score for this disc. But when that is said, I'd recommend "Jessica" as a fine acquisition for those who generally enjoy Neo-Progressive rock, with those who enjoy vintage symphonic rock just as much as guitar-based instrumental hard rock a crowd also likely to find this production to be an enticing one.

My rating: 67/100


Track list:
1. For the Future
2. Vision
3. On This Night
4. Willing the Clouds Away
5. Pride
6. Essence
7. Woman With Child
8. Being
9. Jessie’s Theme
10. Tomorrow Never Came
11. Prittlewell Chase
12. Live Forever

Hills - Master Sleeps (2011)

Swedish band HILLS has been around for 5 years now, and they released their self-titled debut album back in 2009. "Master Sleeps" is their sophomore effort, and was issued by Swedish specialist label Transubstans Records in early spring of 2011.

Those familiar with Transubstans Records will most likely already suspect what's in store when they sign a new band. They specialize in 70's oriented rock of various kinds, with heavy psychedelic and hard prog among their specialities. Hills is a representative for a rather different flavour of music however, one most commonly described as space rock. In this case sporting quite a few heavy psych details one might add.

When that is said, there is a fair bit of variety to the proceedings in this, by modern standards, short production. In the span of less than 40 minutes we're treated to a laidback tune sporting an echoing child's voice beneath a dampened organ motif, the latter reminding quite a lot of the exploits of the late Bo Hansson (Claras Vaggvisa), title track Master Sleeps sports wandering, clean laidback psychedelic guitars as it's main component, while final track Death Shall Come opens with a dark electronic drone and layered vocals, with wandering psychedelic guitar motifs and rhythms added at the halfway point. All of them backed by hypnotic, circulating drum and bass patterns, from slow and subtle to quirky and sophisticated constructions.

And while this trio of improvised psychedelic excursions are compelling experiences, the remaining trio - consisting of Rise Again, Bring Me Sand and The Vessel respectively, are the high points of this disc. Pace-filled, hypnotic circulating rhythms is the backbone of these improvised journeys too, but here they are supplemented with compact, fluctuating droning textures. Which works extremely well to create intense, groove-laden and highly compelling psychedelic pieces of the space rock variety. Songs that take you along into inner and outer space, and in the case of Bring Me Sand with a bit more variation and even some Raga motifs towards the end.

Arguably not the most sophisticated and challenging type of music, but if you generally enjoy improvised music of the psychedelic variety and in particular droning effects and the 70's space rock mood, Hills have produced an album that will have a strong appeal to most space cadets. A highly recommended production, and a strong contender in my list of best albums of 2011.

My rating: 90/100


Track list:
1. Rise Again - 7:07
2. Bring Me Sand - 6:33
3. Claras Vaggvisa - 3:21
4. The Vessel - 4:02
5. Master Sleeps - 9:01
6. Death Shall Come - 6:09

The Grand Trick - Reminence Boulevard (2011)

Swedish band THE GRAND TRICK was formed back in 2003, and they released their debut album two years later in the shape of "The Decadent Session", issued on Swedish label Transubstans Records. "Reminence Boulevard" is their second effort, initially planned for a 2008 release but due to various circumstances this never came to be. Three more years would pass before this production was launched, and then as a digital release only from what I understand.

Musically we're dealing with one more Swedish act exploring the vintage parts of the hard rock realm in this case. If I were to name three bands that might be regarded as definitive providers of musical palette for this band Black Sabbath, Molly Hatchett and Deep Purple would top my list, and for the first and last of this trio specified as from their early 70's respective catalogues.

Downtuned, circulating riff patterns is a rather constant part of the proceedings, and alongside the steady rhythm section the most defining part of the sound explored. It's next to impossible not to think of Iommi and company when listening to these constructions, and when the dampened organ backing the proceedings is in the expressive mode it's hard to imagine that these boys haven't drawn inspirations from Jon Lord and Deep Purple Mk. II. But occasionally The Grand Trick veers out in a slightly different direction however, sometimes with lighter toned riffs and hovering organ less expressive and more supporting, and from time to time wandering light-toned guitar licks with blues-tinged soloing and the piano replacing the organ is the expression of choice for inserts, verse parts of the chorus. And on these occasions there's much more of a southern drawl to this band. And as with most bands utilizing several different expressions in their sound, these tend to blend just as much as being explored each on their own, which at best makes for a highly rewarding experience.

But for this fine band, there's one slight Achilles heel, namely vocalist Cunningham. He's got one of those gruffy voices, which initially will make you think of Lemmy or Algy Ward of Tank. He's also got a slightly higher capacity for melodic delivery, which he does try to capitalize on. And it's when doing this that the Achilles heel appears, his gentler vocal style coming across as something of a blend between aforementioned Lemmy and Sabbath icon Ozzy Osbourne, sharing the peculiarities of both but the strengths of neither. That is, as long as the song requires the vocalist to carry the tune in part or in whole. But when the band hits the most southern oriented parts of their repertoire this slightly drawling vocal presence comes to it's right, accompanied by light melodic guitars and piano it does work fairly well. As it also does in full gruff mode I might add, even if it does sound slightly weird listening to a Lemmy type vocalist beltering out tunes Sabbath could have crafted back in 1970 or thereabouts.

It all adds up to a slightly uneven creation, intriguing and compelling at best and ever so slightly annoying at worst. Fans of this type of material should find a fair few tunes that will be of interest, and at their best they are just as good as the other bands active in what some have coined the retro scene in Sweden. The moments of pure brilliance doesn't appear on this occasion however, and as such I'd describe this as a production that won't have much of an appeal beyond the established fanbase of this style of music.

My rating: 62/100


Track list:
1. Hitman Blues
2. Frequent Flyer
3. Face in the Moon
4. Rollercoaster Ride
5. Eraserhead
6. Daddy Mc the Knife
7. The River Queen
8. When Is Your Hell
9. Dog on a Leash
10. Reminence Boulevard

Ifsounds - Apeirophobia (2011)

Italian band IFSOUNDS have been around a couple of decades now, initially starting out under the moniker If and releasing 4 studio productions under that name. "Morpho Nestira" the most recent of these, a CD that appeared in 2009. Since then a new drummer and vocalist have joined the folds, and this revised version of If decided that a new name was in order at this point. "Apeirophobia" is the first studio production they released as Ifsounds, and was issued by US label Melodic Revolution Records in 2010.

Musically we're dealing with a fairly ambitious outfit, and on this occasion they explore a sound that mainly stays within a framework whose outer boundaries are formed by Pink Floyd and Rush respectively. Relatively gentle excursions sporting symphonic backdrops with additional sounds and textures of a kind inspired by science fiction and space complement dampened guitar riffs and blues-tinged careful soloing David Gilmour style for the former, while the latter sports energetic riff patterns and keyboards with a more dampened and subservient role. The occasional majestic passage with rich and compact guitar and keyboard constructions is also a part of the package, and by and large this band produce pleasant pieces of progressive rock of the accessible variety.

Their new vocalist Elena Ricci is a fine addition to this band. She's got a good and pleasant voice, and while my impression is that she's far from fully developed yet she has the talent and capability to be able to lift a song by her input alone at best. The main example of this on this production to be found in the epic title track that takes up the final slot on this disc, where her voice really makes a grand impression in a sequence sporting more of a jazz-oriented expression. The one where the piano takes the lead, if anyone familiar with this CD should be curious.

The title track an experience worth a paragraph of it's own, clocking in at just under half an hour and exploring a great variety of moods and expressions. Opening as a gentle, warm and rich affair that sounds like a piece of music residing in the exact middle between late 70's Pink Floyd and early 80's Vangelis, a theme later revisited incidentally, and later on visiting shamanistic folk-inspired territories, taking on an expression with closer links to Flamenco, the aforementio0ned jazzy insert also a part of the proceedings alongside a pacier AOR-tinged one and sequences with more of a distinct Floydian feel as well. Great variety, many compelling parts but not at the level that makes this one any more rewarding than your average epic length creation. A good construction with moments of brilliance.

The most intriguing composition as far as I'm concerned is the second to last one actually. A piece very much different from the rest of this production, sporting a careful piano motif supplemented by strings. A warm, rich, sad and distinctly melancholic instrumental, and an impressive one at that. It is difficult to write and perform such pieces in a manner that does make an impression, but this one succeeded quite nicely at that.

If you enjoy late 70's Pink Floyd and bands like aforementioned Rush, Ifsounds latest creation Apeirophobia is a CD you might want to lend an ear too. A nice and pleasant album in general, and if you have an interest in productions of a conceptual nature you'll get those cravings catered fore quite nicely too. Including the use of cinematic lead-ins and lead outs to emphasize the nature of the story told.

My rating: 64/100


Track list:
1. Anima Mundi - 7:20
2. Summer Breeze - 6:06
3. Last Minutes - 6:17
4. Aprile - 2:22
5. Apeirophobia - 27:49

Three Seasons - Life's Road (2011)

Swedish trio THREE SEASONS was formed not too long ago, consisting of members from Siena Root and Mouth of Clay. Life's Road is their debut album, and was released on Swedish label Transubstans Records in February 2011.

The band themselves describe their music as "in a 70's kind of mood, heavy blues rock is mixed up with more jam-oriented, experimental and psychedelic parts...", which is a good as description as any. As one wanders through this production a plethora of names will pop up, and the better you know your harder edged and psychedelic rock of the 70's the more of them there will be. Black Sabbath, Mountain, Led Zeppelin, Robin Trower and to some extent good old Pink Floyd are strong candidates as far as sound and possible influences go, others might pull up a totally different set of names. The most important part of it is that these guys doesn't sound like they are copying or replicating specific sounds or bands. They manage to sound fresh and new, despite sporting a distinctly retro-oriented expression firmly rooted in the early 70's.

Guitar and organ combinations are used extensively throughout, be it as lighter-toned, reverberating heavy psych riffs combining with the pipes or as heavier-set riffs and organ in majestic constellations closer to Deep Purple or even Atomic Rooster in expression. Occasionally the keys will be out of the picture in part or in whole while the band takes a scorching run through territories closer to Mountain's spirited brand of hard rock or the slower, thundering vintage stoner rock of Tony Iommi and his compatriots, and on one occasion we're even treated to a gritty and elongated jazz-laden improvisation. Gentler passages closing in on the pastoral sporting violin and flute details combined with gentle vocals and light wandering guitar is another part of this trio's repertoire, and if I'm not much mistaken those who love the Mellotron will find the odd theme here and there where this vintage instrument is preferred over the organ or the occasional vintage keyboard textures. With twists and turns aplenty, to the point of inspiring a touch of vertigo at times, but always excellently and compellingly performed. Flow and momentum are upheld quite nicely, and the compositions have a strong nerve throughout.

"LIfe's Road" is a veritable smorgasbord for those who love harder edged rock of the early 70's variety, the happiest marriage of heavy prog and heavy psych I've encountered in quite some time. Sophisticated, rather innovative and most certainly with a fair few moment of originality. And as such, a highly recommended production for anyone with an affection for music of this kind that initially gained popularity some 40 years ago.

My rating: 87/100


Track List:
1. Too Many Choices - 5:00
2. Cold to the Bone - 4:33
3. Down to the Bottom - 5:31
4. Each to Their Own - 11:06
5. Feel Alive - 5:10
6. An Endless Delusion - 10:04
7. Since Our First Day - 10:34
8. Moving On - 5:28
9. Life's Road - 6:50

Ginger Trees: Along With the Tide (2011)

Swedish band GINGER TREES was formed back in 2006 or thereabouts, and issued their debut album in 2008 in the shape of "Came the Morning". Following this production the band signed with Swedish label Transubstans Records, who released their second disc "Along With the Tide" in February 2011. A few months after the band went into hiatus however, a state they are still in at the time of writing.

Artists associated with Transubstans Records tends to be of the kind commonly described as retro-oriented rock, most often inspired by acts such as Black Sabbath, Mountain, The Doors and Jethro Tull. Vintage hard rock, frequently sporting a few bells and whistles. From the sound they explore this time around, it would appear that Ginger Trees is at least slightly an exception as far as that description goes. Yes they do have the odd compositions sporting a riff halfway borrowed from Tony Iommis repertoire, but on this occasion this element isn't a defining aspect of their chosen style, nor is it dominant in any manner whatsoever. Indeed, by and large the few creations of this ilk are among the least interesting.

Where this band and this disc are at their most interesting, it is when exploring the gentler, delicate landscapes. Relatively speaking however, as sticksman Johan opts for a hectic and energetic display throughout, often with what I'd think of as a slightly jazz-oriented style. In a subtle manner that is. But the bass and guitar have more of a laidback style, slow-paced for the former, light in tone and slightly fragmented for the latter. Serving as a carefully crafted foundation for the powerful pipes of Rasmus. He's got a strong voice, able to handle the delicate, dampened moments with the same ease as the emotionally laden and powerful ones, and his input alongside the relatively careful stylistic expression explored often made me associate this act with now defunct Norwegian band Madrugada. In particular the sound that band pursued on their initial effort "Industrial Silence".

Ginger Trees does venture in more of an alternate universe to that band though, as their sound has more of a distinct blues tinge, while the chorus sections tends to stretch towards 70's hard rock to a greater degree with the powerful guitar and organ blend commonly utilized for those passages. Alongside a more distinct and powerful lead vocal. An additional trait for Ginger Trees is the inclusion of subtle details with more of a folk rock origin, and in the case of final track Kurukshetra ones with more of a psychedelic character to them are inserted as well.

"Along With the Tide" is a CD with a curious blend of gentle rock of the timeless variety and harder edged 70's art rock details, with occasional inclusions of vintage stoner rock elements. By and large a pleasant creation, where the most intriguing creations tends to be the ones exploring the calmer sides of their repertoire. Strong lead vocals manage to make these ever so slightly more interesting than what one might expect, while the careful instrumental foundation often manage to add in some nice and slightly unexpected details. As far as recommendations go, I'd think that quite a few of those who like Madrugada's debut album would find this album to be of interest too. This due to the similarities in approach and overall dynamics, even if the stylistic expression as such has it's fair share of differences.

My rating: 67/100

Track list:
1. Forever This Longing - 4:55
2. Ghost of Another Age - 4:33
3. Along With the Tide - 4:00
4. Poseidon - 7:33
5. Shadow of the Mountain - 3:17
6. New Day - 4:39
7. Breathe - 6:38
8. The Swirl - 4:40
9. Kurukshetra - 5:56

The Jeffery Brothers Band: Cuttin' Loose (2010)

Canadian outfit THE JEFFERY BROTHERS BAND is formed around twin brothers Josh and Nick, and they started out back in 2003. Their first effort was the EP "Splitting Headache" from 2005. An active live band, it took the brothers some time to plan ahead for a full length album, but in 2010 it arrived in the shape of "Cuttin' Loose".

Many artists wants to highlight certain qualities about their performance when issuing albums. Art rock artists will often showcase compositional or instrumental virtuosity or innovation, metal bands will often opt for the latter alone. The guitarists in particular. Other acts are less concerned about showcasing individual or collective skills, and not that concerned about complicated compositions either. For every band out there with a desire to show just how clever they are in one or more departments there's an equal number who seems to care first and foremost about having fun. The Jeffery Brothers band would appear to be an example of just that.

Their songs are pretty straightforward affairs, and as far as style goes 70's tinged hard rock is as good a description as any I guess. Steady drums and an energetic driving bass guitar forms the foundations for their excursions, with a light and joyful expression to the guitar riffs lightly pounding on top. Staccato riff and riff patterns appears to be the main approach, and in particular on songs like -I Wanna Rock- and -Bamboozed- in a manner that reminds of late 70's AC/DC. That the lead vocals is in an energetic talklike and partially shouted delivery underlines that association rather well. Other tracks remind me more of a rather more obscure act, UK trio Balaam & The Angel and the sound they explored on their "Live Free or Die" album from '87 or thereabouts in particular. As far as sophistication goes, slightly blues-tinged additional guitar textures and soloing with a nod or two in the direction of bluesrock stalwarts ZZ Top might be noted as the arguably best example of that.

In short, this is an album made up by good time, good vibes and positive hard rock. A disc you might want to pop into the CD player when going for a lengthy and boring drive and need energy infusions by way of music. Or an album to be taken to parties, the perfect soundtrack for an evening with the boys while guzzling beer and telling tall tales. It's not a perfect creation by any means, most of the songs have a certain quality of the kind that does make you think you've heard this before.

"Cuttin' Loose" isn't an innovative production and probably won't be regarded as one for the history books either. But it is a well put together and well performed creation from the school of good time (hard) rock and roll, and one I'd recommend AC/DC fans in particular to spend a few minutes getting familiar with.

My rating: 62/100

Tracks:
1. I Wanna Rock
2. Kickin Me Down
3. Crime Of The Century
4. Sunshine
5. Your Life
6. Bamboozed
7. Pass You By
8. Sun Going Down
9. Cuttin' Loose

Soul Manifest: White Season (2010)

UK based, French trio SOUL MANIFEST was born sometime around 2008, a band uniting under the vision "we wanted to find a path to freedom...". The concrete results of their musical bonding was made available by newly formed Swedish label Night Tripper Records in December 2010, in the shape of the bands first full length effort White Season.

And what the audience is served on this occasion is what would be safe to state is a mixed diet. Not in an eclectic manner however, there's a firm foundation to their endeavours which might best be described as dark toned 70's hard rock. There's occasional flourishes in the direction of acts like Black Sabbath but Soul manifest opts for an expression not quite as doom laden nor massive as that household giant of what way back when was described as heavy metal.

The guitar obviously gets quite a lot of the limelight, albeit just about equally shared with the keyboards in this case. In particular on opening efforts Dead Man and White Season (Part I), which comes across as a meeting between early Black Sabbath and Atomic Rooster in expression. The latter of these the most successful as I regard it, opening effort Dead Man more of an average effort in my perception.

Third track Do We have the Same View is another piece of work entirely, a tasteful and relaxed ballad of sorts with psychedelic vibes, which is followed by the traditional blues rocker Devil's Meeting. White Season (Part II) returns to the gentler psychedelic tinged waters initially, but dipping it's toes into doom-oriented waters just prior to the end. Next up is an energetic excursion 70's hard rock style with All But My Dreams Can Be Erased by the Rain. Until the ragtime piano break in the middle that is, which in my book would have been the perfect manner in which to close this creation. The following return of the initial theme now spiced with a distracting guitar solo didn't go down too well with me.

The Light ends this debut album on a high note, an intricate piece that should have a strong appeal towards those fond of musical fodder of the more sophisticated kind. From the dampened initial theme sporting fluctuating keyboards and the occasional richly textured eruptions supported quite nicely by guitar riffs and intricate drum patterns throughout, the next stage featuring dampened doom-laden riffs sporting evolving psychedelic tinges and a fluctuating space-inspired keyboard motif on top, the gentle dark psychedelia of the dark tribal sounds and female lead vocals in the next part and finally playing out as an energetic 70's hard rock piece supported by keyboards. Almost epic in length, sporting a multitude of themes and a few intermediate stops alongside intricate rhythms and unpredictable development this number should should satisfy most criteria laid down for being regarded as progressive rock. And a rather enticing example of it's kind too I might add.

There's quite a lot of talent and promise at hand in the case of Soul Manifest. Not fully realized at this point, but their first full length effort has enough promising features to warrant a check by those with a taste for 70's oriented hard rock sporting some progressive flourishes, and while only a few pieces are comparable as such I'd suspect that fans of early Atomic Rooster might be something of a key audience for this French trio.

My rating: 69/100

Tracks:
1. Dead Man
2. White Season (Part I)
3. Do We Have the Same View
4. Devil's Meeting
5. White Season (Part II)
6. All But My Dreams Can Be Erased by the Rain
7. The Light

Mangrove: A Distant Dream of Tomorrow (2010)

Swedish band MANGROVE was formed back in 2006, and made their debut on Transubstans Records three years later with the full length effort "Endless Skies". Just one year later they release their sophomore effort "A Distant Dream of Tomorrow", again opting for Transubstans as their label of choice.

70's style hard rock with a few bells and whistles is something of a speciality for Transubstans Records, with hard rock and progressive rock as the main genres they cover. Mangrove is a band with the main basis in the former, but do touch upon the latter at times, at least on this most recent effort.

Initially this CD comes across as by and large a Black Sabbath inspired creation. Doom-laden riffs with appropriate bass guitar supporting and melodic, powerful lead vocals on top kicks off this production, with just a tiny touch of psychedelic touches added in. But already on the second track some nice additional elements brought in courtesy of wind synths and carefully resonating clean and light-toned guitar licks heralds that Mangrove opts to be something more than mere purveyors of vintage doom metal.

And as the album unfolds we're basically treated to a band that merrily combines Iommi-inspired doom riffs with the gentler parts of Led Zeppelin's psychedelic inspired moments, often with both aspects combined within a single composition, arguably best exemplified on Walk Over the Oceans. But there are also examples of purebred lighter tinged Zeppelin inspired ventures, as splendidly explored on I've Been Seen Upon the Sun. There's also a treat in store for ardent fans of purebred psychedelic music in the shape of Chant of the Seas, a marvellous instrumental affair with reverberating, dreamladen haze-filled guitar textures that most likely will be enjoyed by those who enjoy certain mildly intoxicating illegal pleasures.

A couple of lacklustre tracks aside this is a good production for most anyone with a soft spot for 70's hard rock. If Black Sabbath and Led Zeppelin are favourites of yours you will like this CD, how much depends on your taste for psychedelic touches and music that fearlessly treads in the footsteps of others.

My rating: 78/100

Akarusa Yami: Third Eye, Wide Open (2011)

A new metal band are emerging from the UK in the shape of Akarusa Yami. I don't know too much about them, but as I was sent a taster from their forthcoming debut album “Ouroborous” today I gave the song a listen or five, and was suitably impressed.
What a band stands for is hard to tell based on one track, but if the aggressive, pounding staccato thrash exemplified in Third Eye, Wide Open is a good example of their musical exploits metal fans have something to look forward to indeed.
Nuclear Assault, Killing Joke and Fear Factory were names that quickly arose in my mind, with the occasional quirkiness of the former two and the aggression of the latter as the main pointers to my associations. Others more up to date on the metal scene than I am will probably find better references.

This is a fine piece of dark, aggressive metal, and the band wants anyone curious to examine it themselves. Right now it's streaming right here, and on April 4th it will also be freely and legally downloadable from the same place for anyone just dying to shove it in to their collection of iPod tunes. Personally I think and hope many will, as this is a band that appears to be worthwhile keeping track of.

Kruk to release new album (Press release)

The 6th of June will witness the release of the new album by KRUK, a Polish Hard Rock band, formed in 2001 by Piotr Brzychcy and Krzysztof Walczyk.

Their second studio album will feature a big surprise! The song "In Reverie", which will promote the album, will include a guest appearance by Doogie White! This charismatic singer is best known to the wide audience for his cooperation with such bands as Midnight Blue, Rainbow, Cornerstore, Yngwie Malmsteen, Rata Blanca and most recently Tank. This anticipated album will surely constitute an obligatory title for all fans of classic rock.

Kruk's musicians openly express their joy! They couldn't have hoped for a better present than Ritchie Blackmore's former singer's participation in their musical enterprise! As it turns out, Piotrek Brzychcy, Tomek Wiśniewski and Krzysztof Walczyk met White already in 2005 during their gig in Katowice, where they shared the stage with Yngwie Malmsteen. "We were extremely happy that, after the gig, we could give each other high five, that we could make some commemorative photos. Now he sings in our song, he sings our lyrics... on our album. It's hard to believe!" Piotrek says, adding "I remember one of my first conversations with Krzysiek Walczyk, when we expressed our utmost delight over Rainbow's 'Strangers in Us All'. It was back when we were just starting to form Kruk and we had never dreamed that we would ever have the honor of cooperating with Doogie White. We adored White for having set new standards in the Purple-Rainbow family with the way he sang with Blackmore. What he recorded for "In Reverie" is to our utmost satisfaction because you can hear passion and joy in every single note. I don't think there's a more happy band today in the entire universe than us!"

At the moment, Kruk are finishing their work on the new album. It will be released by Metal Mind Productions on 6th June.

Travellers: Magic (Press release)

Travellers - that is the name of the new musical project of Wojtek Szadkowski, known for his past involvement with such acclaimed bands as Collage, Satellite, and Strawberry Fields.

As an artist, Szadkowski is strongly associated with the prog rock scene. That is why Travellers is going to be quite a surprise for all his fans, as it doesn't really have that much in common with that particular genre. And what can we expect of this new project? As Wojtek explains: "It's a mixture of prog, ethnic music, the 80's music, a lot of magic and space, and all of this crowned by Robin's fantastic voice..." And how fantastic that voice is, the fans could already hear on Strawberry Fields' album, which was a debut for Robin.

The band (in the line-up: Robin – vocals, Grzegorz "sencha atta" Leczkowski – guitars, Krzysiek Palczewski – bass lines, Wojtek Szadkowski – keys) are currently working on their debut album "Magic".

Wojtek Szadkowski describes the origins of Travellers: "I got the idea about forming Travellers by accident. I was checking various ideas which had been recorded throughout the several previous months and it turned out that some of them formed a certain consistent whole. They shared a certain specific mood, a bit ephemeral, a bit ethnic. I gathered them in a separate place and started adding in some ethnic loops. I remembered that, in the first version of one of Strawberry Fields songs, Robin sang in a very high-pitched voice. Her voice was a little bit reminiscent of Enya then... so I thought that it would be a perfect voice for this kind of project. But I had no idea who could play the guitar. I knew that it had to be someone that could feel the vibe of the 80's and of rock classics. I didn't want it to be a typical, obvious, progressive guitar in the vein of Steve Hackett's style - that would destroy all the mood. Incidentally, I met a friend of mine in the street, whom I hadn't seen for many, many years. I knew Grzesiek from the times of record boot sales. I knew he played something or other, I knew he had some sort of a band. But we hadn't seen each other for some 10-15 years! I told him about Travellers and he wanted to try. He sent me guitar tracks for the song "Dreaming". When I heard them, I had no doubt that no one else would fit that mood better than he did. He played perfectly. He chose a perfect sound, he added a new quality to the song and that was exactly what I wanted. We worked on the guitar tracks via the Internet - he would send me his tracks and I would say what was OK and what was to be corrected. Sometimes I would suggest some other solutions but these were merely cosmetic changes. I approved most of the guitar tracks without any changes whatsoever. Sometimes I would modify a song, the order of particular parts, the beginning after I'd heard the guitars - to make things work better. It was different with the bass tracks. I'm no good at playing the bass but, accidentally, Krzysiek, after hearing the songs, offered that he would play the bass lines on the synthesizer. In this way, the last jigsaw piece fell into place all by itself. Initially, because of my laziness, I wanted Robin to write the lyrics but eventually it was decided that I would do it."

The album is currently in the final recording stage. We will have to wait for the effects of the band's work till May, when the album "Magic" will be released.