Jazz/Prog Fusion Review: The Segue

Release Date: December 8, 2019

Label: Digital release

Website

The Segue hail from Poland and are the second new Polish band to catch my attention recently. The band comprises 4 members, Robert Wiercioch (guitar), Karolina Wiercioch (piano, grand piano, synths), Marcin Essen (bass) and Szymon Piotrowski (drums) and they are joined on this recording, Holograms, by three guest musicians, Jan Kozlinski (bass), Michal Sarapata (bass) and Maciej Dzik (drums).

I am most impressed with this debut, as I will freely admit that fusion/jazz fusion would not normally be a genre I would listen to, and, it is also an instrumental album, another area I can find less interesting, but The Segue have an interesting sound that takes me beyond any preconceptions.

Holograms is a 7 track album with a playing time of just over 45 minutes (45:15), with the opening track, “Segue,” the shortest on offer at 3:55 minutes and the final track, “Time Space Illusion” being the longest, clocking in at 8:14 minutes.

The opening track, “Segue,” bounces into life very quickly and grabs the attention just as fast. Guitar, bass and drums set down an amazingly interesting sound and just after the 1-minute mark, there is a synthesizer passage before the track settles into the earlier style. Around the 2:10 minute point there is a slight change to the guitar which steps to the fore, driving the track along, suitably underpinned by that thumping bass and precision drumming. Just into the 3-minute mark there is a very atmospheric passage before the band wind up and are away. An ideal opening track, highlighting the musician skills and enticing the listener into the sound of The Segue.

Track 2, “Questions” (6:31), starts off much more gently and soon the piano of Karolina takes the track onwards with a very jazzy feel, suitably aided by the guitar, bass and drums. Karolina then moves into one or two different piano passages, complimented by the engine-room of drum and bass. The piano remains the major instrument, although around 3:45 minutes, there is an excellent bass passage which changes the tone of the track. Karolina (piano) and Robert (guitar) take the track on with Robert coming to the forefront, before a very gentle piano/bass passage ushers the track to completion.

The fourth track, “Future Ways” (4:30), starts with a synth passage to which the bass and drums soon pitch in followed by the guitar. Karolina concentrates on the synth on this track, together with Robert’s exquisite guitar playing and the bass and drum foundation is always there, supporting. “Future Ways,” as with all the tracks, gives the individual musicians a chance to step into the spotlight and shows the band to be a unit of very skillful musicians.

Initially I mentioned that jazz and instrumentals do not form a major part of what I would normally listen to, but The Segue seem to be different in that they mix what they do so well. Karolina is as accomplished on synths as the piano, although her style of playing certainly shows a love of jazz. Robert on guitar can throw out jazzy guitar runs with the best of them, but is not averse to suddenly diving into a more prog vein.

I think that it is this versatility that make Holograms so accessible and I have no doubt that many people will think the same. Holograms will be an excellent addition to many CD collections and indeed I still listen to tracks regularly. This is an excellent debut release and I look forward to finding out where further releases will take the band.

Jim “The Ancient One” Lawson -Prog Rock Music Talk Staff
September 22, 2020

Tracks:
1. Segue (3:55)
2. Questions (6:31)
3. Torrent (8:05)
4. Exosphere (6:30)
5. Future Ways (4:30)
6. Broken Mind (7:30)
7. Time Space Illusion (8:14)

Soul Review: Bobby Deitch Band-Work With Whatcha Got!

Release Date: August 31, 2020

Label: Independent

Website

Bobby Deitch grew up being exposed to an eclectic range of music from his family members. All of those influences come flowing out of his music on Work With Whatcha Got! Which was released a few weeks ago. Bobby heads up the 7-piece eclectic band.

The Bobby Deitch Band offers up nine tracks about the human condition. The male and female give and take vocals on several of the tracks make this music get closer to the heart. Music like this can get you very sentimental but it also is most importantly easy to listen.

The combination of soul, pop, and rock with plenty of funkiness like on “If Looks Could Kill,” keep the flow of variety on this recording consistent. The consistency lies in the strong musicianship and variety of styles that are incorporated in every track. This is one of the coolest tracks on the album for sure. It is as danceable and funky as it gets, the Bobby Deitch Band pull out all the stops on this one. They put the boogie into the Woogie…yes sir!
 
When I first read the write up on the band’s Soundcloud page this segment gave me a hint of all the influences that permeate their sound: Uplifting original Soul music that takes its cues from Stevie Wonder, The Beatles, Earth Wind & Fire, Billy Joel & Michael Jackson.
 
That is about as mixed as you can get for the types of music that you will hear on Work With Whatcha Got! Early influences for Bobby included big band, doo-wop, and pop, so the natural progression was to incorporate the previously mentioned artist's sounds as well.
 
“He Loves Me” features the beautiful vocals of Natasha DiMarco with a cameo appearance by Turkuaz vocalist Shira Elias. This takes the band into a nice smooth groove as they venture into a flat-out love song. The lyrics are to the point and delivered perfectly as the music moves with the emotion of the singer. As she brings her voice to a different register and emotion the band just cooks along with her. It is heartfelt and sexy.

“Constant Complainer (feat. George Porter Jr.)” gets back to the funk and horns of previous tracks with an in the groove bass line that leads the way with in sync drumming. Including George Porter Jr. and his bluesy gritty vocals gives the track a definitive soulful in the pocket blues feel as the band just kills it in support of all the great vocals. This is one of the finest tracks on the album.

Work With Whatcha Got! is full of a lot of great energy and easy to understand and relatable lyrical content. This opens the door for a listener to walk right in. It is a musical welcome mat that you will not be able to resist. And the good news is it comes backed up by some fine music with good vocals to catch your ear on every track.

 
Keith “MuzikMan” Hannaleck-TFOV Founder
September 13, 2020

Review Provided By MuziMan.net

Track List:
1. Live Together
2. Love Is Just a Kiss Away
3. Work with Whatcha Got
4. You're All That Matters to Me
5. If Looks Could Kill    
6. Love Attack    
7. He Loves Me
8. Constant Complainer (feat. George Porter Jr.)
9. It's You
 

Instrumental Jazz-Rock-Fusion: Manuel Muzzu- 3-Ree

Release Date: July 15, 2020

Label: Independent

Website

3-Ree is Manuel Muzzu’s third proper album. He has a handicap (I would rather call it a disadvantage) with his right hand so he cannot use all his fingers. You would never know that until he told you though. His playing is superlative.

Manuel Explains: My songs are inspired by all the different sounds I manage to extract from my 6 string basses including what may sound like a conventional guitar when I use it as a harmonic instrument opposed to a slap or a straight forward fretless melodic one.

Now think about that for a minute, how does this man discard a disadvantage with the most important factor in playing a stringed instrument, your hands? Amazing is the word as far as I am concerned.

Many things come to mind while listening to 3-Ree. The attraction for my ears and tastes becomes evident straight away as the first track “Give a Fu(n)k” starts. Notice the play on words in the title. Manuel likes to have some fun and give you something to think about as you browse over the track list.
 
He then takes the classic jazz-fusion from Coltrane “Giant Steps” and gives it his title dropping the s calling “Giant Step.” I imagine you would call it that as it sounds like a funky electronica jazz fusion mix with that impeccable bass of his leading the way. It is almost like the sounds of older computers moving at light speed that you would hear in older sci-fi movies or from the space-age cartoon The Jetsons from the 60s. A very interesting take on a legendary jazz fusion track indeed.

Manuel has many guests adding to the overall sounds and atmospheres of each track. As each track progressed through all of its layers of changing bursts of colors and paces, I could not help but think of some of my favorites since I started listening to jazz-rock fusion in the early 80s. Al Di Meola came to mind at first. And of course, his first band Return To Forever that amazing supergroup. “Soca Suca” really brought all of that reminiscing and feeling back to me very quickly. I remember the revelation of hearing Di Meola and Jean-Luc Ponty for the first time. This is great music and for many reasons.

Manuel’s use of the bass is genius and how gets that guitar sound is incredible.  3-Ree is a stellar recording from start to finish. If you are a listener that enjoys jazz, smooth jazz, rock, jazz-rock-fusion, or all of the above, then you are in for a sonic treat of the senses. 3-Ree is the entire palette of the jazz canvas converging into one incredibly entertaining group of tracks.

Keith “MuzikMan” Hannaleck
September 9, 2020

Track List:
01. Give a Fu(n)k
02. Kosong
03. Giant Step
04. A Place to Be
05. Soca Suca
06. Smoothazz
07. Stay Right To the Bottom
08. Just a Lullaby
 

Rock Review: James Williamson and Deniz Tek-Two to One

Release Date: September 18, 2020

Label: 2020 Cleopatra Records

Website

James Williamson and Deniz Tek find themselves in a fully-loaded, revved up new music venture, Two to One. The Stooges’ guitarist James Williamson and Radio Birdman’s Deniz Tek team up once again from 2017 and Tek’s 2011 special guest appearance from Iggy Pop and The Stooges’, to unveil a new progressive-rock, garage-punk blend album that is sure-fire to get you rocking out in your garage like the olden days, or on the next neighborhood block party. Coming September 18, Williamson and Tek team up to bring you an album that takes the seriousness out of your everyday life, even if it is just for a moment.

The album explodes onto the scene with “Jet Pack Nightmare.” With its ZZ Top sound-a-like guitar riffs, the song is a great starter. If you listen close enough, it sounds like a timed race of revenge on someone before the person seeking the retribution wakes up. “Progress” sings of being forever in the moment. Where we are recognizing our faults of personal history, we also acknowledge that “tomorrow never comes,” meaning, time is just a construct to some and we will rectify our issues when we feel it necessary or imperative.

“Take a Look Around” is a slower touch of ‘90s ska/alternative music, with a representation of calling out modern-day civilization. It says to observe what is right in front of us, admiring the completely wrong ideals and lifestyles, rather than maybe focusing on our self-improvement and growth. “Good as Gone,” writes itself in its lyrics. A man who has reached his point in tolerating the other party in question. He sings as though this person has pushed him to where nothing can justify him trying to mend the relationship.

“Stable,” is the lead single off of Two to One. The lead singer claims to be in a sort of freefall where nothing anyone does can save him. From when others around him first met him, his character or personality is slowly cracking with imperfections. He feels as though no matter what someone tries to do to help him, it will be nothing but failed attempts. “Climate Change” is a bit of a random tune. While it certainly does call attention to the modern-day debate of ‘climate change’ it seems to be a play-on mockery of the topic. Some of the hypocrisy, and an old vs. young them, provides comedic relief that is subtle but funny.

“Birthday Present” starts with a smooth guitar lick, and the title lends the listener to think it will be something positive and uplifting until the singer begins singing. The song is based in a darker-than-expected tone and a very scattered concept of a celebration, more like the ending of one messy party. “Small Change” begins as a bit of an Americana-rock styled song. For a sudden shift, “Small Change” hints at glimmers of positivity and subtlety peaks at how emotion can increase the effects of the changes in life. A “big heart,” to this singer is key to morphing your life to the way you desire it to be.

“Liar” calls out the singer’s significant other straight to her face. He proclaims what a lot of us feel when we’ve hit the end of the road with someone. “Except the diamond in your ear, nothing last forever” is possibly the boldest claim to how far tolerance can take a person. This woman cannot see right in front of her the actions that led up to the separation about to occur. “No Dreams” is a spiral. The singer is lost within himself, trying to find something to connect to on a physical level of which, unfortunately, failure strikes him at every turn. The song is a fantastic way to represent how our psyche can easily be manipulated and played with. Ending out the album, “Melissa Blue” is of a seductive lady who has an aura of mystery about her, only to end in heartbreak. The song tells of a whole tale of meeting up, a small dose of adventure, and inevitable heartbreak as the two, part ways.

Key tracks include: “Good as Gone,” “Stable,” and “Melissa Blue.”

Gregg Keniston - MuzikMan.net Staff
August 15, 2020

Track Listing:
01. Jet Pack Nightmare
02. Progress
03. Take a Look Around
04. Good as Gone
05. Stable
06. Climate Change
07. Birthday Present
08. Small Change
09. Liar
10. No Dreams
11. Melissa Blue (Bonus Track)
 

Featured Track: I Can't Breathe - Deitrick Haddon and Mickey Stevenson

Every year certain albums and songs make history and are remembered for eternity.  And along those lines, some events change the world. 2020 was full of life-changing events and the most prolific and shocking was the unnecessary death of a human being. George Floyd will be remembered for his untimely death. I have never been so horrified when I saw the video of that fateful day. I am sure millions of other people feel the same way.

Deitrick Haddon and Mickey Stevenson got together to write a track titled "I Can't Breathe."
 

 

Mickey Stevenson (pictured with Smokey Robinson) was one of the most important and influential figures in the history of recorded music, making a name for himself with the legendary Motown label. The combination of Haddon with Stevenson is a powerful coupling that was a cannot miss proposition.

As you will see and hear with the video presented honoring George Floyd, there were no punches pulled and it all comes straight from the heart for both men.

 

Haddon has some strong pipes and lets go giving it all that he possibly could. The lyric video and images are equally powerful. This is about being an American, and our diversity and how every human being regardless of race, creed, or religion deserves respect. The music deflates the hate and causes behind events like we all witnessed this year.

"I Can't Breathe" is statement musically and spiritually. We are all one race living on one planet. Our commonality is the love for our fellow men and women and in the end, our love for the universal language of music comes shining through! Let it be a beacon of light leading us all down the right road.

Keith "MuzikMan" Hannaleck

 

MORE ABOUT DEITRICK HADDON 

 

https://www.facebook.com/DeitrickHaddon

 

Deitrick Vaughn Haddon is a gospel singer, songwriter, music producer, pastor, and actor. He is best known for progressive gospel, and contemporary styles of music. He is also one of the cast members in Oxygen's reality television show Preachers of L.A. Contents.

Haddon launched his solo career as a Christian R&B vocalist with the Lost & Found on Tyscot/Verity in 2002. The set peaked at No. 1 on Billboard's Top Gospel Charts and received wide critical acclaim and spawned the hit "Sinner's Prayer" which was played extensively on gospel and mainstream R&B radio stations.

The 1970s-leaning Crossroads followed in 2004, led off by the upbeat single "God is Good". In an uncharacteristic move for marketing a gospel album, Haddon made an appearance on the long-running syndicated series Soul Train performing the single and the title track from the album.

Haddon appeared to be pushing his Gospel artistry further into the ranks of mainstream venues with 7 Days, released October 10, 2006. 7 Days was produced almost entirely by R&B producers Tim & Bob Balancing out the contemporary bulk of the album is the traditional gospel-flavored lead single "Heaven Knows" which Haddon produced himself.

Haddon and his brother Gerald also produced the comeback album Brand New Day for veteran gospel vocalist Vanessa Bell Armstrong. Deitrick Haddon & Voices of Unity's Live the Life won Gospel Music Workshop of America Excellence Awards for "New Artist of the Year—Urban Contemporary" and "Album of the Year—Urban Contemporary".

 

Featured Track: I Can't Breathe - Deitrick Haddon and Mickey Stevenson

Every year certain albums and songs make history and are remembered for eternity.  And along those lines, some events change the world. 2020 was full of life-changing events and the most prolific and shocking was the unnecessary death of a human being. George Floyd will be remembered for his untimely death. I have never been so horrified when I saw the video of that fateful day. I am sure millions of other people feel the same way.

Deitrick Haddon and Mickey Stevenson got together to write a track titled "I Can't Breathe."
 

 

Mickey Stevenson (pictured with Smokey Robinson) was one of the most important and influential figures in the history of recorded music, making a name for himself with the legendary Motown label. The combination of Haddon with Stevenson is a powerful coupling that was a cannot miss proposition.

As you will see and hear with the video presented honoring George Floyd, there were no punches pulled and it all comes straight from the heart for both men.

 

Haddon has some strong pipes and lets go giving it all that he possibly could. The lyric video and images are equally powerful. This is about being an American, and our diversity and how every human being regardless of race, creed, or religion deserves respect. The music deflates the hate and causes behind events like we all witnessed this year.

"I Can't Breathe" is statement musically and spiritually. We are all one race living on one planet. Our commonality is the love for our fellow men and women and in the end, our love for the universal language of music comes shining through! Let it be a beacon of light leading us all down the right road.

Keith "MuzikMan" Hannaleck

 

MORE ABOUT DEITRICK HADDON 

 

https://www.facebook.com/DeitrickHaddon

 

Deitrick Vaughn Haddon is a gospel singer, songwriter, music producer, pastor, and actor. He is best known for progressive gospel, and contemporary styles of music. He is also one of the cast members in Oxygen's reality television show Preachers of L.A. Contents.

Haddon launched his solo career as a Christian R&B vocalist with the Lost & Found on Tyscot/Verity in 2002. The set peaked at No. 1 on Billboard's Top Gospel Charts and received wide critical acclaim and spawned the hit "Sinner's Prayer" which was played extensively on gospel and mainstream R&B radio stations.

The 1970s-leaning Crossroads followed in 2004, led off by the upbeat single "God is Good". In an uncharacteristic move for marketing a gospel album, Haddon made an appearance on the long-running syndicated series Soul Train performing the single and the title track from the album.

Haddon appeared to be pushing his Gospel artistry further into the ranks of mainstream venues with 7 Days, released October 10, 2006. 7 Days was produced almost entirely by R&B producers Tim & Bob Balancing out the contemporary bulk of the album is the traditional gospel-flavored lead single "Heaven Knows" which Haddon produced himself.

Haddon and his brother Gerald also produced the comeback album Brand New Day for veteran gospel vocalist Vanessa Bell Armstrong. Deitrick Haddon & Voices of Unity's Live the Life won Gospel Music Workshop of America Excellence Awards for "New Artist of the Year—Urban Contemporary" and "Album of the Year—Urban Contemporary".

 

Featured Track: Dyan Garris-Forest Whispers

Dyan Garris is an award winning new age artist and author. She is multi-talented and touches upon all of the arts within the new age genre and is a classical trained on the piano and violin.

"Forest Whispers" is a recent single track that is the feature I speak of.  It is a new age journey as beautiful, natural, and inviting as the cover indicates.

The birds are chirping with delight as the sounds of new age combined with world music fill in the space around you.

It takes you there immediately. That my friends is exactly what any recording artist wants!

Keith "MuzikMan" Hannaleck

 

More About Dyan Garris: DyanGarrisMusic.com

Dyan Garris is a multiple award-winning New Age recording artist, an award-winning author, and an official music reviewer for Zone Music Reporter (ZMR), New Age CD, and Spirit Seeker Magazine. Garris has recorded and produced 13 albums. Garris’ recordings include a series of independently tested music and meditation CDs that earned The National Health & Wellness Stamp of Approval.

Her latest CD, Mystic’s Nine, was released 11/1/2016 and won a Global Music Award. The song Mystic Sea from the same album won the 16th Annual IMA (Independent Music Awards) VOX POP WINNER award, New Age Song category. Her music is available on Pandora, Spotify, iTunes, Apple Music, Sirius XM, MoodMusic, Muzak, Music Choice, and more.

Dyan Garris started playing the piano when she was four years old. Her mother bought a baby grand piano and soon thereafter brought in a piano teacher. The piano teacher was an interesting choice because he was totally blind. 
At the first lesson Dyan asked him how he was going to teach her to play the piano since he could not see, and she asked him to take off his glasses so she could see his eyes. He obliged. They were beautiful blue and they were definitely blind. But even then through those obscured windows, she saw his soul. He was brilliant.

And he said to her, “Child, we do not need to be able to ‘see’ to play this instrument. We only need to be able to feel the music. Music is not about seeing. It’s about feeling.” With that, he took her hands and placed them atop of his and they played the most wonderful music.
Garris is a classically trained pianist and violinist. She became and maintained first chair, first violin throughout high school orchestra and still loves the way the two instruments blend together in perfect harmony. 

Her interest in meditation and music for relaxation goes back to early 1993 which is when she first began creating guided meditations. Music itself, of course, has been a way of life.

Featured Track: Grant Maloy Smith-I See You

Grant Maloy Smith has a beautiful track titled "I See You."  Grant is the performing artist and it was co-written by Mike Greenly.
 
This is one of the most moving and powerful tracks I have heard in quite some time. The video is what really gets you. It will touch your heart and soul.

The acoustic guitar and vocals are a perfect match and I felt chills and wanted to cry watching the video. It reminded me of those that have passed and the direction we are all headed one day.

It was released with the support of Masterpiece Living, an organization dedicated to creating better lives for our elders. They adopted the track due to their work.

This is country, folk, and Americana at its very best and if this track does not touch you in some way you had better check for a pulse!

Keith "MuzikMan" Hannaleck 

Grant Maloy Smith is a Billboard Top 10 recording artist and Music Row Country Breakout charting songwriter of AMERICAN ROOTS music. His latest album, Dust Bowl - American Stories spent 17 weeks on the Billboard charts, including eleven weeks in the Top 10.
 

 https://www.grant-maloy-smith.com/epk

Featured Track: Grant Maloy Smith-I See You

Grant Maloy Smith has a beautiful track titled "I See You."  Grant is the performing artist and it was co-written by Mike Greenly.
 
This is one of the most moving and powerful tracks I have heard in quite some time. The video is what really gets you. It will touch your heart and soul.

The acoustic guitar and vocals are a perfect match and I felt chills and wanted to cry watching the video. It reminded me of those that have passed and the direction we are all headed one day.

It was released with the support of Masterpiece Living, an organization dedicated to creating better lives for our elders. They adopted the track due to their work.

This is country, folk, and Americana at its very best and if this track does not touch you in some way you had better check for a pulse!

Keith "MuzikMan" Hannaleck 

Grant Maloy Smith is a Billboard Top 10 recording artist and Music Row Country Breakout charting songwriter of AMERICAN ROOTS music. His latest album, Dust Bowl - American Stories spent 17 weeks on the Billboard charts, including eleven weeks in the Top 10.
 

 https://www.grant-maloy-smith.com/epk

Rock Review: Mandoki Soulmates-Living in the Gap + Hungarian Pictures

Release Date: June 19, 2020

Label: 2020 Purple Pyramid Records

Website 

Mandoki Soulmates debuted in 1991. The band consists of many members but, the founding three are Ian Anderson, Jack Bruce, and Al Di Meola; along with Leslie Mandoki. Often coined as a ‘supergroup,’ Soulmates present themselves as a unified front. They direct the band as one whole unit, rather than several different bodies and voices just up on a stage. While most artists and bands either remain on one side or the other of the political aisle or keep their personal politics out of their artistry, Mandoki Soulmates lightly sprinkles political undertones throughout their music, especially on the newest released album Living in the Gap + Hungarian Pictures.

Now let’s get down to the business of the music. “Living in the Gap” starts the album with a big-band/jazz, funk-fusion that is quite fitting for such a time as this. The group sings of unity and bridging the ‘gap’ to where we separate from others intentionally on almost every subject nowadays. It also hints of a thought that there is no “right and wrong” rather, it’s a matter of collective agreement or disagreement.

“Young Rebels” is a shout to how all different young individuals, each with varying backgrounds and experiences are trying to get through each day of this world and possible change in a peaceful but ever-so-nonchalant manner. In the same way, they cannot decide whether they are trying to bring about some old ideals as a youth, or much older but with youth mindsets and hopes. “Turn the Wind” takes a bluegrass-like spin in the record. It comes down to simply a relaxed tune, but, it does beg the question within, “can we stop anything, anymore, at all?” Or, is it a lost cause in trying to make a big change? “Where We Belong” sings of this back and forth between feel-good moments and some that dig in a little deeper in pain or sorrow.

What I might call the ‘anthem song,’ “Let the Music Show You the Way” is a bright and uplifting tune to bring anyone out of their funk. Completely void of any particular signaling or message, it simply enlightens the listener that music is the universal peacekeeper as it allows us to align our feelings to any song we choose. “Too Much Pride” belts out a trumpeted jazz message of an overwhelming sense of pride, unable to move out of our own way to see more clearly, other individuals and how they see and feel through life.

“Old Rebels” is a continuation of “Young Rebels” but, carries the same message from before with a wiser, somewhat opposing perspective. “Welcome to Real Life” eerily fits well with today’s political and human climate. Between the unrest of all of us being quarantined and innocent individuals dying all across the country, the lyrics ring too true, wherever your viewpoints may fall. “Hottest Queen of Cool” invokes a sexy, sleek, jazzy number to a woman who absolutely dominates what seems to be the entertainment lifestyle, almost emulating a Hollywood starlet, turning everything before her, about her.

“Wake Up” is a call-out type of song to all who will listen to change the things we see going on in the world before it might be too late, according to the band at least. Singing of “dark hearts and free minds,” one can imagine, the song is to be about making the world as bright and light as can be. “Mother Europe” follows with a song seemingly of a love of the European continent as though they are defending the nation. “I’m Not Your Enemy” begins with a 2-minute and fifty-second instrumental, cool and mellow guitar-turned-keyboard-turned trumpet solo. Afterward, the singer comes in calm and peacefully proclaiming how she and another do not have the same mindset of anger and resentment. Instead, she speaks of how she will always remain by the other’s side. Another minute and a half instrumental solo takes place before the chorus chimes back in.

A stroke of a piano keyboard twinkles the next song, “Sessions in the Village.” While the singer sings of what sounds to be a very poetically structured verse, the song then cuts from her to a synthesizer party, including a trumpet at times;  making waves in this piece to make it seem like it is a village celebration. “Utopia for Realists” brings back a male vocalist to explain how the band sees modern awareness of the world’s happenings as a glimpse of the utopia beyond. “Transylvanian Dances” is a piece of periodic verses and an overall somber tone. At the 12:22 mark, it begins to speed up for about a minute and eight minutes, turning into an all-out rock fest. Then, ending it out, it slows back down to a man singing of his son being pointed towards open roads.

“You’ll Find Me in the Mirror” is the singer looking back and reflecting on what might have been of him and now he longs for that same trust and security back that he once had. Then comes in “Return to Budapest,” and it’s exactly what you’d expect from that title. It’s a soothing, alluring song of tradition and simplicity. “Barbaro” does give off the initial impression of barbarianism with its rush of drums. When the trumpet kicks in, it turns into more of a jam session of beautifully blending instrumental families. With the piano, it kind of throws a bit of a side curveball but keeps the dramatization of the piece going, sounding like the song is growing faster and faster; thus, more exciting. Ending out the entire album, “The Torch” sings of empowerment and strength to those who come after the singers, in relaxed, chant-like fashion.

Key Tracks include: “Living in the Gap,” “Too Much Pride,” Barbaro,” and “I’m Not Your Enemy”

Gregg Keniston - MuzikMan.net Staff
July 15, 2020

Track Listing:
01.   Living in the Gap
02.   Young Rebels
03.   Turn the Wind
04.   Where We Belong
05.   Let the Music Show You the Way
06.   Too Much Pride
07.   Old Rebels
08.   Welcome to Real Life
09.   Hottest Queen of Cool
10.   Wake Up
11.   Mother Europe
12.   I’m Not Your Enemy
13.   Sessions in the Village
14.   Utopia for Realists
15.   Transylvanian Dances
16.   You’ll Find Me in Your Mirror
17.   Return to Budapest
18.   Barbaro
19.   The Torch

Crossover Prog Review: Fatal Fusion-Dissonant Minds

Release Date: July 10 2020

Label: Apollon Records

Website

I have been a follower of the band, Fatal Fusion since I heard a track from an early album. Fatal Fusion was formed in Oslo, Norway in 2008, and utilize classic instruments, vintage synthesizers, mellotron, and Hammond organ as they pay homage to the 70’s prog bands, but they have their sound.

That sound has been described as a blending of different genres such as rock, classical, metal, blues, jazz, and even psychedelia and Latin. The band has released four albums, from the debut, Land Of The Sun (2010), through The Ancient Tale (2013), and Total Absence (2016) and onto the album being reviewed, Dissonant Minds (2020).

Fatal Fusion has had a settled line-up since its inception in 2008 and the 5 members appear on all albums; Knut Erik Grontvedt (vocals), Stig Selnes (guitar), Erlend Engebretsen (keyboards), Lasse Lie (bass) and Audun Engebretsen (drums, percussion).

Dissonant Minds is a four-track release with a running time of just over 43 minutes (43:08), with track 3, “Beneath The Skydome,” the shortest at 4:23 minutes and the final track., “Broken Man Pt 2,” is the longest track on offer at just under 17 minutes (16:42).

The opening track, “Coming Forth By Day” (14:22), is straight to work almost immediately with the band into full flow with 2 distinct passages, the sound building up, dropping away and then this flow repeating, so when the 3-minute mark is reached, the sudden arrival of an acoustic Spanish style guitar passage is a great surprise. The electric guitar puts in an appearance, now and again, before the acoustic passage is joined by a flute, which heralds the entrance of the instantly recognizable vocals of Knut Erik Grontvedt. Initially, there follows a very gentle passage before the vocals harden, and the band starts to rock, changing the style, before a switch back into the gentle, almost meandering passage, which then repeats ensuring the listener is kept on their toes (aurally speaking). Around the 7:10 minute mark, the electric guitar of Stig gets the opportunity to shine and he carries the track until the vocals return around 9:00 minutes. By 9:30 minutes, the pace has changed again and the band is in full flow with the keyboards of Erland getting the chance to come to the forefront. A more choral style keyboard passage appears around 11:20 minutes and the vocals return, as does the electric guitar of Stig and the band start to drive towards the finish. However, at 14:00 minutes, the band leaves the finale to the vocals of Knut Erilk and the superb piano of Erland.

I feel that the opening track to any album requires to be one that will grab the listener and “Coming Forth By Day” does just that. The listener is taken on a journey from the soothing and gentle to the harder and rockier areas which leave the listener looking forward to the rest of the album.

The final track, “Broken Man Pt 2” (17:22), is the second epic-length piece of music on the album and it has taken from the debut album in 2010 to come up with Part 2 of “Broken Man” which graced that earlier album. The opening of “Broken Man Pt 2” starts in a relatively gentle style with the band working as a tight unit with bass (Lasse Lie) and drums (Auden Engebretsen) setting down the solid foundations of the track. By the 6th minute, the style changes with keyboard swathes and an insistent drive from the powerhouse, the bass, and drums, behind Knut Erik’s vocals. The keyboards and that driving beat then switch with the entry of Stig’s electric guitar around the 9:00 minute mark. The track continues to drive along with the keyboards to the forefront and similar to track one, the listener is frequently teased with “retro snippets” which hark back to time away in the past, but no sooner have they appeared then they are gone. Around 11:45 minutes, everything drops away leaving the solitary piano playing a plaintive theme, which heralds the appearance of the vocals again, which are similarly plaintive, before the band are off and running, if not quite as fast as earlier, before again taking a backseat as the vocals come to the fore. The band again gets to flex their collective muscles with a keyboard-driven passage taking the track onto 15:30 minutes. Stunning guitar work just after 16 minutes heralds the impending end of the track, with the sound building to a crescendo and then simply vanishing.

A terrific final track, with the regular movement from the gentle to the more aggressive style, gives the track an edginess and the stunning solo passages, both from guitar and keyboards, completing the superb ending to Dissonant Minds.

Fatal Fusion has continued to build from the foundations set down in 2010, and Dissonant Minds is the culmination, thus far, of the evolution of the band. If you like your prog rock to sound fresh, but still give a nod of the head to the prog scene from the ’70s, welcome to the sound of Fatal Fusion. This is an album that should find its way onto many listeners CD shelves or storage areas, so give it a good listen and if this is the first Fatal Fusion release you have heard, be prepared to dig deep to collect the earlier albums.

Jim “The Ancient One” Lawson - Prog Rock Music Talk Staff
July 9, 2020

Tracks:
1. Coming Forth By Day (14:22)
2. Quo Vadimus (7:41)
3. Beneath The Skydome (4:23)
4. Broken Man Pt 2 (16:42)

Crossover Prog Review: Fatal Fusion-Dissonant Minds

Release Date: July 10 2020

Label: Apollon Records

Website

I have been a follower of the band, Fatal Fusion since I heard a track from an early album. Fatal Fusion was formed in Oslo, Norway in 2008, and utilize classic instruments, vintage synthesizers, mellotron, and Hammond organ as they pay homage to the 70’s prog bands, but they have their sound.

That sound has been described as a blending of different genres such as rock, classical, metal, blues, jazz, and even psychedelia and Latin. The band has released four albums, from the debut, Land Of The Sun (2010), through The Ancient Tale (2013), and Total Absence (2016) and onto the album being reviewed, Dissonant Minds (2020).

Fatal Fusion has had a settled line-up since its inception in 2008 and the 5 members appear on all albums; Knut Erik Grontvedt (vocals), Stig Selnes (guitar), Erlend Engebretsen (keyboards), Lasse Lie (bass) and Audun Engebretsen (drums, percussion).

Dissonant Minds is a four-track release with a running time of just over 43 minutes (43:08), with track 3, “Beneath The Skydome,” the shortest at 4:23 minutes and the final track., “Broken Man Pt 2,” is the longest track on offer at just under 17 minutes (16:42).

The opening track, “Coming Forth By Day” (14:22), is straight to work almost immediately with the band into full flow with 2 distinct passages, the sound building up, dropping away and then this flow repeating, so when the 3-minute mark is reached, the sudden arrival of an acoustic Spanish style guitar passage is a great surprise. The electric guitar puts in an appearance, now and again, before the acoustic passage is joined by a flute, which heralds the entrance of the instantly recognizable vocals of Knut Erik Grontvedt. Initially, there follows a very gentle passage before the vocals harden, and the band starts to rock, changing the style, before a switch back into the gentle, almost meandering passage, which then repeats ensuring the listener is kept on their toes (aurally speaking). Around the 7:10 minute mark, the electric guitar of Stig gets the opportunity to shine and he carries the track until the vocals return around 9:00 minutes. By 9:30 minutes, the pace has changed again and the band is in full flow with the keyboards of Erland getting the chance to come to the forefront. A more choral style keyboard passage appears around 11:20 minutes and the vocals return, as does the electric guitar of Stig and the band start to drive towards the finish. However, at 14:00 minutes, the band leaves the finale to the vocals of Knut Erilk and the superb piano of Erland.

I feel that the opening track to any album requires to be one that will grab the listener and “Coming Forth By Day” does just that. The listener is taken on a journey from the soothing and gentle to the harder and rockier areas which leave the listener looking forward to the rest of the album.

The final track, “Broken Man Pt 2” (17:22), is the second epic-length piece of music on the album and it has taken from the debut album in 2010 to come up with Part 2 of “Broken Man” which graced that earlier album. The opening of “Broken Man Pt 2” starts in a relatively gentle style with the band working as a tight unit with bass (Lasse Lie) and drums (Auden Engebretsen) setting down the solid foundations of the track. By the 6th minute, the style changes with keyboard swathes and an insistent drive from the powerhouse, the bass, and drums, behind Knut Erik’s vocals. The keyboards and that driving beat then switch with the entry of Stig’s electric guitar around the 9:00 minute mark. The track continues to drive along with the keyboards to the forefront and similar to track one, the listener is frequently teased with “retro snippets” which hark back to time away in the past, but no sooner have they appeared then they are gone. Around 11:45 minutes, everything drops away leaving the solitary piano playing a plaintive theme, which heralds the appearance of the vocals again, which are similarly plaintive, before the band are off and running, if not quite as fast as earlier, before again taking a backseat as the vocals come to the fore. The band again gets to flex their collective muscles with a keyboard-driven passage taking the track onto 15:30 minutes. Stunning guitar work just after 16 minutes heralds the impending end of the track, with the sound building to a crescendo and then simply vanishing.

A terrific final track, with the regular movement from the gentle to the more aggressive style, gives the track an edginess and the stunning solo passages, both from guitar and keyboards, completing the superb ending to Dissonant Minds.

Fatal Fusion has continued to build from the foundations set down in 2010, and Dissonant Minds is the culmination, thus far, of the evolution of the band. If you like your prog rock to sound fresh, but still give a nod of the head to the prog scene from the ’70s, welcome to the sound of Fatal Fusion. This is an album that should find its way onto many listeners CD shelves or storage areas, so give it a good listen and if this is the first Fatal Fusion release you have heard, be prepared to dig deep to collect the earlier albums.

Jim “The Ancient One” Lawson - Prog Rock Music Talk Staff
July 9, 2020

Tracks:
1. Coming Forth By Day (14:22)
2. Quo Vadimus (7:41)
3. Beneath The Skydome (4:23)
4. Broken Man Pt 2 (16:42)

Space Rock Review: Alan Davey-Four Track Mind

Release Date: May 22, 2020

Label: 2020 Purple Pyramid Records, a division of Cleopatra Records, Inc.

Website

You may not believe your eyes at how gigantic this piece of work might be, but, it won’t take long to tell you of this powerful album. Take a trip. That’s exactly how you’ll feel after listening to Four Track Mind. It’s interstellar, out-of-this-world. You might recognize this badass bassist and guitarist from his Hawkwind days. For 12 years from ’84 to ’96 and then again from 2000 to 2007, he rode high on his band’s success. In the space of that four-year hiatus, Davey took the time to mold his own career as a solo artist. During his second run of Hawkwind, his solo projects diminished. With this new solo release, it’s almost as if he had one final trick up his sleeve…that we know of.

Four Track Mind is not for the average, every-day music lover and or consumer, (even some aficionados might find some difficulty in getting through this heavy tracklist). The album lures the listener into a trance-like state. Alan Davey shows a great variance of techniques in utilizing a blend between two instruments – a bass guitar, and a synthesizer. As you play through the album, it begins to feel like a movie soundtrack from an alien domination film. The tone intensifies as tracks like “Lost in the Smoke” and “Greenback Massacre” come on, where the beginning 10 tracks and others like “Fire Tribe” are play-on beatmakers that play almost like individualized ringtones to old-fashioned cell phones.

Imagine, if you will, a hypnotical spiral where it continues to infinity. That is what much of this album represents. Four Track Mind is the kind of album you need to allow yourself to get lost in. Dedicate a day of meditation or intention to this record. The varying sounds and tones through the combination of the guitar and synths send you through an out-of-body experience like no other. But a piece of work of this magnitude also requires the discipline to go from start to finish and understand how to make essentially four separate albums cohesively flow together.

Gregg Keniston- MuzikMan.net Staff

June 30, 2020

Track Listing:

01.     Spiritual Modulator
02.    R.E.M. Time
03.    Chinese Whispers
04.    Transient
05.    Slumber Head
06.    Dragon Chaser (1986 Version)
07.    Hypno Trip
08.    In A Sphere
09.    E-On Strings
10.    Wind of Ghosts
11.    Dark Light
12.    Moody Motion
13.    Flight to Andromeda
14.    Sunrise Assassins
15.    Moonstone
16.    Dragon Chaser (1988 Version)
17.    Sword of the East
18.    A Shot in the Dark
19.    Spiritual Modulator
20.    The Call
21.    Fire Tribe
22.    Return To…
23.    Simulator
24.    Chased
25.    Dragon Chaser
26.    Drive
27.    On Acid Bass!
28.    Hitze Seeker V
29.    Of Wings
30.    Out of My Box
31.    Robby’s Rap
32.    Jigging
33.    The Noise
34.    Abab Fed
35.    Backwards Thru Water
36.    Tribal Daze
37.    Lost in the Smoke
38.    Snake Charmer
39.    Up and Up
40.    The Animal
41.    Deep Space Rock
42.    Don’t Fret
43.    From the Deep
44.    Blue Shift
45.    Osc Squared
46.     Stan’s Middle 8
47.    Astron Belt
48.    Special Place
49.    Received
50.    Fear at Night
51.    Endoparasitoid
52.    Wave Upon Wave
53.    Space to Go
54.    Greenback Massacre
55.    Shahadah
56.    Many Voices
57.    Bird Nebula
58.    Creamy
59.    Holosuite Program
60.    Assimilation
61.    Alien Fingers
62.    The Wind
63.    Be Still
64.    Magic B
65.    Lgm
66.    In the Game
67.    Reality Foil

Featured Track: Nick Duane-That's What You Want

Nick Duane has a new single out titled "That's What You Want." 

The fuzz guitar sound throughout the rockin' track reminded me fondly of that buzzing sound on The Ventures track "2000 Pound Bee." It is one of the first things I could think of. But there was more to it than that...

I thought of Bowie being an influence in his sound and approach. I am sure there are lot of influences there but that was top of mind for me.

I really enjoyed the track so much. It is a combination of rock, alternative, and garage with a punk attitude. All the flavors that provide endless energy for listeners to stay tuned!  Just like he Nicks says in the track "Too Cool For School."

Check out the stream and video provided. 

Keith "MuzikMan" Hannaleck 

Nick Duane is an alternative-rock indie songwriter whose style has embraced a wide range of musical genres and influences. His songwriting brings to mind the classic pop-rock tracks that came out of both England and the US during the late 80s and 90s. He has played both Bass and Guitar with several New England regional acts and is a long time advocate for original music.

Nick Duane Facebook Page

Nick Duane Bandcamp Site

Blues Review: Dion-Blues With Friends

Release Date: June 5, 2020

Label: Keeping The Blues Alive

Website

Dion was born, Dion Francis DiMucci in Bronx, New York. Throughout his career, he has seemingly done it all. Although at 80 years old (almost 81), you could expect that. While his musical beginnings link back to 1957, it was not until 1960 that Dion went solo and started to experience some true momentum in his music. Having gone through several different phases in his career, he has fiddled with so many different genres from rock to Christian, and R&B. I mean who else can form several different bands, break out into a solo career, and genre hop so effortlessly to arrive at 80 with such a short album discography? That has been revealed through Dion’s ventures with the Belmonts, himself, and revolving from Christian back to secular music. Recently he released Blues With Friends.

When “Blues Comin’ On” starts up, you immediately understand why the “blues” could be both uplifting and also get you right in the gut. It starts the album off with a very positive chord and tone, while the lyrics are reflective and not exactly light and positive. “Kickin’ Child” is a cruiser of a tune. With the top-down and the wind blowing through your hair, it offers a continuation of a feel-good spirit. Then you get the jazzy-influenced “Uptown Number 7” to conclude the trio of overall positivity.

“Can’t Start Over Again” at first, sounds like a country song. It’s like the singer is a rolling stone trying to find his way. But, when you listen more closely, it’s more of a heartbreak that acts as a roadblock in his life because the point of a do-over is so tough to comprehend. “My Baby Loves to Boogie” bounces right back to a funk beat. The song is a great way to step onto the dancefloor and…boogie. I’m reminded of the Blues Brothers here. “I Got Nothin’” is a cool message of letting a partner know that one might not have a lot of material goods or a lavish lifestyle, but in the end, they do have the capability to still make one another happy. “Stumbling Blues” is a great play-on song lyrically of the way we often feel when we first become infatuated with a new love interest.

Moving forward, “Bam Bang Boom” is a happy ode to a woman who gave new meaning to the singer’s life and he seemed he couldn’t be more thrilled because of it, just like that. “I Got the Cure” lays out the singer’s confidence in himself as well as for the perfect remedy of a bad day or mood. The album then switches up to “Song For Same Cooke (Here In America)” which is a wonderful reflection on the famed singer, Sam Cooke. It spoke of a bond between the two artists that went deeper than just music.

“What If I Told You” is a twist on the typical cheating or wronged love song. The song tells of how the singer is on to his lover’s actions and feelings (or non-existent feelings) towards him and toward someone else. Knowing he is above the tomfoolery of the back-and-forth of a breakup or fight, he just gives off premonitions of how aware he is of her actions.”Told You Once In August” pairs well with the prior song. Another cheating song told in a different form, holds more of a western vibe to it this time around.

Rounding out the final tracks, “Way Down (I Won’t Cry No More)” sings of hurt and pain from love but, speaks more to the redemption of the singer’s attitude. He will in-fact, rise above this temporary pain of betrayal and be better for experiencing it. This leads us to the finale. Although sounding initially like a somber tune, a very positive, reflective message shines through.

Speaking of the Lord, Dion directs the listener to always look towards God to overcome the greatest adversity. This last track is an opposite mirror effect of his first track “Blues Comin’ On” where the lyrics are gloomy, but the tone and sound are both happy; whereas “Hymn to Him” is sounding more slow and dark but, a very powerful message prevails.

Key tracks include: “Hymn to Him,” “Kickin’ Child,” “Stumbling Blues.”

Gregg Keniston - MuzikMan.net Staff
June 30, 2020


Track Listing:
01. Blues Comin’ On
02. Kickin’ Child
03. Uptown Number 7
04. Can’t Start Over Again
05. My Baby Loves To Boogie
06. I Got Nothin’
07. Stumbling Blues
08. Bam Bang Boom
09. I Got The Cure
10. Song For Sam Cooke (Here in America)
11. What If I Told You
12. Told You Once In August
13. Way Down (I Won’t Cry No More)
14. Hymn To Him