Prog Rock Review: Notion Blue-The Son, The Liar and The Victor

Release Date: May 12^, 2020

Label: Digital Self Released

Website

This was an unexpected album for review, The Son, The Liar and The Victor, as I had not heard of the band, Notion Blue before. A little bit of research gave me some info about the 3-piece rock band from Connecticut.

Unfortunately, the unifying force behind the formation of Notion Blue was a tragedy. Brothers, Gabe (drums/vocals), and Luke (vocals/guitar/bass) Chase had often joined Max (vocals/synthesizer/keyboards) and Johny (bass) Barbi for gigs since high school days. Although this happened a lot of the time, they never actually considered forming a band. Everything changed in 2018 when Johny died unexpectedly and in dealing with this loss, the three remaining friends decided to form an official band to produce a concept album about the life and times of Johny Barbi. Over the following 12 months, they worked hard, writing and recording demos and wrestling with rough ideas.

The resulting album, The Son, The Liar and The Victor, is a prog concept album greatly influenced by concept albums from The Neal Morse Band, Dream Theater and Steven Wilson to depict Johny Barbi’s life.

The album is a 10-track release with a total running time of just over 42 minutes. The longest track on offer is track 5, “Keeping Apart” which clocks in at 5:41 minutes, and the shortest is the opening track, “Memories” at under 2 minutes.

Opening the album is “Memories” (1:31) a short introduction to the album with excellent piano, strings joining in around 35 seconds, and a plaintive vocal appearing after 60 seconds. A really good piece of music to set the listener up for the rest of the album.

The fourth track, “The Liar” (5:40) has a stunning keyboard/guitar intro before dropping away to the vocals and then returning to the opening passage. The tempo builds up to another stunning keyboard/guitar interplay which drives the track on until dropping away with the return of the vocals and the opening theme. An interesting guitar riff takes the track towards the finale and a gentle fading away.

The last featured track is track 6, “Doubt Is Not A Destination” (5:36) which commences with a gentle acoustic guitar and vocal, taking the track onwards for the first 1:30 minutes, before the band starts to flow with an excellent section and a great guitar backed passage. By 3 minutes the music has returned to the gentleness of the opening section before building up as the track enters the final quarter with some excellent harmonized vocals and strings again reappearing. The gentle acoustic guitar from the start escorts the track out.

This was a huge undertaking by the three remaining friends and musicians, and they have produced an excellent prog-rock album. If I have one niggle, I do tend to find that in trying to convey areas and happenings in the life of Johny, the flow of the lyrics sometimes doesn’t quite work, but with such excellent music, it is only a niggle. The band provides sensitive lyrics, great vocals, both on lead and on the harmonies, superb bass, guitar, and keyboards going from the delicate to the soaring and the gentle to the driving.

I found The Son, The Liar and The Victor to be an excellent first album and congratulate the three band members on their achievement. Grab a listen to this album, and while I cannot guarantee that everyone will be blown away by it, I feel that many prog followers will find this of sufficient interest to add it to their collection.

Jim “The Ancient One” Lawson – Prog Rock Music Talk Staff
March 16, 2020

Tracks:
01. Memories (1:31)
02. The Gathering/Overture (4.47)
03. Always Tomorrow.\ (4.27)
04. The Liar (5.40)
05. Keeping Apart (5.41)
06. Doubt Is Not A Destination (5.36)
07. I See The Light (4.03)
08. Passing (4.20)
09. Homecoming (3.13)
10. Gates of Heaven (3.11)
 

Alt-Blues Review: Mark Lanegan - Straight Songs of Sorrow

Release Date: May 8, 2020

Label: Heavenly

Web Site

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Mark Lanegan comes right out and says it, so don't say you weren't warned. These are Straight Songs of Sorrow. The deep lyrics riding upon guttural resonance evokes a cathartic empathy for the state of the world and the people inhabiting it which is nothing short of beautiful. It may not be the artist's desired effect, but after I put my headphones down, I feel a whole lot better about my own personal lot in life and the future of humankind. I suppose in this respect one could call this a blues album, but the blood mixed in makes it more purple. 

Founder of grunge pioneers and extremely underrated Screaming Trees, Lanagan rides the tailwind of his recent soul-bearing memoir, Sing Backwards and Weep. His book details the youthful search for "decadence, depravity, anything, everything." In it, Lanagan reveals the guilt he feels to this day about the death of his friend, Kurt Cobain. The vocals are reminiscent of classic blues singers yet bent with a blend of dark Iggy Pop mixed with Leonard Cohen, and infused with a twist of Nick Cave.

The distressed sonic texture strikes a chord from which the lyrics jump off and strike a nerve with tales of heartache and sorrow and warning signs of the hard road ahead. The album begins with Lanegan warning listeners not to take his advice. "Suddenly, everything I ever had is on ice. All those who tried to help me scattered like mice. No, I wouldn't want to say."

"Bleed All Over," the song with the most velocity in the collection, still reverberates with a vengeful sorry. "Don't you say it's over… I never wanted to… I'm a bleed all over." On "Skeleton Key," Lannegan laments, "I'm ugly inside and out… Love me, why would you ever love me? No one has ever loved me yet, pretty baby."

On Straight Songs of Sorrow, slow and soulful guitar travels on a gravel road of heavy bass and subdued drums. In the driver's seat, Lanegan couldn't care less what his passengers think. Unburdened by obligation and pretension, the artist is free to express his true self and travel wherever he wants. That is precisely what Lanegan has done, and we're all the wiser for coming along for the ride. 

- Tom Endyke | Guitar & Pen

Rock Review: Eric Burdon & The Animals-When I Was Young – The MGM Recordings 1967-1968

Release Date: February 28, 2020

Label: Esoteric

Website

When I Was Young – The MGM Recordings 1967-1968 is a 5-disc set covering Eric Burdon & The Animals. Each of these discs shows a pattern. As you stream through the music, the tone and themes overall go from disc one, and five shapes themselves up to be more of a darker sound than that of the other three discs. In ascending order, discs two through four increasingly become a bit lighter with the themes surrounding them. Minus a few extra tracks and one being formatted in stereo and one for mono, the two bookend discs play out similarly. It’s well worth playing on a day of reminiscing or if you might have a grey feeling throughout your day.

Eric Burdon & The Animals came about in 1966 when the actual band The Animals abruptly parted ways, he formed a similar but newer version of the group. It took hold of a Psychedelic rock type of influence rather than that of its former R&B stylings. He possessed a particular skill few in the Rock world could bring to life and not have the message and sound overdone or duplicated.

Disc two still carries a bit of a darker undertone but, generally, The Twain Shall Meet is an album of eventfulness and storytelling. You can feel a sense of wonder and awe in songs like “All Is One,” and “Just The Thought.” The album is rightly titled because it comes off very poetically. However, it also speaks to songs of war and unfortunate sorrow in the song “Sky Pilot.” You get an action-packed album amid this packaged deal.

Everyone Of Us is a blend of items. It contains an instrumental piece, “Serenade to A Sweet Lady,” along with a spoken-word track of “The Immigrant Lad.” It also includes a short story-styled song of “New York 1963 – America 1968.” You can tell by the titles of the tracks, that a lot of historical context surrounds the entirety of this album, and while it may be for a select group of ears (as many may not find the album impactful), it does carry an impressive framework about it.

Think of disc four as the icing on the cake, or the joy and celebration of light after a series of unfortunate events. There’s a common theme of love and its lasting effects both good and bad. “River Deep, Mountain High,” is that excitement burst of how much intensity one’s love could be another while, “Ring Of Fire,” represents how much power and heat can be put into love itself and loving someone, who may or may not return the same feeling.

This album certainly has an eclectic sense of emotion and lessons to be learned. Moreover, it is a great representation of laid back, mellow vibes to give younger listeners a sense of how music can captivate both a message and create an endless earworm to soothe the mind after an eventful day or stimulate the mind to think more introspectively.

Key Tracks: “Monterey,” “A Girl Named Sandoz,” “Year of the Guru,” “Gemini,” “Ring of Fire.”

Gregg Keniston- MuzikMan.net Staff
May 8, 2020

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Track Listing:
 
Disc One: Winds Of Change (Re-Mastered Stereo Mix)

01.    Winds Of Change
02.    Poem By The Sea
03.    Paint It Black
04.    The Black Plague
05.    Yes, I Am Experienced
06.    San Franciscan Nights
07.    Man – Woman
08.    Hotel Hell
09.    Good Times
10.    Anything
11.    It’s All Meat
12.    When I Was Young
13.    A Girl Named Sandoz
14.    Ain’t That So
15.    Gratefully Dead
16.    Anything (Single Version)

Disc Two: The Twain Shall Meet

01.    Monterey
02.    Just The Thought
03.    Closer to The Truth
04.    No Self Pity
05.    Orange and Red Beams
06.    Sky Pilot
07.    We Love You Lil
08.    All Is One
09.    Sky Pilot (Part One) (Mono Single)
10.    Sky Pilot (Part Two) (Mono Single)
11.    Monterey (Mono Single Version)

Disc Three: Everyone Of Us

01.    White Houses
02.    Uppers and Downers
03.    Serenade to a Sweet Lady
04.    The Immigrant Lad
05.    Year of the Guru
06.    St. James Infirmary
07.    New York 1963 – America 1968
08.    White Houses (Single Version)

Disc Four: Love Is

01.    River Deep, Mountain High
02.    I’m An Animal
03.    I’m Dying, or Am I?
04.    Ring Of Fire
05.    Coloured Rain
06.    To Love Somebody
07.    As The Years Go Passing By
08.    Gemini
09.    The Madman (Running Through the Fields)
10.    River Deep, Mountain High (Single Version)

Disc Five: Winds Of Change (Re-Mastered Mono Mix)

01.    Winds of Change
02.    Poem By the Sea
03.    Paint It Black
04.    The Black Plague
05.    Yes, I Am Experienced
06.    San Franciscan Nights
07.    Man – Woman
08.    Hotel Hell
09.    Good Times
10.    Anything
11.    It’s All Meat
 

Jazz Review: Pasquale Grasso - Solo Masterpieces

Release Date: March 6, 2020

Label: Sony Music Entertainment

Website

At a crossroads where coffee shop meets professionalism, you are bound to run into Pasquale Grasso’s Solo Masterpieces. This album is the definition of tranquility and peace of mind. This artist goes to show that you don’t always need words to describe how you are feeling or to set a mood right.

The 30-year-old  Italian guitarist unveils an album that is a sure delight to any ear. He practiced under the direction of Agostino Di Giorgio then Barry Harris respectively. Pasquale and his brother quickly became a fixture within Harris’s workshops, soon after, in 2008 he studied at the Conservatory of Bologna under Professor Walter Zanetti. Then, in 2012, Grasso moved to New York City, where he cultivated his talent for Jazz. Rising to a certain level of stardom over the past five years, Pasquale Grasso developed a sound all his own. Pat Metheny, a jazz-guitar icon and NEA Jazz Master stated of Grasso, “This guy is doing something so amazingly musical and so difficult.”

The entirely instrumental album is made up of a collection of Standard-type pieces, each given their own, personal spin. Do you want to find something that brings you comfort? Here it is. Grasso finds ways to bring life to classic, contemporary works that highlight a timeline of musical genius. The simplicity of the album is its greatest asset. As the album progresses, the listener can see hear the intricate details of bringing every song to melodic, dream-sequenced works.

Tracks like “Over the Rainbow,” “Tea for Two,” and “Body and Soul” find a different groove. They stand apart from the rest of the album with an uptick in the tempo. Where the majority of the album streamlines a very mellow, soft undertone; these songs make the album pop with staccato and crescendo flare-ups that will appeal like a new sound to the listener. The opening track, “All the Things You Are” provides the listener with a sample of the ebb and flow of radio-friendly, pop-themed songs through the body of more classically-styled songs.

Grasso is a prime example of how you are never too young to push beyond expectations of your own and those around you. Jumping on a passion and cultivating his talent, Pasquale is a young heart with an old soul. He keeps the old sound of music blending through modern contemporary airwaves. The album represents how a mark in time can last throughout the ages and not everything fades off into the horizon. Rather, some tradition is emboldened with new meaning.

Key Tracks include: “’Round Midnight,” “Epistrophy,” “Body and Soul,” and “Over the Rainbow.”

Gregg Keniston- MuzikMan.net Staff
April 30, 2020

Track Listing:
01. All the Things You Are
02. Over the Rainbow
03. Just One of Those Things
04. ‘Round Midnight
05. Hallucinations
06. Sophisticated Lady
07. Tea for Two
08. Bouncing With Bud
09. These Foolish Things
10. Epistrophy
11. Parker’s Mood
12. Body and Soul

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Crossover Prog Review: Long Earth-Once Around The Sun

Release Date: March 16, 2020

Label: Grand Tour Music

Website

Once Around The Sun is the title of the second release by Long Earth, and is the follow-up to the debut, The Source, in 2017. At first glance, a person might think that this is a new young band to the prog scene, but that would only be partially correct. Long Earth is a new band, but these guys have been around the scene for a good number of years. (I’m not sure I should say exactly how long.) The band comprises 5 members, Gordon Mackie (bass), Ken Weir (drums), Mike Baxter (keyboards), Renaldo McKim (guitar) with Martin Haggerty (vocals since 2018) replacing Neil Mackie (vocal and guitar on the debut) and have known each other from different bands over the years. Three were in Abel Ganz, two were in Identity Crisis and Mike, Ken, Gordon, Renaldo and Hew Montgomery (Abel Ganz/Grand Tour, as well as being the motivating factor of Long Earth, and co-producing both releases) all played at the same Glasgow festival in the ’80s, albeit with different bands.

To sum up, Long Earth is a new band, but there is a wealth of musical experience in the band. The debut, The Source, was eagerly awaited by the crowds of prog followers that knew of Long Earth and had seen them live, and it was very well received upon release. The follow-up, Once Around The Sun has consolidated Long Earth as being a leading light in the modern prog community.

Once Around The Sun, is a 6 track album clocking in at just under 67 minutes (66:55), with track 3, “Man In The Mirror,” the shortest track at 4:16 minutes and the final and title track, the longest with a running time of 33:06 minutes. This track is also split into 4 parts, Spring, Summer, Autumn, and Winter.

The opening track, “We Own Tomorrow” (8:06), starts by generating a little hook and a superb bass riff by Gordon, then into a soaring keyboard passage. New vocalist since 2018, Martin Haggerty, has a powerful voice and the overall effect is of excellent prog music which the listener becomes very quickly comfortable with. Recurring little hooks and Martin’s voice takes the song on with the return of that superb bass riff from Gordon around 5:15 minutes and a chance for Renaldo to show his superb guitar skills from 5:50 minutes and to then escort the track to the end of it’s running time. A wonderful start to a stunning album and the listener is eager to hear more.

The epic finale to the album, the 33:06 minute “Once Around The Sun” is split into four parts, spring, summer, autumn, and winter. The four seasons cover a year, hence the album title, as it is the time taken for the Earth to orbit the sun. The storyline mirrors the seasons as it tells the tale of a romance encompassing the hope and joy of the fledgling relationship in spring, the building of the relationship in summer, the start of doubts in autumn, and finally the ending of the relationship in winter. The lyrics convey the journey excellently and the very expressive vocals supplied by Martin, together with the sympathetic music, carry the story line majestically.

Musically, the suite goes through phases with spring being represented by an acoustic start and a very simple melody. Summer has excellent keyboard passages underpinning the vocal as the story unwinds. As summer draws to an end, the music becomes very atmospheric and melancholic as it weaves to an ending. Autumn begins with an orchestral feel before again echoing the melancholic section 2, which fits the lyrical content beautifully. The final section, winter, commences with a superb melodic opening with some excellent strings adding to the atmosphere. There is a repeated series of verses, guitar passages and keyboards plus string sections prior to Martin taking the storyline to its inevitable conclusion. Renaldo has a beautiful repeating guitar passage just before Martin brings the ending with the lyrics, “Once around the sun, but no further on. Once around the sun and our race is run.”

A stunning ending to a superb album where all the musicians have excelled. Mike with majestic keyboards, Gordon with those excellent bass runs, Ken keeping everything firmly anchored on drums, Renaldo with some exquisite guitar work and finally, Martin providing the evocative, emotive vocals.

All in all, this is a stunning follow-up to the debut, showing how the band has evolved into an excellent unit. Don’t delay, just go and get a copy of Once Around The Sun and sample what is a masterpiece of modern prog with huge leanings to the “old style,” played by musicians who have dreamed the dream and have now delivered the dream. The dream has a name, and the name is Once Around The Sun.

Jim “The Ancient One” Lawson – Prog Rock Music Talk Staff
April 28, 2020

Tracks: 
1. We Own Tomorrow. (8:07)
2. My Suit Of Armour. (5:03)
3. A Guy From Down The Road. (12:00)
4. What About Love?  (4:23)
5. The Man In The Mirror. (4:16)
6. Once Around the Sun. (33.06)

New Age Instrumental Review: Peter Sterling-Sanctuary of Light

Release Date: April 1, 2020

Label: Harp Magic

Website

I have had the pleasure of covering two of Peter Sterling’s releases so far. The 2016 release Sacred Visions and in 2018 Magic Kingdom. Both were filled with beautiful sounds led by his diverse harp playing. Now we have the latest to enjoy titled Sanctuary of Light which is ready to enchant us all that can appreciate new age instrumental music.

For my personal tastes, this music works. I value all music in such a way that there is built-in respect and admiration I have before listening to any artisan’s creation. With that in mind, it opens the mental aperture some more and casts aside any preconceived ideas one may have about what they will be hearing.

Right now, more than ever, we all need healing on some level. The world is in turmoil and distress and the only way to realign mother earth and its inhabitants is to take a collective breath and let the music lead the way. This is why music has been and always will be our savior. That is in effect, a community of unsung heroes as far as I am concerned.  

Peter is saying to us all “Let the light be your sanctuary, you can find it in my music.” While there is always darkness and shades of grey in our world, we can always find the light whether it's through the music, a kind face, or a gentle smile of assurance from a loved one. Yes, this is what this music brings to the forefront of my mind and how it relates to my spirit, consciousness, and attitude at any given moment.

As Peter intimates on the inner sleeve of the CD jacket “This music is dedicated and inspired by the divine light that lives in us all.” I find this to be so true right now. Every day, I am seeing how people are coming together, sacrificing their time, energy, and knowledge to fight the worldwide pandemic we are facing. It so predominant right now in all our lives that I cannot help but talk about it and how this all connects together. I am linked to music consciously and unconsciously. This gorgeous and heavenly sound Peter coaxes from his harp, gives me more awareness of my surroundings and how easily I can become grounded and centered with some help provided by his music.

So rather than mention any particular track on the recording, I prefer to put my attention on the entire project as a whole. I am looking at the big picture right now for all of humanity and the fact that music can inspire me in such a way that my inner spirit and true self is revealed.

Thank you, Peter Sterling, for your artistic genius and contribution to all of mankind with the soothing spiritual sounds provided on Sanctuary of Light.

Keith “MuzikMan” Hannaleck

April 3, 2020

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Review Provided By New Age Music Reviews

Track List: 
1. The Light Within
2. Divine Reflection
3. Light In Your Eyes
4. This Path I Walk
5. Forever More
6. Pool of Love
7. Seventh Heaven
8. Shores of Eternity
 

Rock-Americana-Progressive Review: Euphoria-The Reverie Suite

Release Date: September 17, 2019

Label: Independent

Website

Euphoria’s second release titled The Reverie Suite was released in September 2019. This is the kind of music that can be hard to put into a corner and stick a label on. For my ears, that is a fine start knowing that I was in for a lot of diversity and surprises.

I would call it Rock-Americana with a Progressive twist, just as the band describes it. What is initially indicative of the progressive leanings is the length of the tracks.

The band explains the album like this: It is a concept album based on the life of vocalist Saskia who delivers her story with an earnest passion that’s hauntingly beautiful. Its theme is centered around childhood and musically presented with a sound that evokes America in all its beauty – whether it be folk, rock, jazz, or Native purple mountains majesty with progressive tinges.

I think that statement puts it all into a proper perspective for potential listeners. It serves as a looking glass into what you can expect. It is everything and more than one would expect actually. Saskia has a rich powerful voice that pulls you right into the story and holds you. The music is all very tasteful and well suited to the lyrics and vocal style of Saskia. Every track is a musical carpet ride that will capture your imagination. In a word, it is all quite cinematic. Choosing the recording to be a concept album worked well.

Hoyt Binder’s guitar is fantastic. He can be powerful with some meaty chords or tone it down to sound quieter and more textured. He also utilizes a banjo and mandolin to get that Americana element in place sandwiched in between his power strokes. I most certainly appreciate all of his work with the stringed instruments. His multitude of talent leads the way, inviting Saskia’s inviting vocals to come out and play with the music making it a complete experience for a listener. Her vocals were giving me goosebumps.

The Reverie Suite is engaging, precise, diversified, exciting, and filled with the many colors of the world and cultures. I sincerely appreciate that kind of take on a recording, it is always impressive and something you cannot forget. The musicianship is stellar. Ronald Van Deurzen adds the quintessential keyboard element while The Americana Daydream Revival Orchestra delivers background harmonies, flute, percussion, harmonica, bass, and strings, which in turn gives their sound a layered effect that makes each track a real musical journey. (I have included a list of all contributors below)

Their magnum opus is ”Paradise Road,” which clocks in at a hefty 9:42. With this one track, you get the whole package and stylings that this band commands in one track. It is quite impressive to sit back and hear everything going on. I loved every minute of it. The long instrumental breaks are a testament to this band’s all-around talent. This is the one track I would call definitively progressive. The way it ends so suddenly with Saskia singing “And paradise is her name,” puts the final touch on the elements of prog as the door shuts and you get ready for the next track (or another one opens).

Then you get the full instrumental track “Remind Me.” It is a delight, bringing a distinct Americana/Celtic flair to your senses, transporting the listener to a world stage. Getting the full instrumental treatment of their sounds encourages you to paint your personal picture on the canvas of their music.

The Reverie Suite may take a few listens to get it all into perspective, but I believe that any listener that has an appreciation for rock, prog, Americana, folk, or any combination thereof, will find great value in this album.

LINE-UP:
Saskia Binder - Vocals
Hoyt Binder - Guitars, banjo, mandolin, background harmonies
Ronald Van Deurzen - Piano, organ
Trevor Lloyd - Strings
Tollak Ollestad - Harmonica
Rebecca Kleinmann - Flute
Paulo Gustavo - Bass
Chris Quirarte - Drums
Mike Disarro - Background harmonies
Bobby Albright – Percussion

Mixed by Smiley Sean
Mastered by Howie Weinberg at Howie Weinberg Mastering

Keith “MuzikMan” Hannaleck

April 28, 2020

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Review Provided By Prog Rock Music Talk

Track List: 
01. Prelude/ She's Calling 04:54
02. Reverie 07:12
03. On My Way 07:31  
04. Heartbeat 04:53
05. Bridge of Dreams 04:38
06. Queen of Hearts 04:47
07. Paradise Road 09:42
08. Move On 05:21
09. Seasons 07:00  
10. Reprise 03:24
11. Remind Me 05:44
12. Content 05:57

Rock-Americana-Progressive Review: Euphoria-The Reverie Suite

Release Date: September 17, 2019

Label: Independent

Website

Euphoria’s second release titled The Reverie Suite was released in September 2019. This is the kind of music that can be hard to put into a corner and stick a label on. For my ears, that is a fine start knowing that I was in for a lot of diversity and surprises.

I would call it Rock-Americana with a Progressive twist, just as the band describes it. What is initially indicative of the progressive leanings is the length of the tracks.

The band explains the album like this: It is a concept album based on the life of vocalist Saskia who delivers her story with an earnest passion that’s hauntingly beautiful. Its theme is centered around childhood and musically presented with a sound that evokes America in all its beauty – whether it be folk, rock, jazz, or Native purple mountains majesty with progressive tinges.

I think that statement puts it all into a proper perspective for potential listeners. It serves as a looking glass into what you can expect. It is everything and more than one would expect actually. Saskia has a rich powerful voice that pulls you right into the story and holds you. The music is all very tasteful and well suited to the lyrics and vocal style of Saskia. Every track is a musical carpet ride that will capture your imagination. In a word, it is all quite cinematic. Choosing the recording to be a concept album worked well.

Hoyt Binder’s guitar is fantastic. He can be powerful with some meaty chords or tone it down to sound quieter and more textured. He also utilizes a banjo and mandolin to get that Americana element in place sandwiched in between his power strokes. I most certainly appreciate all of his work with the stringed instruments. His multitude of talent leads the way, inviting Saskia’s inviting vocals to come out and play with the music making it a complete experience for a listener. Her vocals were giving me goosebumps.

The Reverie Suite is engaging, precise, diversified, exciting, and filled with the many colors of the world and cultures. I sincerely appreciate that kind of take on a recording, it is always impressive and something you cannot forget. The musicianship is stellar. Ronald Van Deurzen adds the quintessential keyboard element while The Americana Daydream Revival Orchestra delivers background harmonies, flute, percussion, harmonica, bass, and strings, which in turn gives their sound a layered effect that makes each track a real musical journey. (I have included a list of all contributors below)

Their magnum opus is ”Paradise Road,” which clocks in at a hefty 9:42. With this one track, you get the whole package and stylings that this band commands in one track. It is quite impressive to sit back and hear everything going on. I loved every minute of it. The long instrumental breaks are a testament to this band’s all-around talent. This is the one track I would call definitively progressive. The way it ends so suddenly with Saskia singing “And paradise is her name,” puts the final touch on the elements of prog as the door shuts and you get ready for the next track (or another one opens).

Then you get the full instrumental track “Remind Me.” It is a delight, bringing a distinct Americana/Celtic flair to your senses, transporting the listener to a world stage. Getting the full instrumental treatment of their sounds encourages you to paint your personal picture on the canvas of their music.

The Reverie Suite may take a few listens to get it all into perspective, but I believe that any listener that has an appreciation for rock, prog, Americana, folk, or any combination thereof, will find great value in this album.

LINE-UP:
Saskia Binder - Vocals
Hoyt Binder - Guitars, banjo, mandolin, background harmonies
Ronald Van Deurzen - Piano, organ
Trevor Lloyd - Strings
Tollak Ollestad - Harmonica
Rebecca Kleinmann - Flute
Paulo Gustavo - Bass
Chris Quirarte - Drums
Mike Disarro - Background harmonies
Bobby Albright – Percussion

Mixed by Smiley Sean
Mastered by Howie Weinberg at Howie Weinberg Mastering

Keith “MuzikMan” Hannaleck

April 28, 2020

Founder of:

The Final on Vinyl

MuzikMan Productions

MuzikMan Reviews

Write A Music Review

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Review Provided By Prog Rock Music Talk

Track List: 
01. Prelude/ She's Calling 04:54
02. Reverie 07:12
03. On My Way 07:31  
04. Heartbeat 04:53
05. Bridge of Dreams 04:38
06. Queen of Hearts 04:47
07. Paradise Road 09:42
08. Move On 05:21
09. Seasons 07:00  
10. Reprise 03:24
11. Remind Me 05:44
12. Content 05:57

Metal Review: Exlibris - Shadowrise

Release Date: April 17, 2020

Label: 2020 Exlibris Recordings

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Crank up your radio or stereo and let er’ rip with Shadowrise! The band Exlibris unleashes its latest, six-track album with a blend of rage and power, combined with a melodic body of work; all of which accelerates the band through a momentous round of music.

Coming high off their critically acclaimed album Aftereal, the band leaves no stone unturned in letting rip all efforts fly on their fourth studio album. With the intense vocals of Riku Turunen mixed into the instrumental stylings of keyboardist - Piotr Sikora, bassist – Piotr Torbicz, and drummer Grzegorz “Gregor” Olejnik; a rebirth of heavy metal, or “Hi-octane metal,” or “speed metal”, has also been referenced...is born. One would assume, four albums in, a band starts to either sound repetitive or lose its fundamental uniqueness of sound. Exlibris keeps it polished and the volume past 11 as the album unfolds.

Right out of the gate, “Rule #1” transforms from an intense set up as a trick of a possible light hunter’s battle-themed tune, to then quickly evolving into an intense battle royale. Its powerful guitar-shredding clashing with the main theme of the lyrics to produce a dramatic introductory track proves to energize the listener and excite them for what is to come. As the song continues, it plateaus and slightly builds to heighten the dramatic effect of enticing the listener, only to leave them wanting more with the singer repeating a partial chorus.

“Hell or High Water” intensifies the continuation of the record. It is the fighter anthem, with the strong intensity of the guitar, this song is all about building up and getting stronger with each note that passes on. It connects well also to the beginning of “All I Never Know.” “All I Never Know” starts with great force and then lends itself to mellow out for a good half of a minute in the middle. This is only to follow it through with another short burst of energy, keeping the listener on their toes, and unwinds by mellowing out with the keyboards.

Another instance of a song flowing right into another is that of the title track “Shadowrise.” The song blends the keyboard fadeout in the very beginning and then bursts right into power and might “looking for a sanctuary.” This might imply that everything that lies within the shadows might be in danger or that the shadows may be the danger themselves. Whatever the case may be, it is a clever appeal to combine a lyrical image with the speed and sound of the song at hand.

“Megiddo” comes in with a bang. Rightfully so, aside from Riku’s vocals, this song is 85 percent dedicated to the work and craft of Grzegorz “Gregor” Olejnik. Without him, much of this record, and this song would fail to carry itself as the drum beats are what it is built upon. The speed, the rhythm, and the control of the song carry out only because of Grzegorz.

The final track “Interstellar” is intriguing. Much of the track is spoken word of a speech formerly given by President John F. Kennedy in 1962. Anyone born after the early 1990s or, even some just before then, might not even know of this infamous speech proclaiming the great desire of traveling to the moon and through space. It is a great tease in history. Never close your mind to where music could lead you even in secrecy.

Key Tracks: “Hell Or High Water,” “Shadowrise”

Gregg Keniston- MuzikMan.net Staff
April 23, 2020

Track Listing:
01. Rule #1
02. Hell Or High Water
03. All I Never Knew
04. Shadowrise
05. Megadido
06. Interstellar

Folk Rock Review: M. Ward - Migration Stories

Release Date: April 10, 2020

Label: Anti-Records

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On Migration Stories, M. Ward rides the elusive suffusion, which intertwines the conscious and unconscious mind. Someone tried to label it long ago as ‘Mellow Gold,’ but like all labels, it is superficial and, like an abstract of an abstract, fails to capture any depth.  The sonic essence of this record feels like the springtime sun smacking your face after a long, cold winter. It warms you to the point of epiphany and a realization that better times are ahead of us.  

M. Ward’s 10th studio album starts slow and then grows gradually like a flower garden surrounding the listener in a bed of color. Migration Stories’ wavelength is similar to Ray Lamontagne’s super mellow vibe in Oroboros, Beck’s wistful mellowness in Sea Change, and the sun-drenched exaltation of the Beach Boys. Weave all this together with a thread of Nat King Cole, and you have a sonic experience unlike any other.  

Some of the more memorable moments include “Heaven’s Nail and Hammer,” where M. discovers heaven through the holes in the sky.  “Independent Man” rides a slow fuzzy groove in and out of reality toward an uneven proclamation of unrequited obsession. “Real Silence” build on itself orchestrally to produce one of the finest tracks while the infectious “Torch” repeats the line “heartbeats in rhythm to its own, ba, ba, bahhhh” is likely to create an earworm in your brain for days.  Lyrically, whether traveling through the “Unreal City” or “Along the Santa Fe Trail,” they paint a picture throughout of souls lost or in transition. 

There’s a lesson to be learned as we sit on the sand and listen to the tide gently caress the shoreline, and that is, the slower you go, the more you’ll know. Turning down the volume on our lives and moving at a more careful and deliberate pace allows us to take in more of the world around us.  This, in turn, fills us with wonder and hope for a brighter future. When an E chord is introduced after three minutes of a C, G & A progression, that E chord hits your ears like a clapper hitting a church bell.  

So, take a lesson from Migration Stories and let it take you from one place to another.  During these uneasy times, sometimes it’s best to let go and like swallows heading south, ride the wind and surrender yourself to nature, trusting that eventually, we will all arrive at a better place. 

- Tom Endyke | Guitar & Pen