Harmonic Blue - Villa Borghese

Harmonic Blue - Villa Borghese
2012, MondoTunes

Harmonic Blue is the coming together of Zach Field, Gabe Bustos, Anthony Ajluni and Sam Balcom, for very distinctive musicians with varying musical backgrounds.  This unsung super group creates some of the most lushly crafted pieces of musical experimentation around. Harmonic Blue’s latest efforts are documented on the album, Villa Borghese.

Harmonic Blue kicks things off with "Hey", a needful tune looking for a tryst. The vocal line is a bit bland and a bit too low in the mix, but there's some fantastic guitar work going on behind the scenes here. "NO8DO" is a brief finger style guitar instrumental that sounds as if it wants to be part of a song. It's an incomplete idea with potential. "I Go, She Goes" follows the path of a relationship that is all in the mind. Once again, the vocals are passable, but the guitar work is inspired by some of Hendrix' more melodic work. The compositional style here is complex and longitudinal, like one of Sting's post-jazz transitional pieces.

"Silver Spoon" rests firmly in the angst of an adult child with an overbearing parent. Vocalist Zach Field sings with a passive air of being trapped in the perceptions of others while bemoaning his fate. The music is worth digging into, even if the vocal is stretched a bit thin. "Subreality" is an expansive musical exploration at nearly six and a half minutes. Guitarist Anthony Ajluni has some of his finest moments here, waxing poetic on six strings like an artist in thrall. "Villa Borghese" picks up the unfinished thought introduced in "NO8DO" and carries it to its logical conclusion, which turns out to be none at all. Instead we are left with a musical epigraph that fades in and out like the very rhythm of life. Harmonic Blue closes with the evocative and expansive sounds of "Sturgeon Moon", winding down on a melancholy and decidedly disarming note. The same musical dynamics found throughout the rest of the album are present here, with Zach Field reaching to the edge of his range and Anthony Ajluni laying down a lush sonicscape on which he can play.

It is the proud stoic musician who can stand up to the slings and arrows of pop music without flinching.  Harmonic Blue is lucky enough to have four such musicians in one ensemble.  The result is a world class sound, with four instrumental voices mixing in angelic fashion.  The lead vocal is stretched a bit thin at times, but the band makes it all work out in the end.  Villa Borghese is a memorable experience.

Rating: 3.5 Stars (Out of 5)

Learn more at www.reverbnation.com/theharmonicblue.

 

 

Jason Sinay - Ape & The Wall Of Questions

Jason Sinay – Ape & The Wall Of Questions
2011, Apus Maximus

Jason Sinay is a musician’s musician; a top-of-the line session player who has worked with the likes of Jerry Lee Lewis, Neil Diamond, Dr. John, Neil Young, Keith Richards, Tift Merrit, Billy Preston and Ivan Neville (among others).  The seemingly natural born guitarist can play literally anything and play it well.  While Sinay has spent much of his career in the background supporting musical luminaries, he is also quite capable as a front man.  The point is proved on his second solo album, Ape & The Wall Of Questions.

Sinay opens up with a bluesy-folk take on the classic “Jack-A-Roe”.  Sinay’s voice is competent and clear, but it’s his subtly impressive guitar work that takes center stage here, evoking thoughts of such masters as Clapton and Knopfler.  “The Carney” commits to a relentless ennui, brought to life in a repetitive verse structure that is artistic and quietly alive.  The story/portrait here is intriguing, exploring the life of a carnival man.  Sinay paints in broad musical strokes, highlighting it all with country accents on guitar.  This is an outstanding piece of songwriting.  “Next Revolution” takes yet another turn, with Sinay offering up an Eagles-esque California Country style ballad.

“Santa Rosa” invokes thoughts of Tom Petty, both in it’s relentlessly Americana sound and even in the tones of Sinay’s voice.  This road song is all about getting back to the one he loves.  In spite of treading a musical trail that’s been covered thousands of times, Sinay manages to make it fresh and personal.  “I’ll Bring You Diamonds” finds Sinay throwing off melodic and understated licks that are right out of the Jimi Hendrix songbook.  All of this is done to the accompaniment of a sweet groove and a melody you’ll be humming/whistling for days.  On “Gimme The Time”, Sinay works out the kinks and wrinkles of a working class love song in no uncertain terms.  Sinay’s distinctive pop sensibility is dressed in Americana leanings, and the chorus is the sort that gets crowds on their feet.

“Love Minus Zero (No Limit)” is a deeply symbolic song about a love whose depths simply won’t be qualified in mere words.  This plays like an instant classic, as Sinay brings together all of the elements of a great song for five minutes.  “Hey Mama” is a solid R&B roots number that hearkens back to the early days of rock and roll.  This entertaining and danceable number sets up the closer, a rock and roll kiss-off called “Bertha”.  Sinay settles into a classic rock sound for his goodnight, perhaps coming full circle from his musical roots.

Some might listen to Jason Sinay’s Ape & The Wall Of Questions and assume that he’s just showing off.  Well why not?  Sinay is obviously a prodigious talent with a six string in his hand, and shows himself here to be more than a capable songwriter and vocalist.  Ape & The Wall Of Questions is a breath of fresh air, showing off a talent that is still growing and building.  Jason Sinay is an artist you’ll want to catch on to early and follow throughout what promises to be an exciting career.

Rating:  4.5 Stars (Out of 5)

Learn more at www.jasonsinay.com. 

Asher Quinn - Songs Of Love And Chains

Asher Quinn - Songs Of Love And Chains

2008, Oreade Music

Asher Quinn is best known as a new-age/ambient composer, selling over half a million albums since his debut in 1987, but at heart he is something of a balladeer.  His 2007 album, Songs Of Love And Chains, covers several decades of musical history with a collection of cover songs done in the simple and clear style of a bard. Artists such as Leonard Cohen, The Righteous Brothers, Jimmy Webb and Jimi Hendrix get Asherized on the two-disc set, with varying degrees of success.

Quinn opens with an ethereal cover of Bruce Springsteen's "I'm On Fire".  Sung over a thin veil of undulating synth, Quinn's voice just seems out of place here.  It's a solid rendition, but something just doesn't quite work for Quinn here.  "Golden Brown" is pretty and watery and undulating in its feel, fading away in much the same rippling fashion as it plays.  Quinn paints The Righteous Brothers' "Unchained Melody" with a similar brush in a minimalist synth arrangement.  Quinn's distinctive vibrato plays about the melody in memorable fashion, although he struggles with the lower notes at times.  Quinn takes more of a folk-inspired approach on "Dona Dona Dona", sticking to guitar and harmonica in an energetic and inspired arrangement.  Ben E. King's "Stand By Me" gets softball treatment, setting it up as tortured piano ballad.  While Quinn's take is solid, it pales in the shadow of the original.

Quinn takes emotive turns in "Hang On To A Dream" and "Lift Me Up", the latter saccharine and drawn out to extreme, but recovers nicely in the tragic "Down In The Willow Garden".  Love goes violently wrong in this classic-style folk song, and Quinn gives it voice in a blend of denial and delusion mixed with love.  Quinn hits all the right notes on "Do What You Gotta Do", making the most of Jimmy Webb's creation in a touching performance that's full of emotion and nuance.  "Pastures Of Plenty" doesn't go quite as well, with Quinn setting the key too low for his own vocal comfort.  The low notes here have an unfortunate sound that simply doesn't work.  Leonard Cohen's "Suzanne" gets much better treatment, an almost wavelike feel that speaks of cycles within cycles.  Quinn is perfectly matched to this song, and it's one of the absolute highlights on the album.

Quinn's take on "The Highwayman" is solid if uninspiring.  He hits all the right notes in a technical perfect performance, but the heart of the piece just isn't there.  "Only You" goes a bit better, with Quinn capturing the heart and soul of the Erasure Song while using a surprisingly fitting harpsichord sound.  Quinn makes easy work of "Mr. Bojangles" in a solid performance that's filled with the quiet awe the song achieves in its best moments.  Quinn revisits Leonard Cohen with "Hallelujah", sticking very close to the feel of the original in a quietly moving performance. 

Quinn fumbles a bit before stumbling into his wonderfully stripped down and lovely take on Willie Nelson's "You Were Always On My Mind".  Simplicity is the key here, allowing Nelson's classic melody and lyrics to speak for themselves.  Quinn likewise scores with a take on Sam Cooke's "Bring It On Home To Me", an understated but likeable interpretation to one of Cooke's finest songs.  "All Along The Watchtower" doesn't fare quite so well, lacking any of the intensity you might expect from the song.  "Not Dark Yet" has its own magic, a quiet penultimate track that finds Quinn raising his game at just the right time.  Songs Of Love And Chains closes with "Jah No Dead" in a flat an uninspired performance that is an unfortunate piece of punctuation on an up-and-down album that has more positives than negatives. 

Asher Quinn's expertise and talent as a composer is unquestionable, but as essentially a solo performer in the pop/folk realm he struggles at times.  Songs Of Love And Chains is aptly named both for the song selection and for extremes Quinn hits in his interpretation of classic songs that cross boundaries, genres and generations.  It's not entirely surprising that some of Quinn's best performances are covers of classic singer/songwriters of the 1960's, but the unevenness of the album may scare off some fans from dropping for a two-disc set.  There's enough here to make the album worth owning, but you couldn't be blamed for selecting your favorite fifteen tracks or so and sequencing your own Quinn album out of the lot.

Rating: 3 Stars (Out of 5)

 Learn more about Asher Quinn at http://www.asherquinn.co.uk/.  Songs Of Love And Chains is available from Amazon.com as 2-CD Set or Download.  The album is also available via iTunes.

Joe Marson - Joe Marson

Joe Marson - Joe Marson
2010, Joe Marson

San Diego-based singer/songwriter Joe Marson has made both the geographic and musical rounds to broaden his horizons and perfect his craft. Oregon, Boston, New York and Arizona are on his past itinerary, as are hip-hop, jazz, folk, bluegrass and gospel. Back home, Marson has settled fully into an Americana sound that draws strength from all the influences Marson has immersed himself in. Marson recently released his debut album, Joe Marson.

Marson opens with "Postcards From Siren City"; an interesting exploration of running away from home. The song is well-written and enjoyable. Marson is a bit off the beaten track here, and the diversion is welcome. "Mindf#ckedd" is a bluesy rock number that finds Marson singing with the attitude and sound of a young Billy Joel. It's an entertaining but dark tune you're likely to hit replay on several times over. "What I'm Sayin'" is a highly entertaining blues-based tune in pure singer/songwriter pastiche. Marson scores points with his cover of Cat Stevens' "Trouble"; a pensive performance that will appeal to fans of Stevens while putting his own stamp on it. "White Boy Blues" sounds like it may have been recovered live in-studio in one take. It's just Marson and his guitar and works very well, showing off Marson's voice in excellent light. Marson closes with a cover of Alicia Keys' "No One", a mildly soul rendition done with a reggae beat. It's a solid tune, and Marson does it justice.

Joe Marson has talent. His is a voice people will pay to listen to and he's more than just competent with a guitar in his hand. Marson shows flashes of real songwriting ability on his self-titled debut. There are rough spots along the way, but more often than not Marson comes out ahead. The occasional vocal similarities to Billy Joel and the Hendrix-style riffs that Marson sprinkles throughout his songs may make it easier for Marson to transition to an older demographic of fans as well. As a whole, Joe Marson is a solid effort.

Rating: 3 Stars (Out of 5)

Learn more about Joe Marson at http://www.joemarson.com/ or www.myspace.com/fakinggeniusmusic.  Joe Marson is available digitally from Amazon.com and iTunes.

Judge Jackson - Drive

Judge Jackson - Drive
2010, Curtis-Joe Records

Judge Jackson holds the distinction of being one of two bands to ever be invited to play at the Hells Angel’s LA Chapter House. Touring with bands like Gov’t Mule, The Doobie Brothers and Cheap Trick over the past several years, Judge Jackson has caught the ear of many classic rock fans, but it’s the freshness of their sound that has gained Judge Jackson placements on such shows as NFL on FOX, MLB on FOX, NHL on FOX Playoffs and My Name Is Earl. With their fifth album, Drive, due on August 3, 2010, Judge Jackson have come fully into their own, mixing a classic sound and a fresh approach that is certain to dance across generations.

Drive opens with "Head Over Heels", driven with the energy of 1980's glam rock without all of the volume. Lead vocalist Todd McTavish can flat out sing, and the hooks and harmonies make this one of the better pop/rock hybrids of the early summer. "Radio" is a tribute that may have been more apropos in the 1980's than it is today. Guitarist Lee Jackson snaps off riffs in the style of Nuno Bettencourt and makes this song a winner. Things get a bit bland for a bit as Judge Jackson runs through tunes like "Pickin' Me Up" and the power ballad "Me Then You", but salvation comes in the form of "Just Because". With a hook so big you can't stay out of its way, "Just Because" is the sort of virulently catchy rock tune that you might be hearing all summer long.

"The End" is a blues rocker that opens and closes with riffs that could have been culled directly from a Jimi Hendrix songbook. The tune is a bit on the hokey side but full of fun and a likely fan favorite at live shows. Judge Jackson shows off their hooky side again on "River", a highly danceable bit of classic rock n roll that will have your toes tapping. Drive comes to a close with "Meant To Be", with Judge Jackson taking on a vague country feel and featuring Julia Henry in a duet with McTavish. This is by far the best track on the disc, and considering tunes like "Head Over Heels" and "Just Because" that's actually saying quite a lot.

You'll pass through some slow moments on Drive, but Judge Jackson show they know how to rock and they know how to write great songs. The slow moments are made worthwhile by the better tunes on Drive, and you're certain to find yourself checking Judge Jackson's itinerary to see if they're coming through your town. This is the sort of band that can make a night memorable.

Rating: 3.5 Stars (Out of 5)

Learn more about Judge Jackson at http://www.judgejackson.net/ or www.myspace.com/judgejackson. Drive drops on August 3, 2010. Expect wide availability.

Review: Silk Tongue Gamblers - We're In Business [EP]

Silk Tongue Gamblers - We're In Business [EP]
2010, Silk Tongue Gamblers (UK)

London's Silk Tongue Gamblers are ripping up the Indie scene across the pond, and it won't be long before their fresh sound carries them to America's shores. Silk Tongue Gamblers have developed quickly, experiencing that preternatural "click" that sometimes happens when a group comes together. Formed in 2009, they've already built a significant local following and garnered high praise from the likes of Producer Ron Nevison (The Rolling Stones, Led Zeppelin, The Who) and Rachael Williams (Up All Night Music). Talent aside, what drives Silk Tongue Gamblers is the creative tensions. Vocalist Varun Atrey is heavily influenced by folks such as Nine Inch Nails, Tool and Alice In Chains, whereas Felipe Neves (guitars) is more drawn to Hendrix, Tom Waits and The Rolling Stones. Add in the chops of drummer Ollie Hipkin and bassist Equival Junior and you have an incredibly dynamic creative force. Silk Tongue Gamblers released their debut EP before turning a year old. We're In Business will serves as a more-than-adequate introduction.

We're In Business gets started with Is This The Time?, an upbeat, guitar-driven rocker with some Blues in its lineage. There's an edgy pop sensibility here that might do well in non-traditional Rock radio formats. Everyday Forever is either a daydream set to music or an accounting of the change in perspective brought on by new love. It's a decent song, although the blunt repetition in the chorus can become a bit nerve wracking. Nothing Left To Say trolls slightly heavier waters, with guitar and bass building a big, dark rock sound steeped in the Blues. Felipe Neves chips in with excellent guitar chops, and vocalist Varun Atrey is likeable enough, if a bit reserved. We're In Business wraps up with Run Away, a funky Blues-Rock gem that may be the most commercially viable track on the EP. A great, memorable chorus and a bass line that brings the song to life make this a keeper.

A four track EP such as We're In Business is what you might call a small sample. It's difficult to judge the overall sound of a band in just four songs, but you can start to get a real picture. Silk Tongue Gamblers have an edgy Rock sound with serious Blues roots that is bound to gain them some real attention. If commercial radio were a bit more willing to take risks, Silk Tongue Gamblers would be a perfect ad. Based on the EP, Silk Tongue Gamblers are a break or two from the big stage, as their sound and approach are a music marketer or Music Director's dream. Give the Silk Tongue Gamblers a bit of your time and see what they might talk you into.

Rating: 3.5 Stars (Out of 5)

You can learn more about Silk Tongue Gamblers at www.myspace.com/silktonguegamblers or http://www.silktonguegamblers.com/. You can purchase a copy of We’re In Business through LastFM.com.

Review: Chip Taylor - Yonkers, NY

Chip Taylor - Yonkers, NY
2009, Train Wreck Records

Chip Taylor is the legendary songwriter responsible for such hits as Wild Thing (The Troggs), Angel Of The Morning (Juice Newton), Try (Just A Little Bit Harder) (Janis Joplin) and I Can't Let Go (The Hollies). His songs have been recorded by the likes of Johnny Cash, Aretha Franklin, Willie Nelson, Frank Sinatra and Jimi Hendrix. The younger brother of vulcanologist Barry Voight and actor John Voight, Taylor has a wealth of childhood stories to tell. He's saved the best of them for his latest album, Yonkers, NY. Yonkers, NY is released as a two-disc set. The first disc is done "Worlds + Music" style, with spoken words stories injected between (and sometimes in the middle of) songs. The second disc is edited to supply just the songs.

Taylor grew up in Yonkers, and tells about his formative years as Jamie (his nickname as a child). The arrangements are lush Americana, and Taylor takes us back in time when trains, horses, girls and family were the most important things in the world. Yonkers, NY opens with Barry Go On (Put Yourself On The Mountain), a missive on being told to become what you want to be as a child. It's a wonderful tune full of both the excitement and angst of being a young child in a big world. Charcoal Sky recounts learning all about trains from his father and a friend who was a conductor on the Hudson River line. Taylor reminisces about laying nickels on the train tracks to get train-pressed souvenirs with his brothers in a sweet and loving tribute to times gone by. Hey Jonny (Did You Feel That Movie) has a shuffling rockabilly feel that is guaranteed to get your feet moving and incorporates Bill Haley's Rock Around The Clock. Without Horses is a love song, of sorts, written perhaps from Taylor's father's perspective, about one man's love for betting on the ponies. Written in a gentle waltz, Without Horses has a real melancholy feel.

Taylor gets a gentle mix of R&B and Honky-Tonk on No Dice, an entertaining vamp that allows his band to show off their chops between verses. On Bastard Brothers, Taylor tells about his brothers complaints leading to Taylor's violin turning into a Ukulele one Christmas morning. The story that goes with it is funny and touching, and the song turns into a sort of back-handed thank you. Piece Of The Sky is a song about finding your dreams, whatever they might be. Here it's a win at the race track, but the universal nature of the song is appealing. Saw Mill River Road is about the local Country Music bar of Taylor's younger days. You can hear the Johnny Cash influence in this one, particularly in the "flashback" portion of the song. Yonkers Girls is a reminiscence of about the wiles and ways of the women of Taylor's youth grouped by their hometowns. Taylor closes out with Yonkers, NY, a musical portrait of his hometown that's both highly descriptive and deeply personal. Taylor describes a working class town with trials and tribulations like most similar sized towns in the US in the 1960's.

Chip Taylor has an easy, likable style as both a songwriter and story-teller. His voice isn't what you'd call pretty, but it's full of character, life and experience and is a very enjoyable voice to listen to. Yonkers, NY works so well because Taylor lived each song and each moment. Part confessional and part musical novella, Yonkers, NY uses intelligence, remembrance and humor to bring the people and places of his childhood alive. This might just be Taylor's masterpiece. Yonkers, NY is a Wildy's World Certified Desert Island Disc.

Rating: 5 Stars (Out of 5)

You can learn more about Chip Taylor at www.trainwreckrecords.com/chip.html or www.myspace.com/chiptaylorsolo. You can order a copy of Yonkers, NY from Trainwreck Records on either CD or LP, or you can download the album from Amazon.com.

Review: Jer Coons - Speak

Jer Coons - Speak

2009, Jer Coons

Jer Coons is a twenty year old singer/songwriter from Vermont's Green Mountains who bucks local musical trends by trying to sound like himself rather than like Phish. Coons missed his first date with destiny after sleeping through his American Idol audition and so has turned to the Indie route to find fame and fortune. Coons' first full length album, Speak, drops on September 29, 2009, and features a brand of pop music that will seem instantly familiar. Comparisons have been made to John Mayer, Jason Mraz and Damien Rice (Mayer and Mraz make a certain amount of sense), but elements of Rob Thomas and Toad The Wet Sprockets' Glen Phillips also should be in the discussion. Whoever you might hear flashes of on Speak, there's no doubt that coons is very much himself.

Coons leads off with the title track, Speak, built on a catchy riff and a beat that will get your feet moving. Speak is the perfect first single; a song that will stick in your memory well after its done playing and make you want to find out what else he's got. Too often that first single can lead you to an album of mediocre material; not so with Speak. Coons delivers song after song. Legs slows down with some Jimi Hendrix inspired guitar work wrapped into an Acoustic Pop song with a Jason Mraz style lyrical density and a chorus that just melts over you. Legs is written from the perspective of the guy who lost out on the girl who's still very much stuck on her. It's a great big of songwriting that has major licensing potential written all over it. Girl In My Head is about waking up and realizing you've been spending too long waiting for someone who isn't going to come around. It's a great Pop/Rock tune showing a very mature perspective and deftly worded process.

Ceiling is all about the aftermath of a relationship that's fallen apart and has pop radio hit written all over it. Ceiling doesn't fall into the syrupy trap of self-pity, but has a distinct narrative that's involved but detached. This is the sort of tune you hear as an interlude in a movie when a relationship between two major characters has fallen apart or it at least in temporary jeopardy. You'll Never Know seems to address the doors we miss by failing to make good decisions; the story is told in the realm of a dysfunctional relationship that seems inescapable. Wait (Just A Little) is all about the hopeless hope that sometimes pervades the longer-term aftermath of a lost relationship. He's still waiting for her to come back even though she probably never will. This is all explained in a strong Acoustic/Pop arrangement with commercial bite. Coons closes things out with The Only Trace, a closing of the books and accounting of losses on the relationship Speak has been focused on. There's a deep seated yet unsure hope for something else to come along, but the narrator can't even imagine what that might be.

Perhaps the most remarkable thing about Speak as an album is that Jer Coons spends eleven songs dissecting a lost relationship with someone who was his world without ever asking for or engendering pity. There's an almost mercurial, academic air here that balances the longing that is so evident. From a songwriting standpoint this is interesting because it leaves Coons describing his emotional attachment without ever really showing it. The songs on Speak are well written, and the Acoustic/Pop arrangements go down like candy, but that disconnect can be just a bit unsettling at times. It makes sense in terms of self-protection, but gives the songs a Hollywood sheen that might undermine the meaning for some. Nevertheless, Speak is a very strong album that should have strong commercial impact for Coons.

Rating: 3.5 Stars (Out of 5)

You can learn more about Jer Coons at http://www.jercoons.com/ or www.myspace.com/jercoons. Speak drops on September 29, 2009. Look for availability through Amazon.com, iTunes and various other online outlets.

Review: Steve McLeod - Human Uniform

Steve McLeod - Human Uniform
2009, Civil Service Entertainment

Steve McLeod grew up in a musical family with instruments lying around just asking to be learned and played. His studies started early with formal classical piano training. McLeod taught himself to play bass by watching tapes of Louis Johnson (The Brothers Johnson) frame by frame. Picking up the guitar a bit later on, McLeod was bit hard after discovering Jimi Hendrix. After playing for a number of years around his native Melbourne, Australia, McLeod recorded an instrumental album, but at some point in the mixing process became convinced that instrumentals were too limiting. The end result is McLeod's debut album, Human Uniform, due for an August, 2009 release.

Human Uniform is something of a musical mish-mash, mixing classic rock with R&B in unusual arrangements. Push The Pedal opens the album sounding like a cross between Jimi Hendrix and Michael Jackson with a bit of Prince and Lenny Kravitz thrown in. The song is musically creative but lyrically bland. Winter Love, along with Oblivious, fill the bill for generic radio pop/rock. Both are accessible and pleasant without making any significant, lasting impression. McLeod crests on Unknown Afternoon, a song with real potential held back by McLeod's tendency to try and squeeze too much instrumentation into the song. A less is more philosophy would work well here as it’s actually a pretty decent bit of songwriting. Everyone's Searching For The Beautiful Life is just a mess. McLeod tries out some interesting ideas musically here, delving into Prog territory with unusual progressions and atypical compositional structures. Ultimately the song turns into a stew of musical chaos; a binding together of musical shards rather than a coherent attempt to craft a tune. You'll also want to check out Skeleton In Human Form, a brief but valiant attempt to get back on track.

Steve McLeod wrote, sang and played everything on Human Uniform. He also self-produced. Songs like Unknown Afternoon suggest that McLeod can write, but I tend to think he was too involved in this project to hear it clearly. There's a tendency to try and do too much that runs throughout the album. McLeod is really quite good with the guitar, but often there's so much going on in the instrumentation you can't really appreciate that fact. Working with other musicians for recording and having an impartial ear at the board may help McLeod by building some creative tension into the writing and recording process and allowing more of his innate talent to shine through.

Rating: 2 Stars (Out of 5)

You can learn more about Steve McLeod at http://www.stevemcleodmusic.com/ or www.myspace.com/steviemyspace. Currently the only on-line outlet I could locate is iTunes, and they only have McLeod’s single, Push The Pedal. Contact Steve McLeod through his MySpace page for more info.

Review: Shaky Foot - Down On The Rain

Shaky Foot - Down On The Rain
2009, Shaky Foot

Everyone's been in a relationship that seemed like it should be right but the timing was all wrong. That's the story of Shaky Foot in a nutshell. Formed by Jason Scolnick (Lead vox, guitar) and Bob Gobron (bass, vocals) in the early 1990's, Shaky Foot fell apart after showing real promise. Reforming in 2006, Shaky Foot found a new drummer in Charlie Silva, and has gone on to become one of the most sought-after bands in the Boston Music Scene. Shaky Foot's newest disc, Down On The Rain features thirteen (13) tracks of blues-based rock that will be appreciated by fans of bands such as Jimi Hendrix, Eric Clapton and Stevie Ray Vaughan, to say the least.

Down On The Rain opens with Goodbye Mrs. Rose, featuring some excellent vocal harmonies and a dirty, driven blues feel you simply can't ignore. Bust It Out High is a bit more mundane than the title might lead you to believe but is still a good track. Down On The Rain is a deep and powerful song about seeing rays of hope even in your darkest moments. In this case the protagonist is a drug addict who has a moment of clarity and sees that things will be alright. The guitar work here is fabulous. Shaky Foot trod down a path frequented by The Beatles on In The Middle, blending in the occasional Jazz garish. This might have been the most enjoyable song on the disc if it weren't for the mixing which turns it into a messy but still listenable tune.

She's My Lady is a great listen perfect for last calls. The Blues/Rock arrangement here has perfect pop sensibilities, leading into the Led Zeppelin influenced Beat You To The Punch. Preacher Man is probably the best-written track on the CD, done in a slow build to an over-the-top climax that's probably even better live. Wake Up features the most interesting guitar work on the disc, particularly the opening riffs. You'll also want to make some time for Worried Mind, Young Jack and Zoom Baba Loom.

Listening to Shaky Foot makes me want to find a gig of theirs in a dark bar on a Saturday night with a few friends. The music here is pretty dynamic and enjoyable; Down On The Rain should really be experienced live. What sounds fun on CD would be a joyous cacophony of musical noise in a live environment. Shaky Foot is worth spending a little time with.

Rating: 3 Stars (Out of 5)

You can learn more about Shaky Foot at http://www.shakyfoot.com/ or www.myspace.com/shakyfoot. You can purchase a copy of Down On The Rain on CD or as a download at www.cdbaby.com/cd/shakyfoot2.

Review: A Scribe Amidst The Lions - Sunken Cities

A Scribe Amidst The Lions - Sunken Cities
2008, Tubwater Music

San Diego’s A Scribe Admist The Lions takes Alternative Rock down harrowing and reward paths on Sunken Cities, their second album. Nominated for a 2008 San Diego Music Award as best alternative album; Sunken Cities explores the depths of experimental rock in occasionally discomfiting and generally rewarding dioramas of sound. Don’t expect to listen passively; you won’t get it unless you stay involved.

Sunken Cities opens with The Depth Commencing, a brief instrumental appetizer that leads into the explosive chaos of The Equator Swallowed The Boys. Imagine elements of Classic Rock and Melodic, Post-Punk Modern Rock wrapped into a highly compact yet ranging Rock N Roll experience and you'll get an idea of where A Scribe Admist The Lions starts out. Elements of Grunge come into play on Scripted Daydreams, which has a monotonous and less-than-elegant temperament. The vocal line reaches stratospheric heights in this song with notes that are pure imagination for most singers. A Scribe Amidst The Lions takes turns both Progressive and Psychedelic on songs like Wet Bird, Marble Czar and Light Sinks The Moon, balancing right on the edge of musical madness for much of the middle of the album. No Peace Found In Pieces continues the somewhat psychedelic aspect, but maintains a bit more constructive approach. After several listens I'd have to say that A Scribe Admist The Lions remind me most of Canadian rockers The Rheostatics but with less of a tendency to seek out the occasional bit of Pop sensibility. You'll want to make sure you seek out The Drift and Metropolyptika as well.

A Scribe Amidst The Lions is what you might call an acquired taste. Dark, urban soundscapes populated with psychedelic bordering on psychotic moments is the order of the day on Sunken Cities. This is an album that challenges the listener to dig deeper and find your own treasures. On balance, I can't say that I entirely enjoyed it, but Sunken Cities was an interesting experience. There are folks out there for whom this will click, starting with fans of The Rheostatics.

Rating: 3 Stars (Out of 5)

You can learn more about A Scribe Amidst The Lions at http://www.ascribeamidstthelions.com/ or www.myspace.com/ascribeamidstthelions. You can purchase a copy of Sunken City at www.cdbaby.com/cd/asatl2, or you can download the album from iTunes.

Review: Cailyn/Dani - True Lies And Other Fairytales

Cailyn/Dani - True Lies And Other Fairytales
2009, Land Of Oz Music

Cailyn Lloyd is back, this time as part of duo Cailyn/Dani with powerhouse vocalist Dani Daly. We reviewed Lloyd’s previous release, New World In Blue, last year, finding her to be very talented with a six string. The pairing with Daly appears to have awakened Lloyd’s creative process on a new level, and it shows on True Lies And Other Fairytales. Cailyn Lloyd shows off her guitar wizardry in fine style, and Dani Daly is a reminder of what a female rock vocalist should sound like.

True Lies And Other Fairytales opens with Heartland, featuring the characteristically amazing guitar work of Lloyd and the power rock vocals of Dani. The song itself is decent, but the two dynamic performers help the song transcend its own limitations. Still... You Turn Me On is a lyrically awkward look at love in a long term relationship. Portrait (He Knew) finds the vocal line stuck in a bit of a rut. Dani makes the best of a less than perfect line with a strong performance, and Cailyn is as great as ever on guitar. The cover of Aerosmith's Dream On lacks the oomph or urgency of the original. The Hendrix cover, Wind Cries Mary, plays almost like a country tune here. Blind Faith's Can't Find My Way is the standout track, featuring amazing lyric guitar work.

Cailyn is a wonder on the axe, and Dani is quite an impressive rock vocalist with a big sound. True Lies And Other Fairy Tales is a definitive step forward over New World In Blue. There are still some rough edges here and there, but on the whole this is a very listenable and enjoyable recording.

Rating: 3.5 Stars (Out of 5)

You can learn more about Cailyn Lloyd and and Cailyn/Dani at www.myspace.com/cailynrox or http://www.cailynrox.com/. You can purchase a copy of True Lies And Other Fairytales at www.cdbaby.com/cd/cailyndani, or you can download it from iTunes.

Review: Foster McGinty - Peach Red

Foster McGinty - Peach Red
2009, Foster McGinty

Foster McGinty's roots are deep in the Missouri soil of Cape Girardeau, but he's a New York City boy these days with the Rock N Roll swagger to match. Deeply introspective as a lyricist, McGinty brings a guitar style that's been compared to the theoretical love child of Jimi Hendrix and Eric Clapton's Cream. McGinty has established himself in the New York music scene with headline performances at Kenny's Castaways and The Bitter End, but has traveled all over the US en route to where he stands. With Peach Red, McGinty establishes himself as something fans have known him to be all along, a rock star.

Indeed, McGinty embraces the same fusion of Rock and Blues that drove folks like Hendrix, Cream and even Led Zeppelin to stardom. Opening with Can’t Help But Shine, McGinty even shows elements of Funk in his Blues/Rock mix. The guitar work throughout the album is excellent. 10 Moons sounds like it was heavily influenced by Hendrix and is the sort of song that a classic rock cover band would latch on to with relish. McGinty gets into a more hard-nosed, Southern Rock sound on Dream Catcher, perhaps the best written track on the disc, but the aural highlight is Burning Bee Hive. The Hammond Organ and bass guitar steal the show on this one, mixing it up below the guitar line to create some wonderful musical and rhythmic wizardry. You’ll also want to check out Turqoise, Circus Mind and My Time Of Uncertainty.

Foster McGinty plays like a rock star. His guitar chops are unquestionable. The songwriting here is a bit uneven at times, but no duds can be found among the ten tracks presented here. Peach Red is a fun introduction to a man who remembers, or at least has recaptured, what it was like to play Rock N Roll in the late 1960’s and early 1970’s. Foster McGinty offers us a bit of musical history on Peach Red; updated for today, but none the worse for wear.

Rating: 3 Stars (Out of 5)

You can learn more about Foster McGinty at http://www.fostermcginty.com/ or www.myspace.com/fostermcginty. You can purchase a copy of Peach Red at www.cdbaby.com/cd/fostermcginty2.

Review: The Voodoo Fix - The Voodoo Fix EP

The Voodoo Fix - The Voodoo Fix EP
2009, The Voodoo Fix

In the great church of music history, Emo and Punk developed as a Reformation to the excesses of corporate rock. In an L.A. scene bogged down in the Reformation, The Voodoo Fix held their own personal Counter-Reformation, resurrecting a classic blues sound in grand fashion (i.e. volume) and mixing it with the raw material stylistic flourishes of Rock N Roll, Funk, Folk, Punk and Soul. The band's self-titled debut EP establishes The Voodoo Fix as a musical force to be reckoned with, mixing a determined force of mind with a laid back sensibility that somehow don't seem to cancel each other out.

With My Voodoo opens the EP with a strong case of the electric Blues. Voodoo in this case is the spell musicians sometimes cast over fans. The guitar style here is pure Hendrix and the song is a great listen. Walk On By is an easy-grooving 1970’s Funk/Jazz/Rock hybrid. The music is strong but the vocals are a bit on the bland side. Don’t Come Home is high-energy rock that falls short of exciting in spite of the high energy level. It’s a decent song but musically the least interesting of the five songs presented here. Border Patrol is my personal favorite song, featuring the best/most interesting guitar work on the album. The vocals are again somewhat flat here (not flat as in pitch, but just not matching the energy level of the music). With the right re-work and a push from an influential source this song could have major commercial impact. Save Me closes out the EP and is built on a monster guitar riff with strong Funk and Blues influences. There’s a distinct Retro-Modern feel here that will appeal to fans of 1970’s rock as well as denizens of Modern Rock.

The Voodoo Fix is a very interesting venture; a young band with a debut EP that makes a strong case for their musicianship and ability to right. The sound is a little bit rough, owing some credit to the early-1970’s Rock era were Blues, Funk and Soul melded in one fashion or another to each other and to Rock N Roll. The Voodoo Fix is a band to watch. Some of the songs presented here deserve a more dynamic vocal performance, but that’s the only complaint I can find with The Voodoo Fix EP. This could be the beginning of a very long musical trip for The Voodoo Fix.

Rating: 3.5 Stars (Out of 5)

You can learn more about The Voodoo Fix at www.myspace.com/thevoodoofix or http://www.thevoodoofix.com/. You can purchase The Voodoo Fix EP as a download from either iTunes or Amazon MP3.

Review: Zel - True

Zel - True
2009, Zel

Hailing from Croatia and currently based in Queens, New York, Zel is a full-time practicing physician as well as a musician. Zel received a hand-me-down guitar from his brother at a young age and fell in love with the instrument, exploring his native folk music, the sounds of Jimi Hendrix, the flamenco style of Paco DeLucia and even the compositions of Francisco Tarrega. Later studying with Spanish guitar player Enrique Vargas, Zel cemented his highly melodic style that encompasses Flamenco, folk and new age sounds. Zel's debut CD, True, blends the organic sounds of his guitar, piano and percussion with an ambient electronic tapestry that is vibrant and unique.

True opens with the title track, driven by a light dance rhythm and percussive piano supporting a melodic flamenco style. The sound and style here are interesting, an energetic form that is too restive to be music and almost borders on a pop/electronica/new age hybrid. Kingdom has a dream-like ambience that finds Zel at his most melodic in a composition that that sways of its own accord. Libertas has a highly rhythmic feel that is a pleasant change of pace from the almost ethereal quality of Kingdom. Zel returns to that ambient quality for First, a composition that swells like a wave in slow motion, allowing you to hear all the movement underneath. First is an incredibly soothing piece that reminds me of some of the sonic landscapes that Enya works with from time to time.

Light is an interesting musical experiment, blending together the flamenco musical form Alegria with a Croatian folk song. The result is a bit messy but interesting, with Zel crafting a bridge between the two styles that is neither and both at the same time. Faithful has a bit more of a light pop orientation; sounding like a movement from a film score. Pearl features the Alzapua style of Flamenco guitar play and creates a bit of musical havoc along the way. The very busy guitar style in this song overcomes the melody in a fashion that can be a bit difficult to listen to at times. The guitar play here is technically stellar, but is so busy that it crowds the listener. Gate has a distinctive Middle-Eastern flavor to the melody, played in Flamenco style. This is far and away the most sonically interesting piece on the album, crossing boundaries as easily as measures, with the ambient backdrop acting as a perfect musical cocoon as Gate first clambers and then soars. Zel slows everything down a touch for Three Days, a darkly lit minor key composition that is surprisingly well done. The album closes out with a recording of Libertas at 140bpm, a kinetic musical experience that is better heard than described.

Zel has created a highly compelling instrumental album in True. The mix of Flamenco with World, Ambient, New Age and even Middle Eastern forms or styles will keep listeners thoroughly on their toes. Zel is a technical wunderkind on guitar who plays with heart and soul bared to his instrument. Zel did all of the work here, playing guitar, piano and percussion. True is a labor of love, and that spirit and dedication to the music shines through every note and every phrase. True is a must-hear album.

Rating: 4 Stars (Out of 5)

You can learn more about Zel at http://www.zelguitar.com/. True will be released on July 14, 2009.

Review: Strangers Pass - Strangers Pass [EP]

Strangers Pass - Strangers Pass [EP]
2009, Strangers Pass

Strangers Pass is a power-trio that derives its sound from a wealth of influences. Singer/guitarist Robert Sadowski credits Hendrix, David Gilmour, Jimmy Page, Tommy Iommi and Brian May, whereas Bass man Bob Mikkelsen grew up on a hybrid diet of The Beatles, Pink Floyd, Metallica, Rush and Yes. Drummer Frank Gattuso leaned toward John Bonham and Bill Ward, but also had a strong affection for James Brown skins masters Clyde Stubblefied and Jabo Starks. Strangers Pass came together at an impromptu jam session in August of 2008 that was meant to be for fun but turned out to be for good. 2009 sees the release of their debut, self-titled EP. The styles and sounds that influenced each band member combine here to create a hard nosed Rock N Roll album with subtle influences and pensive interchanges.

Strangers Pass opens with Alone, an aggressive rocker that sounds a bit like what Black Sabbath might have sounded in their early, garage days. Strangers Pass does an about face on 400 Monroe, a moody and introspective rocker ala Pearl Jam. Snake Charmer is another dark and pensive rocker that calls out a manipulator. See Them All sticks to the dark musical aspect that runs through the EP, rebounding for an almost hopeful, ambient chorus before ricocheting back into darkness. Through The Maze finds Strangers Pass ending in a melodic and unthreatening fashion, with an upbeat yet mellow performance that sounds more commercial alt-pop than anything else on the EP.

Strangers Pass does an imitation of the month of March on their self-titled EP: In like a lion, out like a lamb, although Through The Maze does show some verve in the chorus. When I read the bio on Strangers Pass and saw the range of influences I was very excited. Here is an opportunity to take some grand musical traits and construct something new and original. In fact, the opposite has happened. Strangers Pass have taken the core elements and wiped away the things that don't match, much like finding the universal elements on a musical Venn Diagram. The result is essentially a mellow grunge album that sounds something like Pearl Jam, Soundgarden, Temple Of The Dog, etc. It's a good listen, but not necessarily what you'd expect.

Rating: 3 Stars (Out of 5)

You can learn more about Strangers Pass at www.myspace.com/strangerspass.

Review: Electric Sorcery - Electric Sorcery

Electric Sorcery – Electric Sorcery
2009, Electric Sorcery

Electric Sorcery grows from the fertile musical stomping grounds of Northern Vermont. They are something of a local super group, collectively being veterans of Vermont acts such as Viscus, Cobalt Blue, The Myra Flynn Trio, Hoochie Lumbardo and Money Jungle. Derek Campbell (guitar, vox, harmonica, fife, theremin); Micah Carboneau (drums, vox) and Nathanael Reynolds (bass) deliver an eclectic and psychedelic rock mix on their debut album, Electric Sorcery.

Electric Sorcery opens with Mother Sea, a funky bit of early 1970's hard rock. Electric Sorcery plays on the same psychedelic plain as Jethro Tull, Deep Purple or Jimi Hendrix, although perhaps with not quite so much imagination. Law & Order is a frenetic rocker with a quasi-rap vocal that sounds a bit like Rush on Roll The Bones. A Switch In 9 Saves Time has manic guitar work and an infectious energy but never quite evolves into more than a showpiece. No Angel is an electric funk mind bomb, ala Hendrix, with subtle guitar work, some funky bass and an eclectic rhythm track. My favorite track on the CD, Life Goes On, is built on some dirty guitar work and a driven vocal that's part Red Hot Chili Peppers. Other highlights are Son Shadow and The Nubians.

Electric Sorcery plays on the same plane as Tull, Deep Purple and Hendrix, although perhaps not on the same stage (metaphorically). What Electric Sorcery does offer is an update of classic psychedelic sound with the heart of an original and the hip nature of an upstart. Electric Sorcery is a fun listen.

Rating: 3 Stars (Out of 5)

You can learn more about Electric Sorcery at www.myspace.com/electricsorcery. Electric Sorcery is currently only available locally in Vermont, but if you contact the band through their MySpace page, I’m sure you can work something out.

Review: Derek Jordan - Identify

Derek Jordan – Identify
2009, Derek Jordan

Derek Jordan comes to Los Angeles from Pittsburgh by way of Chicago. His debut CD, Identify, is entirely self-produced and self-funded. Starting out with a classic rock background and a modern rock education, Jordan exudes the confidence of a rock n roll star while writing about the ins and outs of the human psyche.

Identify starts out on a promising but familiar note. The hook underlying Goodbye Jupiter is practically the same rockabilly hook that runs throughout Stray Cat Strut. To open with something so blatantly familiar either calls for a formula that resides in offering familiar sounds and then taking them new places or just totally blowing the lid off the album. Jordan does neither, settling for a comfortable, vaguely angry white male blend of rock n roll. Jordan's voice is good but isn't particularly discernable from a host of other rock vocalists. His guitar playing is technically proficient but doesn't seem emotionally driven or profound. The songwriting is fairly standard issue rock material with one exception. Hold On Tight could be a moderate hit in the right market, but more importantly is very accessible and listenable with something like a pop sensibility to it. Otherwise, songs like Vaccine, War With Your Love and Living For Two all sound too much like stuff that comes and goes on the radio all the time.

Jordan shows flashes of brilliance with the guitar, but just doesn't seem to find the inspiration on Identify to really sell himself or the material. He's a strong performer with good skills, but just doesn't display the dynamic catalyst to make you seek him out.

Rating: 2.5 Stars (Out of 5)

You can learn more about Derek Jordan at www.myspace.com/derekjordanrock or http://www.derekjordanmusic.com/, where you can purchase a copy of Identify. You can also download the album from iTunes.

Review: Jim Allchin - Enigma

Jim Allchin - Enigma
2009, Sandy Key Music

If it weren't for a serious illness you might never have heard of Jim Allchin unless you were a true techno-geek. Allchin helped run the Platforms & Services Division of Microsoft until retiring in 2007. Allchin was recognized by none other than Bill Gates as "a brilliant technologist, visionary and a strong leader". Staring mortality in the eye, Allchin didn't flinch. Like so many great achievers facing adversity he simply re-prioritized his life and moved forward. A trip to Montenegro and Croatia turned Allchin on to the pop music of that region, and the passion for music he'd experienced the first time he listened to Jimi Hendrix as a youth, and soon he was playing and writing up a storm. Recording almost exclusively on his own, Allchin went on to create Enigma, his 12-song debut album that was just released on March 17th.

Jim Allchin kicks off Enigma with Enigma Machine, a stylistic and driven guitar instrumental that is a musical throwing down of the gauntlets to the listener. You are hereby noted that this isn't just a vanity project, but a serious effort at musical creation that is going to challenge you. Allchin doesn't have the greatest singing voice, but he uses its best effect on Enigma. Take A Chance On Love is an easy-feeling pop song that's a great prologue for I'm About To Fall. I'm About To Fall is a sleepy and succinct tune about the inevitability of love. Let's Play is a true highlight. Allchin makes the most of a song that could be a true pop hit in the right hands.
Allchin takes us to the islands on She's In Love With Me, a peppy and danceable pop song with real legs to it. I was particularly impressed with I'm Your Man. Allchin serves up some deliciously lyric guitar work here, embellished with vocal harmonies built in classic rock triads. I'm Your Man is a sonic treat. The true standout of Enigma is the Roadhouse Rock N Blues of Rockin' Chair. Allchin stays with the Blues on the Stevie Ray Vaughan styled Killer Shuffle. The album closes out back in the roadhouse with Kick It, an agressive Southern Rock/Blues hybrid that allows Allchin to show off stylistically on his way out the door.

Alright, I'll admit it, I was a bit cynical when this one first came across my desk. Celebrities, politicians, athletes and captains of industry all want to be musicians, and most have the resources to do it even if no one's listening. There are some out there with real talent, but these are few and far between. Jim Allchin is already an accomplished guitarist and performer, and a better than average songwriter. I am also convinced that if you listen to this disc and find flaw, when you hear the next one those flaws will be greatly diminished. Allchin is not the sort of man to stand still. He's always reaching and stretching and perfecting whatever he applies to himself. Enigma is a great start, and if his past is any indication, whatever comes next will be even better by leaps and bounds.

Rating: 3.5 Stars (Out of 5)

You can learn more about Jim Allchin at http://www.jimallchin.com/. You can purchase a copy of Enigma at www.cdbaby.com/cd/allchin.

Review: Fractal - Sequitur

Fractal - Sequitur
2009, Fractal

Fractal is an original Progressive Rock quartet based out of San Jose and the San Francisco Bay area of California, beginning as a trio in 2000 and expanding to their current lineup in 2004. Their second album, Sequitur, moves mostly away from the improvisational approach of its predecessor, Continuum, while containing some of the most stylish and artful Progressive Rock of the decade. Fans of King Crimson, Yes, Rush, Radiohead, Pink Floyd and even Dream Theater take note; Fractal may just be the second coming of Prog.

Sequitur opens with Ellipsis, a busy instrumental that reminds me of some of Rush's later instrumental work (perhaps a wayward cousin of the Where's My Thing trilogy). Aftermath is the band's response to the events of September 11, 2001 and the loss of personal and cultural innocence. At over nine minutes, Aftermath covers a lot of musical ground, churning through musical mourning, anger and fluctuations of fear before a soaring guitar solo lifts your hopes heavenward. Mantra: Eternal Spring Of Life was perhaps not intentionally written as an epilogue to Aftermath, but does seem to capture the resilience of human spirit springing back to health even after the tragedy and burgeoning recovery of Aftermath. Soft, legato guitar solos capture the fragile first steps of confidence inside the tougher shell formed by guitar, bass and drums.

Coriolis is one of only two pure improvisations on Sequitur, taking on an ethereal, Pete Namlook/Fax type feel, particularly when the keyboards are in full force. Coriolis is somber and serious and other-worldly. Fractal slips into an almost Radiohead-like transcendentalism on A Fraction Of One, imbuing a quiet sense of urgency on an almost supernatural soundscape. Pataphysics, the other improv on Sequitur is an angry and impetulant rage on musical canvas that neither progresses nor devolves, but simply sits as a sonic mass to be passed through on the way to Mauve and The Great Pain. Influenced by a Jimi Hendrix blues feel and Fripp/Belew guitar stylings, Fractal takes us on a 13/8 time odyssey of sound that is closer to improv than pure composition. The Monkey's Paw is a jumbled mass of musical styles that persists in its chaotic state rather than evolving into something new. Imagine if Rush jammed with Gibby Haynes and you might have an idea of how this one will go, except that it's a lot more pure Prog than you might expect.

The epic Churn opens with a classical style overture that leads into the three movements or parts. Part I is eerily reminiscent of classic Yes, with Steve Howe-style guitar chops highlighting a highly rhythmic piece. Part II goes more for a Floydian disposition with an incredibly funky bass line adding musical commentary to randomly dubbed voiceovers; all played against a varying sonic landscape of dark intent. Part III brings a sonic resolution of acoustic guitar and keys that plays like an outro to one of the classic Styx albums of the 1970's. Closing things out is Bellerophon, a bit of musical sleight of hand that is like aural vertigo compared to the rest of the album. Bellerophon is an electronic composition that the band describes as a non-sequitur.

Sequitur is far and away the most exciting and original pure Prog album of the decade. There is a vibrancy and sense of creativity running through the work of Fractal that you have to go back to the early days of Prog to duplicate. It's easy to picture Fractal sharing a stage with groups like Yes, Rush or King Crimson in their heyday. If you have an ear for Progressive Rock then this album is definitely for you. if you're not familiar with Prog but love classical music, musical with unusual time structures or even some of the more experimental electronica then you would do well to give Sequitur a listen. Fractal got it right.

Rating: 4.5 Stars (Out of 5)

You can learn more about Fractal at http://www.fractal-continuum.com/ or www.myspace.com/fractalcontinuum. You can purchase a copy of Sequitur at www.cdbaby.com/cd/fractal3.