Review: Modest Midget - The Great Prophesy Of A Small Man

Modest Midget - The Great Prophesy Of A Small Man
2010, Multi-Polar Music

The Netherlands' own Modest Midget is back with their first full length album, The Great Prophesy Of A Small Man, the follow-up to their 2008 EP, Partial Exposure. Classic and progressive rock guitar are at the roots of The Great Prophecy Of A Small Man, as guitarist/singer/songwriter Lionel Ziblat infuses the album with his unique style and sound.

After the brief encroachment of "Follow The Noise", Modest Midget breaks into the wonderfully angular "Contemporary Ache. The guitar work here will remind you a bit of Steve Howe from some of the classic Yes albums as Modest Midget walks you through a brief and dark-timbered history of popular music from the roots of Jazz to today. "Troubles In Heaven" has a highly melodramatic feel, like something that might come from a stage show. The guitar work is again a treat, as Lionel Ziblat refuses to be boxed into a niche as a guitarist, drawing on different styles and influences with each song. "Coffee From Yesterday" continues the guitar goodness, a two-and-a-half minute instrumental that builds like a modern rock symphony, keeping the energy and melody high aloft.

"Back From My Trip" is a humorous misadventure of a vacation gone awry that's simply an excuse for Ziblat to show off some more of his impressive guitar tricks. On "Home Seek", Modest Midget shows off some impressive CSNY-style harmony vocals in a heartbreaking tale of unrequited love. "Jorge Knows How Difficult A Musician's Life Can Be" finds Modest Midget going through wonderful melodic fits in the best instrumental on the album. It's progressive rock with a distinct European and Mediterranean influences in melody and sound. If you don't find yourself dancing along you might want to call the paramedics. "Buy Me!" finds Modest Midget heading to middle of the road early-1980's rock with a tight, compact arrangement full of melodic guitar and rapid-fire lyrics. "Evolution" continues with this unusual meld of styles, offering up some of the most interesting melodic work on the album. Modest Midget closes with "The Last Straw", an expansive and perhaps ill-chosen closing track. The energy and vibrancy of The Great Prophesy Of A Small Man is clouded by this track, which sounds like a musical orphan that caught on at the last moment.

Modest Midget continues the impressive display of progressive rock virtuosity that they displayed on their debut EP, Partial Exposure. Lionel Ziblat certainly knows how to dial it up on guitar, infusing new and unusual sounds into classic forms that should engender more interest in both progressive rock and the other roots he draws from. The Great Prophesy Of A Small Man is likely to set Modest Midget up for a few more nominations and perhaps even an award or two. It's that good.

Rating: 4 Stars (Out of 5)

You can learn more about Modest Midget at http://www.modestmidget.com/ or http://www.lionelziblat.com/. The Great Prophecy Of A Small Man has an official release date of May 9, 2010 in the Netherlands, but you can purchase it now online through CDBaby.com or iTunes.

Review: Michael Lee - Face Forward

Michael Lee - Face Forward
2009, Michael Lee

Michael Lee hails from the fertile ground of Longwick, England. Among the many crops cultivated there over the years is an impressive instrumental and songwriting talent has just begun to show itself on Lee's solo debut, Face Forward. Lee previously gigged under the band name Soul Capture, but thought to emphasize his solo efforts and persona more. The result is sonically pleasing album with more instrumental meat than your typical pop fare. Lee draws on the British tradition of high melody, ranging from Folk-based Rock N Roll to Progressive compositions with a few ballads thrown in for good measure.

Face Forward opens with Land of Change, a pleasant if slightly innocuous opener that's more significant for the introduction of Lee's gorgeous upper range and his subtly intricate guitar work. Lee gathers momentum with Trust, a catchy and upbeat tune that downplays the vocal line without giving up any energy. Lee's guitar work would seem to gather inspiration from sources such as Andy Summers, Ray Phiri and Mark Knopfler, making it all sound easy in the process. There's even a bit of King Crimson in some of the later passages in the song. Despite gives us a closer listen to Lee's lower vocal register, which isn't as enjoyable as the upper; here Lee sounds congested or constricted in the throat. The melody, however, is interesting, with a highly artistic, almost baroque feel. Progressive inclinations make themselves known in the guitar line.

Lee brings out great interplay between guitar and piano in Tired, almost as if a spirited conversation is occurring between the two. Tired is about reaching out in a relationship where one person is simply not paying attention, making the instrumental work a distinct parallel for the story line. Add in some gorgeous vocal harmonies and a melancholy timbre and you have quite the listening experience. Mystery Of Life might be the most fetching song on Face Forward; the sort of quiet but resolute ballad that could be a keynote song in a musical. Lee keeps things simple here, letting the uncomplicated beauty of the melody lead the way. Youth finds Lee lamenting the loss thereof, engaging again in the practice of trying to parallel the story in the instrumental arrangement. Youth starts out sounding somewhat you and simplistic with a lot of energy, becoming more complex and full of shadows as the song progresses, accented by Eric Johnson-like guitar licks.

In The Picture plays like an overdone 1980's ballad. The mood is again melancholy, as the subject is an unsettled relationship with two suitors, but you can almost hear Lou Gramm tackling this song in his waning days with Foreigner. Distant Future is one of those songs that seems destined to end on mix-tapes made by love struck teenagers (and none too few adults). Lee eschews cliché, putting aside sappy declarations for a simple statement in song that will resonate with anyone who's ever felt the blush and flutter of new love. On Never Enough Time, Lee steps forward with a tune that sounds like it might have come out of a Pearl Jam recording session. Lee softens the edges but cuts an intriguing path with distinctive minor key harmonies and complex, flowery guitar work. The positive message involved doesn't hurt a bit, either. Face Forward opens with a purposeful piano part, drawing in drums that add an incessant, urgent feel to the song. This isn't Baroque Pop, but it badly wants to be. Strings, bass and guitar add support, but Lee's piano is the star here, telling an epic tale in just over five minutes that will be like a cup of manna for Prog Rock fans. Face Forward winds down dusk with That Day, a piano-based tune featuring some of the most starkly intriguing vocals on the album. Lee performs a virtual duet through much of the song, at times creating differentials that are worthy of a shiver or two down the spine.

Sometimes you can see it coming. Something about the album cover or the track list tips you off that an album will be special. Other times, it's a somewhat non-descript guy on a relatively normal seeming album cover. There's nothing in the track list or press kit that really gives you a clue. Then you press play, and the artist takes over your life for forty-five minutes to an hour. It's that way with Michael Lee. This unassuming guy Longwick spins tales in instrumental packages so intriguing you can't help but drop what you're doing and give him your full attention. Face Forward might not turn out to be Lee's perfect moment, but he dances with the concept so closely on Face Forward you'll root for him to get there. And you'll keep coming back.

Rating: 4.5 Stars (Out of 5)

You can learn more about Michael Lee at www.myspace.com/michaeleeuk, where you can purchase a copy of Face Forward using PayPal.

Review: Behind The Sun - Behind The Sun

Behind The Sun - Behind The Sun
2009, Behind The Sun

Straight Out of the Israeli badlands come Behind The Sun, a quartet with influences ranging from Progressive Rock to Metal to Grunge. Born on the edges of the Negev Desert, Behind The Sun bring the arid beauty and complexity of their homeland to their collective sound. Behind The Sun, the band's full-length debut, finds Behind The Sun stepping up to the next level trying to craft an international presence for themselves. The album itself is a mixed effort with mostly positive results.

Behind The Sun opens with Second December, a six minute epic mixing Prog, Classic and Lyric Rock styles. Significant variation in keys, meters and polyrhythmic drumming make this an interesting listen. Wishful Thinking is built around a great progression and melody line. There's significant life and movement beneath the surface, with Dan Levy nearly stealing the show at times on bass. Front man Gad Erez churns out a lot of repressed anger with his voice, and the guitar work is exquisite. Still is a big, rambling Prog tune that sounds like Live meets King Crimson. Running Water hits the flood line with a galloping Prog tune featuring some pretty severe guitar work. The motion and sound here are phenomenal.

Behind The Sun goes for a Music Noir feel on The Professionals; a bit dark and disturbing but interesting and very well written. October '77 runs a close 2nd for best song on the disc. This highly textured yet smooth instrumental features guitar work reminiscent of Pat Metheny. Behind The Sun closes out with Strong Wind, vacillating between dreamy, lazy sounds and an active, complex musical experience. It's an apt closer, but perhaps a bit overdone at eight-and-a-half minutes.

Behind The Sun goes Metro Retro on their self-titled debut, blending Classic and Progressive Styles with techniques and sounds drawn from today's Modern Rock. Behind The Sun is an album that flirts with greatness at times but never fully gets over the wall. In the end we are left with a very, very, very good album that portends great things for the future. There's more than enough here for Behind The Sun to step confidently onto the international stage.

Rating: 3.5 Stars (Out of 5)

You can learn more about Behind The Sun at www.myspace.com/behindthesunmusic. You can purchase Behind The Sun as a download from AmieStreet.com.

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: Mile Marker Zero - Mile Marker Zero

Mile Marker Zero - Mile Marker Zero
2009, Mile Marker Zero

New Haven, Connecticut's Mile Marker Zero have been building to this moment since they formed in 2003. June 16, 2009 saw the release of a CD also entitled Mile Marker Zero. It's a mix of favorite tracks from their first 3 releases as well as newly written material. The new CD finds Mile Marker Zero riding a crest of creative depth and popularity that has been a slow-but-steady build over the last six years. Mile Marker Zero trolls the depths of Progressive Rock and Metal; everything from Rush and Dream Theater to Tool, Metallica and even Porcupine Tree. Vocalist Dave Alley is the ideal hard rock front man, able to shred the vocals when appropriate and sing almost lyrically at the other end of the spectrum. This is the album the makes Mile Marker Zero a name you'll remember.

Mile Marker Zero opens with the heavy, rhythmic guitar riff that announces A Thousand Nights. The song is constructed of free-wheeling verses that explode into a soaring chorus full of layered guitars and strong harmonies. Guitarist John Tuohy gives this song its heavy edge, while keyboardist Mark Focarile provides a swirling steadiness that holds the song on check. The rhythm section of Tim Rykoski (bass) and Doug Alley (drums) provides a solid and energetic base for the rest of the band to play off, both here and throughout the album. Laceration recalls some of the heavier rock that piggy-backed on Seattle's Grunge movement. The bass line to this song is killer, and Alley gives a vocal performance that's dynamic and alive. Alley reminded me a bit of the Tragically Hip's Gordon Downey on A Kiss To Fix. The sound here is a bit darker than on the first two tunes and perhaps a bit less accessible to the casual fan, but it's an intriguing piece of writing.

Passive shows a softer side to the band, a contemplative ballad for the first two minutes that slowly crescendos into a mournful power ballad. Crimson Red finds Mile Marker Zero in full-on Prog mode in the most dynamic song on the CD. The song examines war from a personal perspective, detailing the costs in human terms. The guitar work here in particular is notable, with Tuohy giving a performance that would make Malmsteen blush with pride. Maree is a more traditional power ballad, sure to make it to the mix-tape crowd, whereas In Loving Memory Of... is more of an epic ballad, with the sort of soaring grandeur that you used to find from groups like Styx in their heyday. Peril Aerial is a true epic, coming in at over 10 minutes and featuring some of the most inventive Prog work this side of King Crimson. Reaping Ride throws all caution to the wind; the guitar opening has the melodic metal sound practically patented by James "JY" Young of Styx but in a heavier setting than that band usually managed. The song itself is urgently driven in content but plays on the edge between classic and modern rock. Musically this is the most fun composition on the disc. Mile Marker Zero closes out with Hush, an acoustic composition that's quite beautiful and quite out of character with the rest of the album sonically. What is not out of character is the compositional depth, drawing on classical themes to construct a composition that could be played as easily in a concert hall as in a stadium. Hush is a true gift to fans, letting them see the depth of the talent Mile Marker Zero possesses both individually and as a group.

This sort of Prog Rock isn't going to find a lot of room on the radio dial, but there's a very hungry community of fans out there who love it, and if you're part of that community, then Mile Marker Zero is just what you've been waiting for. Fire up that CD, Maestro, I want to listen again.

Rating: 4.5 Stars (Out of 5)

You can learn more about Mile Marker Zero at www.myspace.com/mmz or http://www.milemarkerzero.com where you can purchase a copy of Mile Marker Zero.

Review: The Source - Prickly Pear

The Source - Prickly Pear
2009, Under The Sun Records

The Source is a Los Angeles based Progressive Rock band that could have just walked out of the 1970s. With the expansive creative edge of Yes, the experimental tendencies of King Crimson, and the willingness to mix things up in unusual fashion, The Source might just be one of the best things to happen to Prog in twenty years. The Source’s sophomore album, Prickly Pear was released earlier this year and continues to build on the sterling reputation The Source has developed.

Prickly Pear opens with Promised Land, a highly intricate Progressive Rock piece reminiscent of early Yes but with a bit of a lean toward Jazz flavoring. Star Dreamer plays within the Prog sphere with elements of Queen's sound. Until Morning Time continues the sonic experimentation with an eleven minute opus that sounds like early Styx and Yes jamming together. The song is very mellow and lyric in the vocal passages but turns downright medieval in the instrumental breaks. This is a complete rock symphony with multiple movements but retains a sense of continuity throughout. Thin Air sticks a little more to traditional Art Rock structure, but even at five minutes finds time for some musical exploration. Prickly Pear closes out with Castles In The Air, a fifteen minute magnum opus that ranges from ambient, melodic Rock to serious Prog. There is a clear Yes (read, Steve Howe) influence here, particularly in the guitar work.

The Source is one serious Prog band in the tradition of Yes and King Crimson. Prog is making a comeback in general, particularly in the thrash/punk realm where bands like Iwrestledabearonce and The Devil Wears Prada have incorporated the symphonic structures to devastating effect. The Source are highly traditional and very creative as practitioners of Prog. Longtime fans of the genre will love The Source, and Prickly Pear is a great introduction.

Rating: 4 Stars (Out of 5)

You can learn more about The Source at http://www.thesourcerocks.com/. You can purchase a copy of Prickly Pear at www.cdbaby.com/cd/sourcerocks2.

Review: Iwrestledabearonce - It's All Happening

Iwrestledabearonce - It's All Happening
2009, Century Media

Iwrestledabearonce is part of the new movement in Punk/Thrash/Hardcore Rock toward the compositional elements of Progressive Rock. The Louisiana quintet is perhaps the most original and unique punk act to come along in the new millennium. Iwrestledabearonce is distinctive on so many levels its hard to know where to start. You'll hear comparisons to The Devil Wears Prada, but Iwrestledabearonce is bigger, faster, harder and more creative. Iwrestledabearonce's debut album, It's All Happening, will be released on June 2, 2009. Are you ready?

Iwrestledabearonce is a thrash metal band unafraid of incorporating electronic music into their sound and also has some serious Prog tendencies. I personally am not big on the screaming thing, but Krysta Cameron is a very sound vocalist when singing. You'll need a lyric book to follow along, and the songwriting can be downright chaotic, changing from stave to stave and even measure to measure between lyric, melodic rock and Thrash/Prog. You Ain't No Family establishes the base sound, but it's the second track, White Water In The Morning that truly throws down the gauntlet for listeners. The song is completely over the top, with Krysta Cameron really getting her scream on (particularly in the second half of the song). Danger In The Manger is manic and maniacal; have fun trying to keep up. Tastes Like Kevin Bacon is all over the map and would appear to incorporate a distinct sense of humor but remains undecipherable in at least some portions of the song. Other highlights include Pazuzu For The Win, Eli Cash Vs. the Godless Savages and See You In Shell.

Iwrestledabearonce is going to be huge. Sitting at the forefront of a new movement in hardcore music, this Prog/Thrash behemoth is just a little bit faster and a little bit better than anyone currently on the scene. That's not to say other bands won't catch up, but the chaotic nature of the songwriting is bound to make bands like Yes and King Crimson applaud in appreciation. It's All Happening is a pretty heavy record and won't be appreciated by everyone, but the Artpunk crowd should elevate Iwrestledabearonce to icon status.

Rating: 4 Stars (Out of 5)

You can learn more about Iwrestledabearonce at http://www.iwrestledabearonce.com/ or www.myspace.com/iwrestledabearonce. You can order copies of It’s All Happening at Amazon.com, or download the album through iTunes.

Review: Pia Mater - The Living Legends

Pia Mater - The Living Legends
2009, Brain Food Music

Pia Mater rode the tiger. The band formed at the Rochester Institute of Technology in the fall of 2004, slowly building a song and repertoire that has seen them garner consistent crowds and praise in upstate New York. In December 2008 they released their debut album, The Living Legends. Personnel changes and many gigs have seasoned the band, and they are ready to step out of Western New York’s wintery shadows and present themselves to a larger audience.

Pia Mater hits the highs and lows on Living Legends, vacillating between songs that make you sit up and take notice to more obscure musical explorations that take some serious listening. What is certain is that an hour spent with Pia Mater is bound to be enlightening. Piledriver is a great start, featuring attention-getting guitar work and a punk feel. Mirror Images runs to the other end of the scale, a well-intentioned but unremarkable pop construction that slides by almost without notice. China Girl is a catchy post-punk tune full of fuzzy guitars and a lively bass line. Pia Matter runs the Progressive Rock route on Salsa, opening with some faux flamenco guitar and winding up in a power-chord driven chorus before settling into a reggae backbeat filled out with vibes and a funky, almost independent bass line. Moses Walks Along In The Desert is my favorite song on The Living Legends, between the lively bass line, the funky and intricate guitar work and Red Hot Chili Peppers-like precision, this song is a winner all around. Also be sure to check out Take Me To The Doctor and 5 In 6.

Pia Mater has an interesting sound that's part funk, part alt-rock and all energy. Pia Mater enjoys what they're doing, a fact that shines through clearly on The Living Legends. There are a couple of rough spots here, but all in all it's a great effort. Check it out!

Rating: 3.5 Stars (Out of 5)

You can learn more about Pia Mater at http://www.piamatermusic.com/ or www.myspace.com/piamatermusic. You can purchase a copy of The Living Legends at www.cdbaby.com/cd/piamater.

Review: Family Order - Family Order

Family Order – Family Order
2008, Family Order

Chicago hipsters Family Order have a new sound you’ll find intriguing. Referring to themselves as a classical jam band, Family Order brings a love of unusual chord progressions and rock instrumental music on their debut album, Family Order. The 7-track EP, released in 2008, has garnered them significant attention at home, and the band is starting to branch out across the Midwest. Keyboardist Eitan Bernstein and drummer Charlie Dresser began writing together in 2006, and pulled in bassist Ben Smith and guitarist Dan Guzman to fill out the sound on stage.

Falling somewhere between King Crimson and Maurice Jarre, Family Order constructs neo-classical/jazz/rock jams with a strong Progressive bent on their self-titled debut. Cantstandya is built on long, undulating keyboard runs interspersed with nouveau jazz breakdowns. There is funky heart to the music that drives it along its merry way while musical chaos plays just at the edges of the soundscape. Even the musically introspective middle of the pieces serves the freeform feel of Cantstandya. Marvin is nine minutes and twenty seconds of ethereal construction that is interesting to listen through. High Gleamin' Beams has an almost Easy Listening gone modern sound with some interesting voiceovers popping up at points throughout the song. Jack Buckingham has a wonderfully oceanic quality, like being rocked by wave after wave of sound; always gently but with perceptible force. Funky Republican possesses a circular, cyclic nature where the theme never seems to progress; this may an artistic political statement. Invention is a reprisal of Cantstandya in a fitting epilogue to the album.

Family Order has crafted seven unusual and highly interesting compositions for their debut. Family Order is the sort of rock instrumental CD that you can't relegate to the background. The songs will tug at you and demand to be heard in the same fashion that a Miles Davis or Yes album will do. Not everyone will dig it, but those who really get into the composition and construction of music will have a field day.

Rating: 3.5 Stars (Out of 5)

You can learn more about Family Order at www.myspace.com/familyordermusic, where you can find a link to download Family Order for free for a short time. CDs are currently available only at live shows but will soon be available for purchase via PayPal on the band’s MySpace page.

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.