To celebrate their 30th anniversary Camel delivers their 14th studio album. This time we get a more sophisticated album somewhere between "Harbour of tears" and "Rajaz" with a few glimpses back in the old days. Latimer uses his flute more than we are used to which gives the album a more classical and orchestral sound. As well as a couple of jolly songs and a few romantic things, one song is dedicated to the tragedies of 11th of September. We also get an impressive instrumental, "Squigely fair" which sounds very much the Camel we all know so well. This album grows with every listening. Latimers flute and guitar playing is the central of the whole album and no one plays guitar with a feeling like his. So buy this album, give Camel a nod and a wink for their thirty years and maybe we can hope for more. (review by Göran Johnsson)

Carptree is a 2-piece band consisting of Niclas Flinck on Lead Vocals and Carl Westholm on Keyboards and also responsible for arrangements and production. We also hear guitarist Ulf Edelönn on all tracks and other different musicians filling in on drums, bass and more. I definitely enjoyed this fine band's debut album and felt that if they only would draw the lines just a little bit further they might be able to deliver a masterpiece and that is exactly what they've done. Their music can to some extent be compared to some of Peter Gabriel's works (the melancholic atmosphere) or perhaps Marillion's later albums (the very modern sounding production) but this is only a way to try to give you a picture of how they sound. They have enough originality to stand on their own and in the future it may be that other new groups are compared to these guys instead. This is highly enjoyable symph-pop with high emotional impact, superb melodic songwriting and interesting, tasteful arrangements supporting the unique voice of Flinck. A very strong release, maybe even a future classic.
(review by Hansi Cross)

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This duo never stops to surprise me. After two splendid records they once again put out another strong release. I really liked their second album "Superhero" with its Gabriel-ish output in both music and melodies without being a carbon. This time however, they have included strings and choirs on several songs and taken their music several steps further. On one hand several elements from their last album is still here but the real treat on this one is that it is far more progressive than earlier. It has also a more heavy approach and the mood is a little bit darker than before. Niclas voice suits perfectly to Carl's harmonies on his keyboards and they make good use of their accompanying musicians. They have also worked a little bit more on the sound on this album; notably the bass really hits you in the stomach, which is something I really like. This duo is definitely worth checking out and all their albums so far are really worth having. They now have found a style of their own and on this album they do not sound like anything you have heard before. If they continue in this progression onward they sure will be one of the top bands in this genre for several years to come. I really, really strongly recommend this album! (review by Göran Johnsson)

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Yet another American band who only made one album before putting the project on the shelf. Cathedral was very keen on mixing unusual instruments and lots of percussive stuff into their music, and they never compromised. Just as Yezda Urfa they did draw much inspiration from Gentle Giant and also here the quality of musicianship is top notch. Odd arrangements and plenty of rhythmical variations together with beautiful elements make the album an exciting 45-minute trip. Cathedral is not for beginners, so those who expect 3 or 4 minute verse-chorus based tracks should search elsewhere. This is for true "progheads" and to you I only want to say: - Every home should have one!
(review by Göran Johnsson)

The bottom line is this: if you like Spock's Beard, Flower Kings, Marillion, Genesis and basically any other like prog rock bands, you will like Cross. These comparisons are mainly in the music - the instrumentation, the open arrangements and Spock's Beard is the best comparison. In other words, this is smooth symphonic rock all around. Perhaps it's because Cross sings a bit like Ray Wilson that I thought of latter day Genesis. No less during the first track "Bleeding In Silence". Cross has a slightly husky voice. Rounding out the trio is Lollo Anderson on basses and Taurus pedals and Tomas Hjort on drums and percussion. Guests include Olov Andersson on mellotron and synthesisers on all but two tracks, vocalists Tai and Lizette von Panajott, and Lars Borgström on cello for a couple of tracks each.
The music on here is fantastic - bright, colourful, with the just right the edge. I wouldn't quite call Cross a prog-metal band, but there is an edge to the music - here I would have to say like Arena. Keys take the lead on the instrumental "Awakening," though the guitars are hardly short-changed. Cross is equal adept at both - so, yeah, Cross is getting close to be added to my list of guitar heroes. If you read Bobo's review, published here a couple of weeks ago, you have noticed two things - one, we both thought of Genesis, though of different eras, and two, he felt the "The Core" was a Crimson like track. I don't disagree; I hear it more right at the beginning than anywhere else. I personally also thought a bit of Marillion (mainly the vocal delivery here, as the phrasing is bit like Steve Hogarths). "Pall Of Illusion" is a slight play on words. Deep bass notes over sparse instrumentation underscore the verses, though over all the arrangement is far from dark as the guitar and keyboard solos are up...and even Cross' vocals are bright. The album closes with the 14-plus minute "Welcome To Utopia." High pitched (but not too high) Tangerine Dream-like keyboards lead us in, parping over a synth wash that take the lead only, after some slightly militaristic percussion comes in. By about two and half-minutes, it's the singing of Cross' guitar. "Utopia" goes through several moods, my favourite parts being the harmonising vocals - von Panajott guests on this track. If there any minuses here it is that I don't think Cross has the strongest of voices, but I'll keep listening to it for the music and his wonderful guitar.
(review by Stephanie Sollow; slightly shortened by Olov Andersson)

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Already the opener "Let The Play Begin" convince with it's piano arpeggio and a totally superb refrain. Hansi always seemed an outstanding guitar player and an emotional solo confirms that phrase already after 3 minutes into the album. Keyboard freaks also get a pre-taste of the quality of the album with the banks-like synth solo. With the somewhat heavy but nevertheless beautiful, melodic instrumental song "Déja Vù" even the mellotron friends are served. The opening of "A new Beginning" reminds strongly of "Now" on the Spektrum album. Here also the Gilmour-stylish singing of Hansi is noticeable to me, and of course the sensitive guitar sounds. For the first time also a saxophone solo is heard. Another highlight is the second instrumental composition "The Battle OF Thalÿma". Synthesiser fanfares invite to the opening, before a beautiful melody on guitar and keyboard introduce the main topic of the song. Somehow the refrain melody does not get out of my head. A worthy successor of one the best songs from "Secrets" - "Awakening". It also has an amazing violin-solo and such things are always pleasing to me. After the scarcely 10 minute+ "Enter The Game", which triumphs with a Spektrum-sounding keyboard solo, we occur the short intermezzo "Fjaerilshonung" before entering the World of Epics. "Mesmerizing Enterprize" presents itself very variedly. It is rocky, pompous, atmospheric, and at the same time also somewhat catchy. The listener gets much required. Result: "Playgrounds" is probably the best work from these Swedes. Fans of the melodic British influenced Progmusic will not come around this album. If you like Grand Stand, Galleon or Spektrum, then you might also favour CROSS.
(Reviewed by Daniel Eggenberger)
(This is an abbreviated version of the review.)
The entire review can be found at www.proggies.ch

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