A project containing Allan Holdsworth (UK, Bruford and more) on guitar, Ryo Okumoto (Spock's Beard) on piano and moog and the late Shaun Guerin on lead vocals certainly raises most proggers expectations. All the tracks are written by Ken Jaquess (Atlantis), who also takes care of bass, keyboards and 10-string acoustic guitar. Also involved is violinist Yvette Devereaux and drummer Doug Sanborn.

We get five tracks of timeless symphonic and progressive rock of semi complex, melodic song writing starting out with the 23 ½ minutes long opener "Infinite voyage". This piece of work of course is including several parts, kept within a mainly melodic feel with swirling Holdsworth solos as one of the trademarks. Shaun Guerin's rather soft Gabriel-style vocals fits in very well among the light and atmospheric keyboard layers backed up really nice by the bass/drum section and occasional appearances of violin broadens the sound palette within the range for classic symphonic rock and giving it a touch of UK. Mr Okumoto contributes with some fine moog solos. Very nice indeed!

We also get four, equally fine but shorter, tracks ranging about 6 - 7 minutes each, making it an overall highly enjoyable album of melodic symphonic rock rooted in the 70's giants with mainly Genesis influences at the fore, but also echoes of UK but nevertheless with a fresh approach.

So, does it live up to my high expectations? Well, as I know have enjoyed it several days in a row I guess the answer to that must be "Yes it does".
(review by Hansi Cross)

Hmmm, strange…Arabian music? This was the first thing that came into my mind but after a few seconds into the first song (Eternal Light Avenue) my somewhat strange feelings is gone. The song turns into a fine symphonic tune. However, it took a while for me to really like the album. Now when I have played it several times I realise that the more I play it, the more I like it, and I guess it will grow on you too. This really is a nice blend of new and old prog/symf with lots of organ, nice guitar work and splendid harmony vocals. The lead vocalist of the group has a very nice and calm voice so if you're looking for an aggressive singer, this may not be your cup of tea though. There are a couple of rather straight songs combined with several interesting prog songs with lots of nice time figures. Otherwise I must say it's quite hard to really describe this album but I think that's a good thing since I really think that this album has a life on it's own even if you can hear influences from many parts of the prog rock scene. I must also mention the splendid playing and the good sound quality for a band that I guess not really earns the money that I think they should do. Otherwise, just buy the album for the nice cover!(review by Göran Johnsson)

To me it was a very nice surprise to hear this fine instrumental symphonic rock act from Japan. Lead by violin and guitar player Akihisa Tsuboy this band creates some very memorable moments. Sounding as most progressive bands mixed together, without actually sounding as any other, to me, known bands. Adding to this a pinch of fusion-like ideas makes it feel both fresh and recognisable and the performance is definitely top notch all the way through the album. The vast use of electric violin reminds me of Jean-Luc Ponty or Mahavishnu Orchestra sometimes but yet not, as the performance got much more of a symphonic feel than the before mentioned. I have no hesitations what so ever about recommending this to lover's of progressive, symphonic rock. And if you, as I do, also like progressive fusion such as Return To Forever, Ponty and Spaced Out then this definitely is a must. And why was I surprised? Well…To me the booklet looks a little bit cheap and it contains very little info and no pictures of the musicians so it was a surprise to find this high-class music on it.
KBB is:
AKIHISA TSUBOY - Violins, Guitars
GREGORY SUZUKI - Keyboards, Theremin
DANI - Bass
SHIRO SUGANO - Drums
(review by Hansi Cross)

Here we have an album that likely can appeal also to parts of the prog audience who usually are not into the progmetal genre. All songs are written by the talented French keyboardist Vivien Lalu, which probably is one of the reason why this album is not filled with the usual metal clichés. Dutch guitar player Joop Walters contributes with the same kind of fine and melodic performance that can be heard in his own band Arabesque. The vocals of Martin LeMar are powerful and not too high pitch. Bass player Russel Berquist and drummer Ryan Van Poederooyen are very tight and fits the compositions in a most suitable fashion. But what I enjoy the most about this album is the compositions which, as already mentioned, is avoiding the most common clichés of the genre and that the songs are skilfully composed and are interesting, majestic and melodic and performed with a nice portion of warmth as well as high technical skills. (review by Hansi Cross)

A new American band in the modern progressive vein. It sounds like Living Colour meets Echolyn with a sideorder of E-motive. They really stretch the musical boundaries to new and unexplored areas. Excellently skilled musicians, which of course is needed in these complex and somewhat odd arrangements. The harmony vocals are brilliantly performed. This album will most certainly grow on you with each listening. If you are into any of the bands mentioned above and have an open mind towards new musical experiences, this is a CD for you. Enjoy!
(review by Olov Andersson)

The three first studio albums was with Damian Wilson on vocals, after that Landmarq took the rather drastic but at the same time obvious decision to put Tracy Hitchings behind the microphone. Otherwise the line-up is intact. On this live album she does the older tracks Pinewood Avenue, Solitary Witness, Tailspin and Borders with accuracy. From their latest and so far only studio album with Tracy they're doing the title track Science Of Coincidence together with The Overlook, Between Sleeping And Dreaming and Summer Madness. Landmarq is playing very well and they are tighter and have more edge, bite and pressure than I ever could imagine. A very admirable performance.
(review by Stefan Polzer)

This album by Le Orme is a concept about the four elements and it's quite a masterpiece. Melodic, symphonic passages drenched in keyboards and proggy instrumental parts. The music is a perfect mix of 70's style prog and 90's neoprog. References stylewise span from ELP and Genesis to IQ and Pallas. An extra plus is that the cover is made by Paul Whitehead, he was the guy who made the classic Genesis-covers for Trespass, Nursery cryme and Foxtrot. All in all this CD has 14 pieces describing the four elements. 7 are instrumental and 7 are with vocals. The progscene is alive, also in Italy, and this is one of the best albums of 2001 and clearly Le Orme's best work ever.
(review by Olov Andersson)

WOW! Who would have thought that this pre-IQ material could be so strong? I am sure it sounds much better since this is recorded in 2001, but all the songs are written in the late seventies. The album is instrumental except one track with vocals by Martin Orford. A few passages will be recognised by the IQ fans, since they've been reused in other IQ songs and the music is very similar to IQ as well. Classic symph/prog at it's best. I've found myself being more and more impressed with what these guys have achieved over the years and this CD is no exception. A standing ovation for Mr Holmes and Mr Orford is in order. This CD is a must for fans of IQ, maybe a must for the rest of you as well.
(review by Olov Andersson)

The follow-up to the successful "Revolutions" is here. This, one of Rob Reed's several projects, is, just like its predecessor, a concept album. This time dealing with the seven deadly sins. Musically it takes off in the same Yes versus Renaissance mixed with some Genesis influences style, but with a bigger, warmer production which suites the music very well. As always when Mr Reed is involved we get well-composed emotional songs with some fine melodic instrumental passages. Lead vocalist Christina was already sounding very fine on the debut but has now added a stronger and more emotional part to the grace and beauty, which her style is based upon. A true from-heart-to-heart communication which is powerful without force. The debut was a fine one and this is truly excellent. Need I say more?
(review by Hansi Cross)

A new concept album about Jules Verne by this Italian trio. Classic, melodic prog with lots of 12-string guitars, mellotrons, Hammond organs, Moog synthesisers, Rickenbacker bass and innovative drumming. The vocals are handled by a variety of guest-singers. The music is firmly planted in the soil of the 70's and any lover of that progressive music era will feel right at home. This is one of the best albums from Italy in years and they lack nothing (even their English is OK). A true gem.
(review by Olov Andersson)

Can a band who mixes 80's influences from bands such as The Fixx or Tears For Fears more experimental works blended with contemporary sounds heard as bands such as Radiohead or Mew be of any interest to the progressive rock audience? I certainly hope so. This, the debut, album from MAN ON FIRE is one of the most exciting new albums I've heard in quite a while. Even though it is possible to, here and there, spot the influences I must say that, to me, this has a very fresh and new sound.
A sound that appeals strongly to me. So, how can I describe this truly unique band? Well…the usual way is to use namedropping to give the reader a picture but this would not be appropriate in this case so…this is how I choose to do. They have a very fine lead vocalist in Jeff Hodges, who at times phrases a bit like Cy Curning (The Fixx), but his voice is quite different. More "rough around the edges" I would say. The melodies are very straight to the heart but the arrangements including a fretless bass wandering around and taking unexpected turns (not too far from how Mick Karn of Japan & Dalis Car plays) blended with some not too common guitar playing and some interesting violin parts from one of the guest musicians, David Ragsdale (Kansas) creates a fresh sound which sure feels good to me. Their music has a warm atmosphere as well as a rougher side. To me this band is progressive in the true sense of the word rather than meaning "based on what the 70's prog bands did". They have managed to develop rock music in a new direction in a highly enjoyable way. Even if I also enjoy many bands who relay on the old heroes way of creating music I find myself in a state of excitement when I (not too often I'm afraid) hear music that feels new!
(review by Hansi Cross)

("The Undefined Design" is Man On Fire's 2nd album - webmasters note)

Download mp3-sample (1.0mb)

As a natural follow up to their fantastic progressive pop album "The undefined design" this duo delivers another highly listenable album, this time a concept album with a little heavier edge than before. When I heard that one of my favourite guitarists Adrian Belew (King Crimson, David Bowie and others) was to be the most significant guests on the album I was really happy. There's no fault in the guitar playing on their previous two releases but I know that Adrian is capable of getting the right thing into the right songs. Now when I have played the record several times I notice that Adrian for sure does a great job but he never takes over the show, so it really sounds like Man On Fire with guests instead of something totally different. David Ragsdale (Kansas) also guests this album as he did on their previous one. This is another highly recommended album from a highly recommended band and if you want more information about their sound I suggest that you read Hansi's review of their second album "The undefined design". This album is just a little bit better and a little bit harder. Great band!
(review by Göran Johnsson)

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