I must admit that, in my work, I sometimes get a bit bored with listening to one album after another of progressive rock bands that, even if they are good, tends to sound quite much the same, so this one was a very pleasant surprise.

From out of nowhere (well…Switzerland actually) come this new band, and they deliver a splendid debut album with high quality progressive rock containing most of the usual ingredients but nevertheless with a fresh approach, a unique sound and compositions that can not easily be compared to the 70's great bands (which themselves at the time had the same qualities). The music is melodic but raw, very inventive at times, and has a vital energy which I sometimes find missing in many of today's releases. Another aspect that makes this band special in a most positive way is the vocalist who sounds kind of like a unique mix of Noel MCalla (Mike Rutherford & Manfred Mann's Earth Band) and a young Elvis Costello, and it works very well! The band plays very well together with drums and bass perfectly backing up the interesting keyboard themes played by the band leader himself and also worth mentioning is the guitar player that without problem switch between different styles but yet keeping it together and creating a RAK sound.

A brilliant debut that comes with a nice Mark Wilkinson designed booklet. It might take a couple of listens to get into their music but don't let that stop you from repeated listening, as you most likely will be greatly awarded.
(review by Hansi Cross)

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Heavy! Very heavy! In fact it is, most of the time, a bit too heavy for me when I try to listen to the entire album in a row, but in smaller doses it is highly enjoyable stuff going on here. Musically it is kind of like if Rush gone berserk, which of course is a cool thing that is more than welcomed as a positive adrenaline kick thrown in here and there between other tracks on some of my "Various Artists CD-R's". Listening to it that way always creates a smile upon my face and then I highly enjoy this new project featuring Chris and Brett Rodler together with the fine, until now unknown to me, guitarist Mike Ohm. There are also some King Crimsonesque parts thrown in for good measure (which of course also is a cool thing to do). These guys have fun! If you are into heavy progressive rock crammed with odd signatures, wild drumming and technical almost-metal guitars this one comes highly recommended. (review by Hansi Cross)

A new polish contribution to the progressive rock scene is here with their debut album. The intro is very Pink Floydian starting with a sound from somebody browsing through the channels of a radio set and then some atmospheric synth chords and a Gilmouresqe guitar enters which made me wonder: Is this another Pink Floyd wannabe band? But the answer to this is "No". A couple of minutes in to the album the style changes into something more of their own and we get modern, well played progressive rock with a bit dark atmosphere based on lush keyboard layers, soaring guitars and fine vocals. Compositions are good and are nicely holding together throughout the album which ranges from mellow atmospheric parts to driven and rather heavy stuff occasionally interrupted by some softer acoustic guitar playing, a bit in the vain of Kevin Gilbert. Very nice! What we got here is another really fine prog act from Poland of which we can, not only enjoy a strong debut album, but a one that convinces me that RIVERSIDE has the potential to develop into a really brilliant band because it's a hell of a debut they have come up with.
(review by Hansi Cross)

Here's the short story of how I at last realised that also a "cloneband" can create albums of great value. 1st impression: "God! This is ridiculous! How can any band want to be such a clone?" 2nd impression: "Hmm..well it's rather nice actually. And the way of using Pink Floyd song titles in the lyrics is a cool way to make a tribute" 3rd impression: "Well…I must admit that I really like this" 4th impression: "This must be the best Pink Floyd album that Gilmour & Co never made!" I love this!" RPWL's debut ended up being my most played album of the year 2001.
(review by Hansi Cross)

The album kicks off with heavy drumming from Neil Peart then Alex Lifeson adds a groovy guitar riff and to complete the sound Geddy Lee plays a melodic bass line and I know that Rush have found them-selves again. After the disappointment with their last studio release "Test for echo" followed by several tragedies in their surroundings, "Vapor trails" marks the return of a band that plays with new energy and vitality. This album seems to take off where their masterpiece "Counterparts" ends and is just as good. "Vapor trails" includes 13 new songs and for the first time since 1975's "Caress of steel" Rush have brought us an album without keyboards which sounds fresh. My personal favourite track is "Peaceable kingdom" with both melodic and heavy guitar lines and Geddy experiments with some strange vocal harmonies during the refrain. We also get part IV of the long running project "Fear". Rush have been constantly changing from the start and still is. This album doesn't sound like anything they have done before but it still sounds Rush. Lee/Lifeson/Peart proves once again why they still is the number one power trio. (review by Göran Johnsson)

Saga's singer has put out a new solo record. Michel has delivered a solid pop-rock-prog record. From the start with the driven "Who's sorry now" to the ending song "Clear" Michael keeps you interested nearly all the time. Nearly you might think. Well, there's a couple of ballads that I'm not so fond of since they tend to sound quite banal at times, but on the other hand most part of the album is really a brilliant mix of pop and rock in a quite prog-ish way. So if you're into the poppier side of Saga, this record really belongs in your collection.
(review by Göran Johnsson)

Here we got one of the strongest and most interesting albums in a long time. A band that is truly inventive but at the same time don't get too far from the roots. This makes them kind of hard to describe by comparing them to other better known groups, but I'll make a try anyway.

At times they are very pompous and symphonic with big layers of synthesisers and gigantic choirs just to suddenly take things down to a mellow state again. Also small portions of fusion inspired pieces are thrown in as nice counterparts Saens is a 4-piece unit where all members are playing several instruments. Three of them play keyboards and two of them are obviously shifting between keyboards and guitar. Lead vocalist (and bassplayer) Pascal Bouqillard sometimes reminds me of Andy Sears (Twelfth Night 1984 - 87) with an emotional and sometimes dramatically expressive style. Guitars are often melodic and sometimes reminding a bit of Brian May (Queen) and are mainly played by, I think, Benoit Campedel while the symphonic sounding keyboards are mainly taken care of by Vynce Leff who also plays some guitars and are responsible for some vocals along with most of the compositions. Finally we got Damien Gadenne who's drumming are backing up the songs very nicely without too much interference.

If you are into adventurous symphrock I strongly advice you to try this one out because, as I mentioned in the beginning of this review, here we got one of the strongest and most interesting albums in a long time. (review by Hansi Cross)

Strong, dramatic symphonic rock with a dark atmosphere and a desperate feel which is enhanced by minor chord changes and the very emotional vocals of Pascal Bouquillard (also taking care of the bass), who's style is a bit reminding of Andy Sears (Twelfth Night), is the trademark of the second album from the French outfit Saens. Well, it's not really that simple. Their music is also switching moods and bares a sense of comforting and a feeling that it might be a light somewhere at the end of the tunnel.

Vynce Leff's bombastic and rather complex keyboard playing are nicely balanced by the, at times, a bit Steve Howe-influenced (and at other times a bit Mike Oldfield-like) guitar playing of Benoit Campedel and the competent and suitable drumming of Stephen Geille. This brilliant 76 minutes work is divided into 2 pieces. Part 1 is named "Dystopian dreams" and Part 2 is titled "Prophet in a statistical world".

Lyrically the album is about seeking freedom in today's controlled (and very "statistical") way of living and the music is very symphonic and even includes a prelude from Bach. It is strong, emotional and inventive at the same time and I like this one as much as their debut. Maybe even more.
(review by Hansi Cross)

This fifth CD from American proggers Salem Hill is a real treat. 70 minutes of brand new music for your listening pleasure and they've created nothing less than a masterpiece. Salem Hill today consists of five members. For this CD they've added a keyboardplayer: Michael Ayers that really broadens their musical horizon (they add a musician/member with every release). Since their first release: "Catatonia" in 1997 they have grown and matured like a fine wine. The 7 new pieces on this album lacks nothing. It's pure symph/prog with tremendously skilled musicians with bright, fresh ideas and David Ragsdale (Kansas) appears as a special guest with his fine violin-playing as he did on their 2nd CD "The Robbery Of Murder". I feel exactly the same way as I did when I started to explore this kind of music in the 70's. I'm swept away and find myself wanting more. Classic progressive/symphonic music with a new fresh innovative approach that will put Salem Hill in the premier league of today's prog-scene.
(review by Olov Andersson)

The new album has only one similarity with their previous albums and that is that it sounds completely different from the rest. This time it's a little heavier/harder, much more progressive but with an extremely personal touch. The first things on my notepad after the first listen includes similarities to Echolyn, Queen, Kevin Gilbert with hints of Beatles. This band is constantly changing, yet again they maintain a high quality and an almost childlike, adventurous approach to music. It's too early to say if this is their best album yet, but I can safely say that it's in my top 10 for 2003. I can guarantee that there isn't a dull moment in sight on this album. If you haven't discovered Salem Hill yet it's about time you did. (review by Olov Andersson)

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Second album from Clive Nolan's soloproject and as expected it sounds quite a lot as a mix between Pendragon and Arena. The two most well known bands of which he is a member of. The main difference is that he takes on the lead vocals by himself. You probably already know about his ability as a keyboardplayer, but how does he work as the lead vocalist? Very well I'd say. He may not have the technical skills as Arena's frontman, but he certainly reaches me and creates an emotional impact. And that's what I personally most often look for in music. We also get great musicianship from the other members Karl Groom (Threshold) on guitars, Ian Solmon on bass and Nick Harradence on drums. A must for fans of Pendragon, Arena and Casino but also very recommended to progheads in general. (review by Hansi Cross)

A symphonic/progressive musical is perhaps the best way to describe this epic double-CD. This concept-album-project is one of the nicest musical surprises that I've heard this year. A very varied piece of work with loads of nice keyboards such as Mellotron, Hammond and Moog and with powerful vocals, beautiful violin-pieces and melodic guitar-parts. It's truly "Big Music". Each song has it's own characteristic and there isn't a dull moment here. When the last song ends you just want to go back and listen to it one more time. And you will do that. Over and over again. A masterpiece like this can't be overlooked and I feel it's my duty to let you know about it.
(review by Olov Andersson)

Simon Apple is an American trio who creates warm modern music with lots of emotions. Their latest CD "River to the sea" is a wonderful album that musically is ranging between different styles without giving a shattered impression. To some extent the music might be described as a mix of Kevin Gilbert, XTC and Steely Dan with some casual prog thrown in for good measure. Sophisticated, smooth prog-pop if you will. The album is nicely produced by the band's guitarist/keyboardist Jeff Miller and is mixed by David Leonard. Sound quality is very good. Drummer Buzz Saylor provides tight and fitting rhythms perfectly backing up the well-crafted compositions fronted by the warm, communicative singing of vocalist Dan Merrill. There are a few guest musicians on here that is worth mentioning like Tony Levin (King Crimson, Peter Gabriel) and John Helliwell (Supertramp) to name a few.
(review by Hansi Cross & Olov Andersson)

The guitarist from Holding Pattern is back with his second solo album. The style is not at all the same as on the 1981 Holding Pattern album. This sounds more like Dixie Dregs or Steve Morse Band. Tony seems to be greatly influenced by Steve's guitar-playing. The CD also contains a cover of "Sleaze Factor" by Steve. Tony Spada has no problem playing this style and the album is filled with nice instrumental numbers in the melodic rock/fusion vein, with a few nods towards electronic country & western. If you haven't discovered any of his music yet, it's about time that you did. Let's hope for more nice albums, both from Holding Pattern and Tony Spada.
(review by Olov Andersson)

Spektrum is a semi-supergroup in that it contains members of Galleon, Cross and Grand Stand as well as vocalist Lizette von Panajott. I was immediately taken by just how commercial-sounding this album is as it comes across as a mix between It Bites and 'And Then There Were Three' era Genesis. Certainly nothing that could be construed as being a bad thing. It has a definite Eighties feel and yet is also very fresh and quite different to much that is currently on the underground progressive scene. There aren't many bands that use similar musical references and this is surely going to be an album that is going to make them many friends.

It has been released on the Swedish Progressive Records label but it should be easy to find in this country or through the label site at www.progressrec.com (where there are many other albums also available). This is music that is melodic, and often quite different from one song to the next. I really like "Land Of Longing" and can almost imagine that being released as a single while the following number "Now" moves from space and gentleness to some driving guitar. This is an album that has so much going for it yet at the same time is not only intricate yet is also so very listenable. The vocals are different to the norm, which gives the music an added edge.

It is a debut album yet given the background of the players it is of little surprise that this is of such high quality. A superb album that progheads need to search out.
(review by Kev Rowland, Ghostland)

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I first saw Sphere (as they were called then) in Rotherham September 1995 and at the gig they announced that an album would see the light of day shortly. Now seven years later the album is here and they now are called Sphere3 (for reasons I don't know). The music is as I expected and hoped for, maybe a bit jazzier and not as funky that it was back then. The instrumental quintet blends jazz, fusion, rock, funk, progressive rock and ambient stuff into something very unique, different and highly enjoyable. Check them out! (review by Stefan Polzer)

As the title indicates this is the fifth studio-album from USA's high priests of modern prog. In a way it feels like a summary of their previous production. Some rock-numbers, a few soft pieces with beautiful vocal harmonies and some dead serious progressive rock. A song that stands out is "Thoughts (part II)", which is a Gentle Giant-like piece in the same vein as it's first part (from their 2nd CD "Beware Of Darkness"). Very nice! Other highlights are the first song "At The End Of The Day" and the last 27-minute piece of the album "The Great Nothing", which are built the same way as the songs from their epic debut-CD "The Light". You will recognise the typical Spock's-sound but there is something new and fresh here as well. Perhaps it's due to the fact that this CD is more of a group effort than their previous work. The rest of the band have had more input than on the earlier albums where the songs and arrangements were mainly done by Neal Morse. The result is a beautiful, varied collection of songs, played and arranged in the unique Spock's Beard way. Nobody will be disappointed.
(review by Olov Andersson)

Rising from the ashes of the progressive rock band Emerald Tiers comes here the debut album from Sustained In Jade. Song writing and performance is a bit Rush-like with the main difference being the vocals. Sustained In Jade includes two fine vocalists, Jason Wilson (who also plays bass/keyboards) who sounds a bit like Roland Orzabal of Tears For Fears, and Jennifer Garret, who's wonderful voice shines bright throughout the album while the guitar playing of Angelo Spinello and Kevin O'Brien's drumming sounds not very far from Alex Lifeson and Neil Pert in style. No cloning though. To me the minor "problem" with this album is how it ends. First we get nine highly enjoyable tracks, with the ninth one having a nice ending feel. Track 11 (last track of the album) is a metal inspired song that, to me, feels rather misplaced here (it would probably work better if it came earlier on the album, it's not a bad song, just misplaced) while track 10 is a bit weak compared to the other songs on this album. Despite of that I really like the album and even if I often get up and shut it off after track 9 it does not stop me from playing it again and again. "Sketching the perfect view" has plenty of fine compositions to my liking and that also goes for the fashion of which they are performed. Suitable arrangements' sounding a bit early 80's with vocals that clearly communicates. And the title is also cool.
(review by Hansi Cross)

On their first release "Deliverance" from 1998 this fine outfit sounded as a typical neoprog band (one of the stronger one's from that year) but since then they've managed to develop their style into something rather special. On this, their fourth effort, we get a fully developed style that is hard too compare to anything else. But to give you a picture I'll try to anyway. The band consists of highly competent musicians with skills to incorporate several of musical styles - all in a very natural way - into the arrangements of the well-written pieces. In Marco Glühmann they got a vocalist with a strong voice and an expressive style, whether he sings in a soft way or a hard doesn't matter, it's straight to the heart all the way.

"X-Rayed" takes off from the former, third album, "Artificial Paradise" with a mix of today's progressive indie rock (Mew, Radiohead, Mars Volta) and some heavy but melodic riffing and roaring choruses (which is not too far from how some NU metal bands sound from time to time) and some more traditional symphonic rock. This is an album with broad and strong compositions ranging between about 3 to 13 minutes long all nicely and well balanced put together to a superb 68-minute journey in Sylvan-land. Modern progressive rock at it's best.
(review by Hansi Cross)

Starts out with a very powerful track titled "Universe" and continue with nine more songs of heavy progressive rock; at times sounding not too far from what, for example, Flower Kings does today. It seems to me that this album was kind of head of its time. I believe this is one is of great interest to those who want to find out more about the "second generation" of progressive rock acts.
(review by Hansi Cross)

The opener titled "M.O.T.H." (11,20") starts out with a growing, atmospheric synthesiser cut by a rather ELP-like part which leads into the first verse based on acoustic guitars and mellow harmony vocals interpreted by some progressive boogie stuff sounding somewhat like ELP with Steve Howe imitating Robert Fripp (!), and then back to the verse again but this time developing into an energetic guitar-solo backed up with nice keyboard layers and some rather busy drumming. A fine starter which is followed by "Beggar's tale" (2,47"), a short acoustic guitar/vocals ballad giving us a necessary break before entering the pompous and rocky "Distant light" (5,35"). A very nice instrumental track sometimes reminding me a bit of The Flower Kings. Again we get some quite busy but suitable drumming and 70'ish sounding guitar playing with more timelessly sounding keyboard work. Track 4, "Zinjanthropus" (12,31") continues with some, again, ELP-like keyboards and also this one is a great track. Also the rest of the album is mainly in the same style ending up with the superb epic track "The journey of Myrrdin" (17,29"). A very fine album filled with well-performed symphonic rock delivered in a not-too-slick production, which is definitely to my liking. As you can tell by the namedropping above we get influences from the 70's masters but also a dose of freshness in the way these guys perform and a way in composing and arranging giving them an identity of their own. A highly enjoyable release which is often played here at the Progress Records office. Not to be missed!

PS. 10 years ago the same guys released another fine album under the band name WITSEND but was forced to change due to legal rights owned by someone else. DS.
(review by Hansi Cross)

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