(16 March 2009) Sirčnes: The Beauty of the Female Voice (Spectacle Entertainment (USA), SPC 20002, 2008) is an album not to be missed. Powerful yet sultry female singers take you on a journey of ecstasy, longing, unquieted dreams, and hope. A carefully chosen compilation of some of the worlds' best female artists created by Tom O'Keefe, Justin Elswick and Russ Elliot. Originally conceived to celebrate the tenth anniversary of Musical Discoveries, the album includes tracks from female artists reviewed here. Empowering and moving, Sirčnes will put you in another state of consciousness, another dimension of knowing and understanding that music has a power that can consume you and make you feel again.

Starting with a haunting old 50s record sound Blue Foundation's "Bonfires" teases you with a slow sounding lament that layers with cello and harmonies that instantly throw you into a driving beat that becomes larger and larger taking you into a whirlwind of beautiful harmonies and vocals by Kristine Stubbe. Shelley Harland's "Fly" is an electronic ambient delight. This vocalist has such an emotive voice it quite gave me shivers! I recognized her voice from the band Delerium and I was thrilled to see she was part of this collection of siren singers. My favorite lyrics were "Take me where I want to fly over mountains and over sky. I can take all your love with me and wait to die". Mixing industrial and ambient sounds really gave it quite an edge, and the harmonies blending in the chorus gave the song a beautiful touch.

Echostream's "One Last Cigarette" was a real surprise. It starts out very slow and sad and full of ghosts of the past but the chorus is so full of hope and beauty. The songstress Ryoko originally from Japan sings with such a level of deepness and despair it completely undid me. The lyrics are very sad and beautiful. The fourth track Viia's "Star" is reminiscent of a strange dream. Almost as though you're at a Cirque Du Soleil concert but you're the only one in the audience. Many unusual ambient layers create mystery and color. Strong and gutsy Singer/Song writer Jody Quine's voice soars eloquently. This song should be on a movie soundtrack.

Bridin Brennan is a very unique artist. In her song "It's To Late" there's so many different melodies mixed into this song you never get restless. Ambient, bluesy, folksy pop, always something new; there's simply not a way to place one specific genre on this song. Fans of Dido, and Everything but the Girl will enjoy this tasty treat. A younger sister of Enya and Moya Brennan, Irish songbird Bridin Brennan has certainly created her very own style. My favorite song of all is Sleepthief's "Skimming Stones". This gorgeous song was created by soprano vocalist Kirsty Hawkshaw and Justin Elswick exclusively for this album. Kirsty's voice is one of my cherished favorites. I've heard her on Delerium as well as other compilations. This song has a new age celtic undertone with an ambient pop sound. Deep drums and delicate bells give this song a sense of journeying into a deep forest moving towards the light that shines through the trees trying to reach the horizon. Very uplifting and saturated with soul. The ending is like a taste of heaven.

Kristy Thirsk's "Out there" is a tenacious driven and wildly fun song about searching for true love. One of my favorite Delerium artists, Kristy has a sound purely her own. Her vocal range is stunning as she reaches notes as high as Mariah Carey. Stormy, sensational, with a splash of attitude, "Out There" gives you a burst of energy. Sophie Barker's "Secret" has a soft folk sound with a mysteriously deep and moving voice and sexy accent. The violin and strumming guitar creates a bittersweet mood. My favorite lyrics were "Don't treat me like a fool. I'm more intelligent than you. You may have partially succeeded in breaking me in two, but at least I have a heart and mind and a soul". She sings from her heart with fullness with each word sung slow and sweet like honey.

Carla Werner's warm and steady voice delivers "Driftwood" with such sweet precision and depth. Her lyrics "Time imitates life. Eyes synchronized adjusting. Floating in and out with the tide like driftwood. Weightless & drowning. Out of air I come to the surface. Swallow myself and you a breath of purpose. I can't drown not when I'm living. I can't drown not when I'm swimming" are so beautifully sung. A treasure and a pearl, Íse's "2 Worlds" is four minutes long, yet it seems so short playing, she leaves me wanting more. It was beautiful fairy like and enchanting. The middle breaks out with driven beats and powerful belting vocals. Such a great song, I didn't want it to end.

Tara MacLean's ballad "Here and Now" is a blend of country and folk. I have been a fan of her since her 1996 album Silence. Her voice is sweet and full like a ripe plum. This song gave the album a nice balance of reflection and expressive raw emotion. Zoë Johnston's "No Longer Mine" makes me think of a hot day lying on the beach and soaking up the sun. Its folksy pop melody can't help but drive away the blues. Even though it's a song about lost love, it still gives you a sense of hope. Her warm rich voice sings past the grieving stage of losing someone and guides you towards the future of hope and moving on. Sylvia Tosun's "Runaway" is an uplifting and artistic song full of ancient world instruments and strongly driven modern pop music with a spiritual undertone. The chorus was exquisite and playful yet intense with Sylvia's profound depth charged voice.

Lisbeth Scott's "Smokehouse" is chilling, full of sadness and grace. I love this singer. With a back catalog including her albums Climb and State of Grace (I, II, III), she's most known for her works on Passion of the Christ, Shrek, and Sinbad. My impression of this haunting song is about being left behind and waiting for someone who isn't coming, yet still you wait, spirit whispering to you to keep going. Aeone's "Indira" has world and mystical soundscapes, chanting vocals, and new age texture. She has been placed on major films and television including one of my favorite TNT mini series Mists of Avalon. Her brevity of spirit glides in her song "Indira" and is cinematic perfection for this album.

The last song and a stunning ending to this delicious dish of fabulous females, Miriam Stockley ends the album with her poignant song Fantasy. Her intellectual voice is so full of beauty and soul it brings tears to your eyes. Known for her work with Adiemus, this ballades will put you in another realm all together. Close your eyes with this song and you will be carried away. It was clearly the best choice to conclude the album.

For an album to be interesting and enticing it must have depth, creativity, flow, movement and change. This album contains it all with 16 soulful singers, every track unique, a beautiful package design, and in depth info on each artist with their websites listed for more exploration. Don't miss this opportunity to be moved, to be changed, to be nurtured by fresh new music.

Not only does this album bring awareness and recognition to some amazing emerging artists, but it is also supports two wonderful charities. A portion of the financial proceeds from the album will benefit Joe DiMaggio Children's Hopsital and Childhelp USA. If you like musical diversity, superior polished vocals, and breathtaking melodies, then Sirčnes was created specifically for you.--Gabrielle Angelique in Augusta, Georgia

(16 November 2008) Musical Discoveries featured artist Charlotte Martin has released a new studio EP, Orphans (Test-Drive Records (USA) CMO 0019, 2008). The eight-song collection of masters and outtakes spans Martin'’s 10-year career. Charlotte has done a tremendous job releasing EPs between full length albums and Orphans is a great collection to tide listeners over to next year's planned release of her fourth album.

Selections include fan favorites "The Stalker Song" and "Snowflakes," as well as brand new, never released material recorded in early 2008. Charlotte worked closely with her long time collaborator and husband, Ken Andrews, and friend Tommy Walter (Eels, Abandoned Pools) to remix and re-master these recordings.

Charlotte reflected on the release, "I am happy some lost songs from the One Girl Army, On Your Shore, and Stromata recording sessions are finally finding a home on their own EP. This is a true collector's piece I want everyone to hear." We were especially enthralled with the excellence of the lost master of "Raven" included in this stunning collection. The EP is gorgeously packaged in a gatefold cardboard sleeve.

Tracks such as "Is This Called Desire" and "Outerspace," originated back in 2006, when Walter and Martin worked on tracks for a duo project called Exceptional Birds of Flight. These steer away from Charlotte's familiar keyboard-driven sound and explore electronics, accompanied by vocals that at times are reminscent of the Veins EP released in the same time period. Other outtakes, such as "Galaxies" and "Habit," stay more true to the classic piano-based lullabies, brimming with raw emotion and melancholy melodies.

Charlotte is currently writing and recording her fourth full-length album and--with her son approaching the one year mark next April--plans to return to the touring scene in early 2009.

(04 January 2009) Brave began their band career as Arise From Thorns in the mid-1990s. They were signed to the Dark Symphonies label after their second album Before An Audience Of Stars (1999), which was subsequently reissued on the label in 2001. The first release by the band was a stunning 2001 EP entitled Waist Deep In Dark Waters. A full length album entitled Searching For The Sun in 2002 illustrated that the Washington, DC-based band had found their stride in modern progressive rock music. The band had some lineup changes before a harder electric guitar edge emerged on their followup self-released 2004 EP Passages.

Between 2004 and 2008, Brave created the foundations for what would become Monuments. After years of writing and nine months of recording, the new album was finally released independently. This album is their pinnacle work, with a refined depth and musical texture that previous recordings merely foreshadowed. Monuments contains twelve new songs and is Brave's most accurate musical expression to date.

Fronted by Michelle Loose (vocals, keys), today's lineup is completed by Scott Loose (electric and acoustic guitars, keys), Suvo Sur (violin, piano, keys), Trevor Schrotz (drums, keys), Ben Kelly (bass) and Matt Kozar (electric guitar, keys). This expanded lineup has contributed both to the depth and strength of the instrumental arrangements. Substantial violin passages give the band a Curved Air sound while a second guitar player permits them to riff into metal territory. The band now clearly straddle classic progressive rock and modern female fronted metal. But they mustn't be confused with the Nightwish-class of bands such as Epica, After Forever or Nemesea.

While the band have a good amount of output since their initial release, they haven't fallen into the trap of doing a full length album every year. We appreciate their trend of releasing something every couple of years with an EP spaced between the full length albums. Band members have lives outside of music with relationships and children drawing attention to other life events. They have always performed in the Vienna, VA area and have toured some; the band, however, mostly perform close to home base.

Michelle Loose is a powerful vocalist with a vast range and depth of character. Her vocal work conveys emotions behind the lyrics. Layered tracks add strength to her delivery but she clearly has the energy and raw sonic power to perform without layers in a live setting. Although the album has substantially more instrumental work than the band's last outing, solo vocal and self-harmonies on Monuments remain exquisite. The band thoughtfully opened the album with the vocally intense track "Hold On" and concludes the album after a gap with a reprise of the song's introduction.

Monuments departs from the band's former outings in the instrumental arrangements. While half of the tracks are song-based, the other half have extensive instrumental breaks that illustrate the virtousity of the individual artists as well as their ability to perform effectively as a larger-than-four-piece ensemble. Heavier electric guitar riffs present a metal edge that has gradually emerged over the band's last three releases. The violin work is intense and works well within the arrangements.

Brave has just signed a deal for a ten year anniversary album with Femme Metal Records from England. The album, entitledLost in Retrospect, (2009) will feature selected tracks from all of the Brave and Arise From Thorns albums, including some songs that are long out of print. Michelle said, "We are very excited about this collaboration for a ten year anniversary CD with the new record label, Femme Metal Records. We can't believe we've been making music together for ten years now and are glad to be able to re-release some of the older songs that have been long out of print. We are so happy to be woking with Femme Metal Records and thank you for your support with this collaboration." The album will be a great introduction for new listeners and a collectors item for long time enthusiasts.

While Monuments is going to take the average listener more than one play to deeply appreciate, the album's tracks show significant growth and development of the band as well as the individual artists' professional growth. Michelle Loose is a tremendous and highly captivating vocalist. Outsurviving Second Story and Grey Eye Glances who began their careers at the same time as Brave, the band compare themselves to Lacuna Coil and Evanescence, their progressive stylings are going to draw lots of attention from listeners of Renaissance, Curved Air and Iona as well.

(05 January 2009) Shaye proves that when three established yet chronically underrated singer-songwriters with the ability to harmonize get together, the result can be electric. Lake of Fire (EMI Music (Canada) 0 94635 29292 3, 2007) is the second album for Kim Stockwood, Damhnait Doyle and Tara MacLean, and it deserves some serious attention. Read more about Shaye in our exclusive Tara MacLean interview.

Tara MacLean has had an active 2007-2008 outside of Shaye. In addition to traveling extensively abroad and having a second child, she contributed the track "Here And Now" to our Sirčnes compilation, released a digital EP entitled Signs of Life and a full length album incorporating the EP's tracks entitled Wake.

Of the three artists in the band, only Stockwood ever appeared to be properly marketed, and then only marginally. Her charming 1999 album, which yielded the hits "12 Years Old" and "Jerk," announced the arrival of a unique talent. The success of this second album took her down a career path that saw her collaborate with Squeeze's Glenn Tilbrook, Jann Arden and Paul Hyde of Payola's fame. Tara MacLean has been recording since since the mid 1990s, but her three well received albums didn't cause much of a stir commercially. Damhnait Doyle's career biography was similar.

While all three have their strengths and weaknesses, together those weaknesses seem to disappear. The first two singles, "Lake of Fire" and "You're Not Alone," are excellent contemporary folk-rockers that showcase the women as strong vocalists and songwriters. The only question this sophomore effort leaves unanswered is how come "We Will Not Be Lovers" hasn't been released as a single?

Lake of Fire is comprised of thirteen accessible tracks. Twelve are original Shaye compositions, the thirteenth is a Shaye cover of Van Morrison's "Tupelo Honey." The 50-minute album offers lead vocals by the individual artists and various combinations. Instrumentals are well produced, but this is clearly a vocal album. The range of styles and vocal harmonies are coupled with excellent arrangements to create a tremendous album.

With three writers on one album, there's not a lot room for other voices, but Shaye manages to carve out a little space for songs by Jill Sobule, Ron Sexsmith and Van Morrison. Shaye is proof that if two heads are better than one, three are exponentially better.--contributions from Herizons Magazine, Inc. and Musical Discoveries

(05 January 2009) Tara MacLean has been busy re-establishing her solo career the past two years. On the heels of her work on the second Shaye release Lake of Fire and supporting tour, she and her new soulmate traveled extensively and she gave birth to her second child. On top of this, she released a digital-only EP entitled Signs of Life and completed her latest album Wake (Nettwork Productions (Canada) 0 6700 30794 2, 2008) incorporating all of the tracks from the EP. Tara also contributed the song "Here And Now" to our Sirčnes (Spectacle/Neurodisc (USA) SPC20002, 2008) compilation album.

Tara's first two solo albums Silence (1996) and Passenger (2000) drew significant attention from female vocals enthusiasts and online publicity from the Ectophile's Guide with favorable comparisons made to Sarah McLachlan and Lava Hay. Some even coined the term "the Nettwerk sound" to characterize vocally laden singer songwriter work from Canadian artists. MacLean's first two albums are richly arranged and extremely accessible.

Wake is more sparsely arranged than Tara's earlier solo recordings and far less instrumental than her work with Shaye. Backing self-harmonies often accompany piano- and light guitar-based arrangements. While our editors were provided a CD to work with, Wake is a digital release. Tara (acoustic guitar, vocals) is supported by producer Bill Bell whio is credited with guitars and "everything else."

Other artists credited on the release include Kevin Breit (guitars), George Koller (bss, dilruba, cello), Andy Stochanski (drums), Kevin Hearn (piano, synth, accordion, rhodes, wurlitzer), Richard Evans (piano) and Mike White (trumpet). The album was financially supported by the Department of Canadian Heritage (Canda Music Fund) and Canada's Private Radio Broadcasters.

The album opens with "Wait It Out," a very accessible number that re-exposes the listener to Tara's dulcit tones. The melody from the track "Here And Now" is very memorable and is certain to catch attention. "Got A Light" is equally catchy. Mike White's trumpet solos during the instrumental breaks are tremendous. The unique chord progressions coupled with Tara's powerful lead and harmony vocals and rich guitar-based arrangements make "Over And Out" an album standout. The electric guitar solos during the instrumental bridge are also tremendous.

The emotionally wrenching "If I Don't Have You" and "Carve" are most illustrative of Tara's skill in creating gentle ballads, perfectly suited for the Sunday Morning Coffee House setting. These are timeless classics that stand today as well as those tracks Nettwerk included on the 1994 Slowbrew-Music For A Cafe Culture compilation. Soft percussion, slide guitar and piano blend perfectly during the instrumental bridges.

In contrast, "Mad World" is a down tempo but accessible pop-oriented verse chorus tune with Tara's vocal work presented more up front soaring above the instrumentals. The album concludes with radically different tune entitled "Generation Z." A modern rap-like song, significantly different than everything else on the album, the electronic arrangements and processed vocals alternate with vocal harmonies to show the diversity of Tara's talent. It was brave and thoughtful of Tara to include a track like this on the album.

Tara MacLean's busy life as a life partner and mother has retained a spot for songwriting and recording. Her album Wake clearly illustrates professional growth and development. Nettwerk Productions has a knack of identifying and retaining top female singer songwriters. We are going to hear more from Tara MacLean. Count on it.

(03 Mary 2009) Mikaila (Mikki) Straatsma is the lead vocalist for the brand new rock band from Canada called Viveynne. In their own style, but drawing on the sounds of Nightwish, Evanescence and After Forever, the band's debut eight track CD entitled Becoming Jane Doe (ReverbNation (USA) IR40566, 2009) follows on the heels of the gorgeous single "Lest We Forget," a free download for fans.

Aged only fourteen, Mikki wrote the single for World Vision as a donation and raised the most funds in Canada for the 30-Hour Famine special with this song and also secured a spot on Much Music. Watch the Viveynne's website for details that will permit downloads in exchange for further donations. The Viveynne EP Becoming Jane Doe is released in North America on 12 May 2009. Preorder the EP today from the group's website.

In addition to writing all words and music for this EP release, Mikki is also credited with lead and backing vocals, piano and synthesizer. The band backing her is comprised of Chuck Kollatos (lead and bass guitar, additional synthesizer and drums on "It's Been Dark"), John Lama (rhythm guitar) and Randy Solski (drums and percussion except on "It's Been Dark," and bass on "The Exiled and Her Opera House"). Beth Willson provides additional backing vocals on "Blood to Blood" and the EP's title track. Our editorial staff will add complete label and catalog information when our review copy of the EP arrives at our headquarters. The EP will be available at iTunes, HMV and amazon.com from release day.

Mikki has already garnered attention for her superb vocal work from rock bands worldwide and has been selected for the 2010 Beto Vazquez Infinity (feature) album. BVI's discovery demonstrrates the artist's already tremendous maturity since Beto has worked with many well established rock Discoveries vocalists, including Marcela Bovio, Tarja Turunen, Candice Night, Floor Janson, Manda Ophius, to name just a few. Mikki has already made a large impact and established a fan base with her MySpace demos. Mikki was discovered by Beto himself who was impressed with her extraordinary vocal control and power far mature than her years.

The EP opening track "Blood to Bloos" sets the stage for the power that will develop as the EP plays its length. Mikki's original compositions feature operatic metal-edged rock fused with both classical and gothic themes, blending melodic composition with ethereal soprano vocal and piano styles. Although Viveynne's sound differs substantially from Mermaid Kiss (feature), Mikki's voice can be most closely compared to Evelyn Downing and therefore Kate Bush. Note that the original recordings by Mermaid Kiss' singer, Evelyn Downing, were made when the vocalist was similarly aged to Mikki. Viveynne's music is universally powerful, and fully laced with metallic edges. However, the arrangements by Chuck Kollatos and John Lama still, as with Evanescence (review) feature Mikki's emotionally wreched singing throughout every track.

Viveynne's tracks are generally short, running between 3:00 and 4:00. Instead of running the length of the typical operatic metal piece, Viveynne has chosen to keep the songs in this radio friendly format. Allusions to Evanescence, especially Amy Lee's vocal work, are perhaps most strongly illustrated in the album's title track. The backing harmonies are incredible. While many of the tracks include stunning instrumental bridges and ripping guitar solos, the recording has not overdone it, leaving lots of room for expansion in the band's live performances, scheduled to begin in late May.

Most of the material on the EP is heavily arranged and dominated by the power of electric guitars, yet Mikki can equally deliver a tender ballad as clearly illustrated in both the sensitively delivered lead and backing vocals in the beginning of "Goodbye Good Morning" and throughout the bonus track "Sounds Of Starlight."

We found Mikki's control outstanding and her vocal work superb, soaring well above the powerful guitar- and keyboard-based rock arrangements. Although produced with a more accessible arrangement than the metal-tinged songs on the EP, the artist's 'charity track' "Lest We Forget" makes an excellent bookend for the Viveynne listening experience. It perhaps demonstrates the singer's vocal and emotive range better than any of the EP's tracks. Don't miss it! Like Ambeon's young Astrid VanderVeen (feature), Mikki has a superb voice.

Viveynne's debut EP Becoming Jane Doe is a marvelous entry for the lead vocalist and her supporting musicians. In addition to Mikki's forthcoming release with Beto Vasquez Infinity, we are sure to hear muchmore from this rapidly emerging vocalist. Stop back for the purchasing link to amazon.com when it is available.

(07 February 2009) The 2008 thirteen track album by Beangrowers is entitled Not In A Million Lovers (Psychocandy (USA), 2008). It is the Malta-based band's fifth album. Beangrowers is Alison Galea (vocals, guitar), Mark Sansone (bass) and Ian Schranz (drums). The album was produced and recorded by David Vella at Temple Studios, Malta. The oboe and cor anglais on "Ours Is A Small Flat is performed by John McDonough.

Beangrowers last album Dance Dance Baby was not their debut, but was the first of their albums to gain a wide release and thus represented most people's introduction to the trio. And what an introduction it was, revealing them to be one of the finest and most refreshing bands around. The album managed to extract the best of punk, new wave and goth, combining these darker elements with a lightness of touch and some sublime choruses and melodies to create joyously original and uplifting songs.

Dance Dance Baby was a disc that grabbed you right from the start and simply wouldn’t let go. The songs that make up their follow-up album Not In A Million Lovers use, for the most part, a more subtle approach, sneaking up behind before slipping their hooks into you. Whilst the punk and new wave references are still there, they are less obvious, more cunningly disguised.

The main means by which they achieve this is by occasionally going beyond the drums, bass and voice/guitar that is the band’s signature and introducing some subtle and subdued strings and keyboards. This has enabled the band to create a greater range of atmospheres--as on the gorgeous "Captain Darling"--and "Ours Is A Small Flat" is also blessed with some lovely woodwind courtesy of John McDonough." This approach hasn’t been overdone however and the band still rock out on songs like "Untitled Forever," "Love Can Do You No Harm" and "Depths Of Bavaria" for example. Overall it’s an excellent balance.

The songwriting maintains the high standard they achieved on Dance Dance Baby and with titles like "Good Band Bad Name," an accusation that has been levelled at Beangrowers, and the wonderful closer "Life's A Bitch Then She Sings In Your Band" they also display a wicked and self-deprecating sense of humour so good to see in an industry where so many artists take themselves far too seriously. Check out their music on MySpace.

Not In a Million Lovers whilst retaining much that made Dance Dance Baby such an exceptional album, also shows musical progression, and if the album is not as immediate as its predecessor, ultimately it is every bit as satisfying.--Jamie Field in Kington, England

(12 May 2009) Sweden’s symphonic metal foursome, Aftermath, have quietly crept their way throughout the metal underground over a highly productive and hard-working twelve month period, to focus on crafting an exciting and ambitious debut album, entitled Tides Of Sorrow. A female-fronted and vastly experience collective, led by the easy-on-the-eye American frontwoman Meliesa McDonell, who herself was close to joining forces with contemporary titans, Finland’s Nightwish, Aftermath announce themselves to the scene without any restraints or flashy promotional displays, using word-of-mouth and live performances as the focal approach in gaining interest and turning a few (metal) heads.

Accompanying the album is some interesting and fairly dark artwork, depicting a fallen teddy bear emblazoned with the message "I Love You" upon it, hinting at the lyrical and musical content existing within the nine tracks on offer. The overall feel of Tides Of Sorrow is an effective balance, however, between admittedly "self-struggling" lyrics and haunting keyboards / guitar distortions and a highly melodic, memorable and soaring songwriting style, with plenty of stand-out vocal moments and competent musicianship.

Filmic intro track "The Calm Before The Storm" feels exactly that - battalion drums, string keyboard patches and echoing male choir work creating a looming, eerie feel with a nicely written two-minute opening that closes with a stirring melody, mimicked powerfully in "proper" first song, "Broken Wings." Led by a simplistic piano / guitar chug verse / chorus delivery, McDonell’s vocals instantly display a fine range and suitable grace in balance with the heavier, metal backdrop, especially when it comes to the extremely catchy chorus and a drum-laden bridge.

"Dark Lady Anthem" hints at influence of power-metal kings Kamelot at their most Arabian with a song not quite as lasting or impressive as its predecessor, the chorus not nearly standing out as much, but the electronic blips and bleeps and overall toe-tapping pace keeps the listener entertained and highlights a well-rounded production mix, not to mention a sweeping keyboard solo courtesy of one Timo Hautamaki. "Returning To Live" has the atmosphere of a ballad, only with a crunchier, more electric feel. Slow-building, gradual verses full of longing vocals and finger-picked guitar work lead into a flowing chorus of a much more uplifting, hopeful tone albeit with still foreboding lyrics: 'When I remember ... I start to cry ..." Great stuff.

The synthetic keys and simple drum / guitar work means later-placed "White Swan’"holds a familiar structure to the earlier "Dark Lady Anthem" only this time around with a far superior chorus swirling with vocal harmonies and an interesting bridge, all frenetic keys and (unexpected) harsh vocals providing a tasty contrast to delicate female strains. Instrumental "Symphony Of Death" sounds like it should be a heavy as anything number, and that it certainly is – hugely symphonic keyboards and sweet guitar riffery backed by storming drums is the name of the game, with a few sprinkled melodic passages breaking up the meaty fray. It's nicely placed, effectively showcasing the technical skills of the band, bringing us to a pretty special conclusion, with a superb title track.

Only clocking in at four minutes, it feels far longer (in the best possible way) and is built around a tried-and-tested, though in this case ideal balance, of quite to loud, with a breathtaking chorus delivered with the backing of what sounds a hundred voices exploding out of the steady, softly spoken verses. A thrashy bridge with growled vocals freezes momentarily as a moving backing choir flows about McDonell's voice in a quite stunning moment, before it all crashes back in to action. The album's clear highlight, staying with you even as the meandering intro track wraps everything up with some piano sprinkles and gentle flute melodies.

Aftermath clearly are a band to keep a close eye on, if this invigorating and accomplished debut album is anything to go by. Featuring a vocalist of considerable talent, who in fact is a vital part of the "Aftermath machine" and offering up an enjoyable palette of classy symphonic metal full of melody and memorability, the future is looking highly promising for these newcomers. This, for sure, is only the beginning.--Jim Hall in Derby, England

(14 Feb 2009) American alternative / hard rock / metalcore five-piece In This moment formed through the meeting of like-minded vocalist Maria Brink and Chris Howorth via common friends in 2005. From this, the remaining trio of members were enlisted and debut album Beautiful Tragedy (2007) saw light of day, a heavy, hard-hitting collection of songs with influences of Killswitch Engage and holding highly melodic metal backdrops, that saw the band gaining underground success and a strong fan following.

Fast-forward to 2008, and we have, with the highly anticipated release of second album The Dream prove this is one band certainly not afraid to push their own boundaries or seek progression, as the thirteen tracks presented showcase a definite growth, maturity and innovation in sound when compared to previous and already promising Beautiful Tragedy. Vivid, attractive artwork and packaging enhances the ideas / concept of the record, with Howorth explaining the aim of crafting an album that was "like a rollercoaster ride with explosive highs, beautiful lows and everything in between."

A drifting, atmospheric intro track entitled "The Rabbit Hole" strives to sink the listener into this dream ‘world’, some spiritual vocal sways from Brink and background rumbles create a foreboding sense of something approaching to smash the peace, and sure enough, "Forever" leaps out of the gates as a galloping, irresistibly catchy straight-out rock number packed with energy and oozing confidence. Brink displays a strong, deliciously clean vocal approach, gliding over a pumping drum / bass / guitar backdrop. The pace of this bouncing four minute effort never lets up, as some guitar solo frenetics and subtle keyboards only enhance a definite album highlight, even this early on.

"All For You" keeps things fast-paced, only with slightly more mid-paced verses building to a flying chorus, as Brink screams out the importance of having just one person believing in you along the way against some chunky drums and gentle guitar lines. "Lost At Sea" is a pulsing, mesmerizing churner. All strained vocals and teasing verses, leading to a guitar-charged chorus, again revealing Brink to be a real talent and the driving force of In This Moment, and similarly, the later "Her Kiss" holds the same lurching, grinding alternative rock experimentation. Albeit with a hugely melodic and 'sing-a-long’ chorus that completely leaps out of the speakers.

It's with ballad "Into The Light," however, where In This Moment show just how far they've come. Throwing in this gentle, fragile and immensely powerful piano-driven tear-jerker to the mix, proves their adventurous ideas and in truth, it comes off a treat. Brink taking clear center stage, it's a simple, heartfelt gem, calming the relentless pace and nicely timed. "The Great Divide" is, in contrast, a touch out of place. It’s hard to call why, but the thrashy, metal edge finds the screamed vocals of old making themselves known and the guitars and drums holding a little extra crunch to them. It's a pretty well-worked song, just perhaps not linking as effectively with the theme of the album as the majority of other tracks.

As the certainly dreamy title track plays out the album in hazy, immersive fashion, the lasting impression of The Dream is of having indeed been involved in a rollercoaster of emotions, approaches and ideas. Backed by a solid, warm production and clear songwriting competence, In This Moment have stepped up to the challenge they set out for themselves in pushing forward the success and achievement garnered from their debut, having clearly worked mighty hard on this opus. It's easy-to-digest, catchy and long-lasting music full of passion and depth, which should appeal to a vast audience. Sit up and take notice, for their moment, is now.--Jim Hall in Derby, England

(16 March 2009) Sarah Brightman's A Winter Symphony (Manhattan Records (USA) 50999 2 3412323, 2008) album was refreshing and new. Sparkly and festive this album is perfect for the holiday season. Being a fan of Sarah Brightman since her Dive album, I've been able to enjoy all the different complex sides that exist in Sarah's incredible vocal range and diverse musical styles. Sarah's Winter Symphony is yet another musical side of Sarah I didn't know existed.

"Arrival" is sweet and full of cheer, it made me want to sit near a roaring fire while sipping hot cocoa and nibbling on a peppermint candy cane. It really held the Christmas spirit with uplifting vocals, a swelling symphony, and beautiful harmonies. "Colder Than Winter" slows you down a bit with a reflective frosty sadness about closing the door on love, but as the song deepens her voice elevates you to a sweeter place filled with hope. Sarah's version of "Ave Maria" is simply sublime. A duet with Fernando Lima--a perfect coupling of two amazing voices--creates a fantastic version I've never heard before.

On "Silent Night", Sarah's voice is so incredibly tender and delicate it brings tears to your eyes. She strikes emotions and weightlessness with her caressing voice. This was my favorite song from the album. I'm so use to hearing "In The Bleak Midwinter" with a Celtic flair that I was surprised how beautiful and new it sounded as an orchestral version. The gentle piano keys and Sarah's sultry voice made a perfect ending to this song. "I've Been This Way Before" has beautiful harp glissandos a slow rock beat and a gorgeous orchestra which sounds like it should be on a movie soundtrack. Sarah's voice has a burning brightness that glides with the music perfectly.

"Jesu Joy Of Man's Desiring" is a beautiful hymn with a baroque waltzing tempo that makes you feel as though you're sitting in a Catholic Church with angels singing in the choir. The harmonies are stunning on this song. "Child In A Manger" has a soft folk ballad feel to it. Starting out gently like a lullaby it builds with dazzling beauty with every verse. The incredibly high notes she sails upon seem effortless and sound sensational.

"I wish It Could Be Christmas Everyday" is a peppy fun filled song with a fast paced drive, lots of brass, a choir with hand claps, and sleigh bells. You could easily hear this song played on the radio or in a mall during the Holiday season. It even has a children's choir at the end. It's not my favorite piece on this recording for it does seem slightly formulated in the realm of Mannheim Steamroller music mixed with Jackson Five's "Santa Claus is Coming to Town." So although it wasn't my favorite song choice it certainly will make fans of popular Christmas music happy.

"Amazing Grace" was sung with exquisite gentleness and grace. The background music is soft to allow Sarah's songbird voice to soar to greater and greater heights. Simply radiant. "Ave Maria" is sung with passion and radiance. Completely different than the first run of "Ave Maria" on the album, this one is the more traditional arrangement I'm familiar with and the way Brightman sings the hymn is so dreamy. The incredibly high notes she reaches were marvelous and gave me shivers.

"I Believe In Father Christmas" was splendid and fun with gentle guitar strums, an angelic choir, pretty soft bells, deep drums and soft brass horns that merges into a marching beat that gears into yet another layer of driving rock music that's full of Christmas cheer. This song envelopes the true sense of Christmas and is a perfect farewell ending to this album.

I have listened to A Winter Symphony at least twenty times. If you're a fan of Sarah Brightman's music prepare yourself to be pleasantly surprised. The swelling symphonies, angelic choirs, beautifully unique arrangements of beloved Christmas songs, and Sarah's brilliantly dazzling voice provide each song with a different sound.--Gabrielle Angelique in Augusta, Georgia

(16 March 2009) A fan of Sarah McLachlan since 1993, I pretty much own every album she has ever created including rare mixes and b-sides. Originally Sarah started out as a celtic influenced new-agey folk emerging artist but as her sound grew so did her fame and quickly she launched into an international folk/pop star merging into the strong independent woman we know so well. Closer: The Best of Sarah McLachlan (Nettwerk Productions (USA) 0 6700 30823 2 7, 2008) is a stellar album containing favorite beloved pieces from her albums: Touch, Solace, Fumbling Towards Ecstasy, Surfacing, Mirrorball and Afterglow. It also includes two fresh new tracks to please all her fans.

I suppose the reason she is loved by so many is that she has a fragile delicateness about her that underlies a flinty edge. She speaks the truth with heavy lyrics and a smooth silvery voice but with a lusty sensuality that gives her songs dynamic and dimension. I’ve had a deeper sense of respect for this singer ever since she started the Lilith fair which celebrated female singers and turned the spotlight on emerging talents and empowered woman everywhere. A musician but also a humanitarian, Sarah has also donated to charitable organizations around the world including CARE, Engineers Without Borders, Help The Aged, Warchild, and Heifer International. Sarah has raised over seven million dollars from her Lillith fair tour which was donated to charities and women’s shelters across North America. She is also a spokeswoman for animal rights, and she started an outreach music Program for Inner City Youths called the SMMO Arts Umbrella Project.

As a singer/songwriter myself, I fell in love with her songs in Junior high and would listen to her Touch and Fumbling Towards Ecstasy CDs repeatedly for weeks and weeks. She was one of the most influential artists in my life and gave me hopes and dreams of becoming stronger and brighter as a person and an artist. So needless to say I was thrilled when she decided to release a carefully chosen collection of her very best songs. It is wonderful to see the refinement over the years as her music evolved with time and experience dating from 1988 to 2009. You will not be disappointed with her song choices.

"Vox" from her Touch (1989) album was an excellent commencement for the album with cheerful melodies and a celtic/world flavor. My absolute favorite song of Sarah's is "Ben's Song" so I was sad it wasn't chosen but "Vox" was still and excellent choice. Reminiscent of Enya and Clannad this song has a driving operatic sound. "The Path of Thorns (Terms)" is a bluesy gutsy song with an early 90s feel about devotional love to a man who strays. It has hints of Indigo Girls and Joni Mitchel flavors which spice this song quite nicely.

"Into the Fire" is a grittier darker side of Sarah. With an industrial 90s sound with a hint of Sinead O'Connor's splashy attitude and wicked sadness, people will enjoy the flashback and Sarah's complex harmonies and frustrated emotional vocals. Sarah chose "Possession" from her Fumbling Towards Ecstasy (1993) album which like a phoenix from the flames she completely comes into her own. I can no longer compare her to any artist for she has finally emerged into her full regal grandiose self. Here is where you hear yearning, soul, radiant harmonies, and the smoldering voice that pierces your heart.

"Hold On," also from Fumbling Towards Ecstasy, is such a great song with spiritual undertones. Her lyrics are suggestive and her voice is saturated with emotion and incredible control. My favorite lyrics are "Am I in heaven here or am I in hell? The crossroads I am standing. But now you’re sleeping peaceful lying awake and unafraid. You'll be strong tomorrow and we'll see another day and we will praise it and light the love that brings a smile across your face." "Good Enough" is a slower ballad about friendship, love, and trust. She has a sincere and fragile innocence in her vocals which paints the picture for her future song "Angel."

"Building A Mystery," a Grammy award winning track from Surfacing (1997) shows Sarah's vocal prowess at the height of her career. Her Diamond-certified (10X platinum) album was on the Billboard chart at Number Two and she was just pioneering her Lillith Fair tour with amazing female singers. "Sweet Surrender" has fun pop-filled driving beats with layers of texture, smooth sensual vocals, evocative lyrics, and alluring siren harmonies which blend well on this song. "Adia" has such an appealing melody. Its whimsical and fresh with a gentle grace. It’s one of those seemingly innocent songs that invade your mind and won’t leave for days.

"Angel" launched Sarah into a different stratosphere when it was placed on the major motion picture "City of Angels" where the song hit Number One on the Billboard charts. Probably the most heart rendering song she has ever released to date, "Angel" hits the core of your soul. Her sweet, tender, lovingly calm voice glides over the notes and lyrics like a lullaby. Anyone can relax and feel humbled by this song. Sarah's third Grammy Award winner, "I Will Remember You (Live)," from her album Mirrorball (1999) released during her Lilith Fair Tour, is stunning. There's something so raw and exquisite about live songs--an energy that simply can’t be reinvented in a recording studio. The live version is so incredibly different than her studio version.

"Fallen" is from the Afterglow (2003) album. It has a lush warm music bed and Sarah's voice is stronger with more depth and feeling which I can only assume are simply from experience. The gorgeous swelling strings and harmonies are perfect and the chorus is melodic and catchy. After years of waiting for new music it was refreshing to find that Afterglow proved Sarah still had what it takes to be a soulful creature of music. "Stupid" is a fiery impulsively wild song. It starts slow and smooth but when the chorus hits it’s gritty, power driven, and tempestuous. I love the complexity of this song and the bridge "Everything Changes, everything falls apart, I can’t stand to feel myself losing control, in the deep of my weakness I know" was sublime.

"World On Fire" has sacred feelings and radiant harmonies. She's a mystique of the otherworld on this song singing about birth, life, death, humanity and everything in between. "Don’t Give Up On Us" is a fresh new song featured exclusively on this album. The bluesy sexy side of Sarah shines through on this song. Smooth with a gliding voice and angelic harmonies and a heavenly music bed all mixed with a modern sound. This song stretches her musical ability to a new level. The ending is resplendent and exquisite. Released as a single prior to the Closer album, "U Want Me 2" (2008) is a great farewell to over two decades of music she has birthed. This new sound of hers is deeper and more authentic; she truly has grown as an artist. This song is about losing love and trying to find a compromise a meeting ground between the gap of disinterest and trying to find that spark of love to reignite the passion when love falls apart.

I was thrilled with the song choices on Closer, but with her two new songs it has put a hunger in me for more new music. I really hope she releases a new album with all new material and takes all her passion and experience from her previous recordings and dreams up yet new artistic sensibilities. She has a gift that can lift the hearts of millions and I pray she immerses herself fully into her music at least for one last album. I highly recommend this exceptional collection of songs to any fan new or old who enjoys a wide array of songs worth of substantial material created by an eight-time Juno and Four-time Grammy Award Winner. Her music has made an impact on the world and I hope she continues to do so.--Gabrielle Angelique in Augusta, Georgia

(03 January 2009) The 2008 release by Andrea Plamondon, entitled I Still Remember-A Collection of Songs from San Francisco's Underground 1989-2006, is a 14-song digitally remixed anthology of the artists work spanning the period with five different lineups. The album is clearly a labor of love illustrating the range of the artist's work during this seventeen year period. Andrea's intensely delivered vocals pearce through every track.

Joy Fm tracks vary from the upbeat to the sublime. The album opens with the pulsing and accessible rock of the title track performed by the band. Andrea is backed by Matthew McGee (guitar), David Lister (bass) and Scott Williams (electronic drums). The 80s sound of "No More Silence" continues to illustrate the band's chops and Andrea's vocal dexterity. Recording quality, depth of arrangement and vocal maturity characterize the darker "Devil of Darkness." We appreciated the demonstration of Andrea's sheer power and vast range in the track. The chant and Middle Eastern feel of the final and short Joy Fm track, "Chosen Secrets," clearly contributes to the album's incredible diversity.

Satyrica is the largest and most robust ensemble Andrea presents on this album. She is backed by Andrew Carson and Sean Nolan (guitars, percussion, mandolin); Effie Jacombs and Jason Horn (bass); Allegra Windyworf (violin); Rick Zegri (trapset drums, percussion); Gene McCutcheon, Jun Segura, Phil Cox, Dionne Kohler, John Brick, Justin, Gary, Kyle (jembes, congas, percussion). These individuals probably recorded different tracks on the album. "Hope Springs Eternal" demonstrates the lush arrangements of the ensemble while Andrea's layers of banshee inspired vocals contribute to texture. The rhythmic arrangement of "Five Year Old Sages" and vocal melody contribute to the overall accessibility of the song. The brief mandolin-laced ballad, "Sweet Song," is delicately produced. The final track by Satyrica is a largely instrumental ute progressive epic running almost ten minutes, entitled "The Ground Doubt." The track is full of Andrea's soaring and crystalline experimental vocalise.

Andrea included the track "Little Boy Lost" by Pox Eclipse. She is backed by Chris Ranzo (guitar, ukelele, percussion), Flavia Happ (violin) and two harmonizing vocalists named Sharon and Ananda. Transferred from a cassette recording, the tenderly delivered, yet sonically piercing, ballad "Little Boy Lost" illustrate's the artist's crystalline vocals work atop the lightest arrangement. We would have liked to hear more from this lineup.

There are four tracks by the band Lucid included on this CD. In addition to Andrea, Lucid was comprised of Salena Ugalde (percussion, vocals); Krystl Chamber (vocals); Albert Garcia and Aaron Goldstein (percussion). As one can see from the lineup, Lucid's arrangements are simpler than Andrea's other lineups. "Invisible Animals" is sensually sung by Andrea. The backing harmony vocals work well to add texture especially when Andrea's vocals explode into a siren. The down tempo, percussive arrangement of "Desert March" is contrasted by the vocal work in this most Dead Can Dance-oriented number. We appreciated the rhythmic keyboard arrangement behind the dissonant vocal work in "Gypsy Moon." Lucid's last number on the album is a short number entitled "The Chant Of The Flower."

The album concludes with the new age styled six minute track "Dream" by Dreamstreamusic Inc, a lineup comprised exclusively of Andrea (vocals) with Rob Cowan (soundtrack). We especially appreciated the depth of the instrumental arrangement and Andrea's perfectly complimenting vocalise. Andrea Plamondon's seventeen year anthology is a testament to the range and depth of the artist's work. This album is currently available online at CDBaby and amazon.com. What will Andrea do for an encore, more with Dreamstreamusic? We hope so!