(revised 10 May 2005) Sylvia Tosun has released her stunning second full length album Jump In. A thirteen-track collection of material that builds in sound, texture and lyrical content on her debut 2001 EP "Too Close To The Sun" (feature), the album is brilliantly produced by Miklos Malek and co-produced by Sylvia Tosun. It was arranged by the duo and by Istvan Csont, who joined forces previously on Sylvia's award-winning 2002 album Anthem (review).Read our exclusive 2005 Jump In interview with Sylvia.

Tracks on Sylvia's new album were mixed by the legendary Tom Lord-Alge and Miklos Malek and were mastered by Tom Coyne of Sterling Sound. Sylvia has continued to write with long-time friends Emil Adler and Julie Flanders (October Project) who contribute to music and lyrics respectively for ten of the album's tracks. The result is captivating and addictive with a quality certain to enthrall and expand Tosun's loyal following. All new arrangements contribute to the new renditions of songs previously released on "Too Close To The Sun."

The album's twelve songs range from upbeat rockers to soft ballads and include vastly accessible pop numbers as well. The sequence of the tracks builds interest as the material unfolds. The opening "All This Time" has a catchy, upbeat melody and a beautiful instrumental accompaniment. Richness and clarity flows throughout this song and it has a strong, sensual quality. The rock rhythm urges one to move with the infectious beat. Lyrics speak to the heart and relate a message of hopefulness and reality. The exciting "Jump In" continues with lush vocals--Sylvia's crystalline lead atop backing harmonies--and a percussion driven melody. The song is about taking chances and to "feel the edge of a miracle."

The album continues with the standout "Sleepless," with its mysterious and exotic Middle Eastern texture. The melody draws the listener in further with a frenetic beat and a sensual delivery of the lyrics. Soaring vocals complement the rich arrangements. Sylvia's beautiful, soaring voice in the down tempo "Your Girl" casts a spell over the listener, evoking a sensitivity and energy in the music. Layers of backing vocals contribute lush harmonies to the number. The album continues to expand in style with the upbeat dance rhythm of "Sanctuary," where vocal purity and power are joined by a mystical sound and undertones.

"We Belong" is a gentler number, a ballad that draws the listener into a wonderful and heartwarming dream. "Maybe we're all healing, kneeling to an altar of hope, when our hands are touching, clutching to that open door..." expresses the inspirational lyrics and melody that is rich with texture and harmonies. Another album standout is "Head Over Heels," which explodes into a breathy, take-charge melody. Pulsing rhythms and synchronized instrumentals punctuate layers of vocals that display Sylvia's best assets. Her extensive range and clarity are simply flawless.

The poetics in the title track of her debut EP "Too Close to the Sun" are treated with soothing harmonies that indulge the senses. The dreamy melody captures a spirited mood that crescendos with a touching tenderness. The simple hypnotic percussion in "Dreaming" helps to create the ambience of a wistful frame of mind. The beauty of theechoing vocals and backing harmonies and infectious hook continue to impress and inspire. "Once and Always You" has a compelling rock rhythm and demonstrates both Sylvia's vocal range and power. The lush instrumentals and catchy tune are joined by rich vocal arrangements that make this another album standout.

The slower "Moving Away" is an evocative tune that envelops and dazzles the listener. There is a stunning blend of well articulated vocals, lyrics and melody. The album concludes with the gently delivered yet vocally powerful "Blue Sky." Here Sylvia creates a mellow and enchanting sensation with tender vocals. Floating melodies unite to complete a tapestry of words and music and illustrate the range and depth of the artist's musical talent.

Sylvia's powerful voice perfectly complements the rock rhythms, pop melodies and poetic metaphors on All This Time. Her crystalline lead is supported by layers of backing harmonies as well as rich arrangements on each of the album's tracks. Sylvia's live shows are special events with diverse musicians participating -- all accompanied by her sensual silhouette moving about the stage. Our new interview with Sylvia Tosun and review a live performance is planned for publication later this year. All This Time is a timeless album and it is certain to attract the significant attention this tremendous artist's work deserves.

(30 May 2005) In a career dogged by troubles with major labels who consistently wanted her to be something she wasn't; a vapid, radio-friendly pop girlie icon. Failing to release much of the work she did create, Aimee refused to give in, eventually buying herself out of her contract and setting up her own label with the tongue-in-cheek title of SuperEgo Records. Lost In Space was originally released on Mann's label in 2002.

Lost In Space (Mobile Fidelity Sound Laboratories (USA) UDSACD 2021, 2003) is the fourth of Aimee's current tally of five solo albums following her stunning debut Whatever: I'm With Stupid and the critically acclaimed Bachelor No. 2 and coming before this years' The Forgotten Arm -- and you can throw in an Best Song Oscar nomination for "Save Me" on the soundtrack album for the film Magnolia too.

This edition was mastered using the GAIN 2 mastering system. The custom analogue tape section utilizes an extremely low induction tape playback head and handmade reproducer electronics, achieving unparalleled resolution and bandwidth up to and beyond 60 kHz. This enables MFSL engineers to extract, with the utmost accuracy, every last musical nuance from the Original Master Recording. The production quality of MFSL's pressing is uniquely superb and a notable improvement from the 2002 release.

Lost In Space is not an album that's going to bowl you over on the first couple of plays--and it's no joyride --it's a somber and melancholy experience, and for the most parts lacks the obvious hooks and musical variation that make Whatever such a superb album. The producer of that album and long time Mann associate, Jon Brion is conspicuously absent from this outing. Yet that doesn't make Lost In Space in any way a lesser album,just a different one.

There's a unity of superbly articulated subject matter here--desperation, need, sadness, desire, strife, expressed in Aimee's distinctive, even delivery where the subtlest of variation speaks volumes--the slightest break in hervoice tells you more than any amount of the over-wrought vocal histrionics employed by so many current female singers.

Lyrically, the album maintains Mann's reputation for intelligent, acute, emotional observation delivered in rapier sharp couplets. For example this from "The Moth" 'and nothing fuels a good flirtation / like need and anger anddesperation.' Actually, she doesn't always need couplets; often a single line will suffice.

Perhaps of all her gifts, Mann's melodic ability is her greatest. The tunes here arc and lilt so perfectly that you can't conceive of them ever being anything else but what they are. And even if the hooks aren't as obvious as onher earlier albums, they're there all right - you'll find these tunes coming back to haunt you long after you've taken the disc from the player.

In the same way that it's hard for Aimee Mann fans to say exactly which of her albums is their favorite album as they're all so damn fine. So it's invidious to try and pick out specific songs on any album for special praise--and that applies equally to Lost In Space--every track here will have its champion - from the ringing chimes of "This Is How It Goes" to the hypnotic three-time feel of "High On Sunday 51," - from the unsettling feel of "Today'sThe Day" to the melodic wonder of "Pavlov's Bell" with its powerful guitar-washed chorus.

In truth, from the first notes of the opening track "Humpty Dumpty" to the sheer beauty and simplicity of the brief closing piece "It's Not," Lost In Space is an album of impeccable songs, exquisitely delivered, with perfectly thought out and executed arrangements - there's not a superfluous instrument in sight. Every solo, every embellishment simply serves to throw the melancholy beauty and pain of the writing into even greater relief.

Mobile Fidelity Sound Labs' treatment of Lost In Space is indeed remarkable, especially when compared to the initial release of the album. MFSL's Ultradisc UHR (Ultra High-Resolution SACD Hybrid) pressing is superbly produced and provides better than excellent playback on both today's standard compact disc as well as the new Super Audio Compact Disc format. The accompanying booklet includes additional notes from producer Michael Lockwood as well as co-producer Ryan Freeland.

Mann's latest album The Forgotten Arm has just been released. If ever there was an argument for the fact that the major labels haven't got a clue what they're doing when it actually comes to the music, Aimee Mann is all the proof you'll need. Sublime.--Jamie Field in Hereford, England

(30 May 2005) Pianist-vocalist Patricia Barber has forged a brilliant career as both a chic/smart interpreter of songs and a songwriter who pens witty and gorgeous numbers. She inhabits a rarified career stratum with just a few jazz artists who combine artistic sophistication and critical acclaim with concert and recording success. Enthusiasts of Christy Baron's work are certain to be drawn to Patricia Barber's recordings.

With a keen ear for melody, a dark-tinted alto voice that is part mystery, part whimsy, and an adventurous approach to playing the piano, Barber has been winning over audiences for the past decade on the merits of several "coolly modern" albums released jointly by Premonition and Blue Note Records. The MFSL re-issue of Modern Cool--with covers of "Light My Fire," "She's A Lady" and bonus track "The Fool On A Hill" given Barber's unique jazz treatment--is a tribute to her early work.

And therefore Modern Cool (Mobile Fidelity Sound Labs (USA) UDSACD 2003, 2002) is certainly one of the vastly acclaimed highlights of Patricia Barber's career. The version superbly re-mastered by Mobile Fidelity is sonic bliss and includes additional technical liner notes and one additional track not included on the original release.

The Mobile Fidelity edition was mastered using the GAIN 2 mastering system. The custom analogue tape section utilizes an extremely low induction tape playback head and handmade reproducer electronics, achieving unparalleled resolution and bandwidth up to and beyond 60 kHz. This enables MFSL engineers to extract, with the utmost accuracy, every last musical nuance from the Original Master Recording. The production quality of MFSL's pressing is uniquely superb and a notable improvement from the 1998 release.

Barber has been in the vanguard of the new school of female jazz vocalists who in the past decade have been exploring intriguing improvisational terrain beyond classic balladry and bop-infused standards. She was born in a suburb of Chicago to a saxophone-playing father, Floyd Barber, who had played with Glenn Miller.

After studying classical piano and psychology at the University of Iowa, Barber moved back to Chicago to play jazz and in 1984 landed the gig that launched her career, playing five nights a week at the famed Gold Star Sardine Bar. Before long there were lines outside the door on weekends. Her following grew larger and more fanatical when, in 1994, she moved her base of operations to the Green Mill, the north side club that is the nerve center of the indigenous Chicago jazz scene. Barber was presented with a scholarship to Northwestern University and returned to obtain a Masters of Music degree in 1996.

Barber has recorded seven albums. The first, in 1989, a self-produced CD was called Split. Later two critically acclaimed full-length CDs Modern Cool (1998) and Nightclub (2000) and the six-track EP Companion (1999). A Distortion Of Love in 1992 is recognized as Barber's first major label release.

For most of her current audience, it all began with Café Blue in 1994. It hit like something inexplicable, introducing a voice one critic described as "a pure dark whisper straight up from the soul" and a distinct onstage persona that has been characterized as "a beat musician and a bop intellectual." Café Blue led to Barber winning the "Female Vocalist/Talent Deserving Wider Recognition" category in the 1995 Down Beat International Critics Poll--an honor that she has since consistently claimed.

After Modern Cool, the 5-star Downbeat award winning critical and commerical success, came the all original masterpiece Verse (2002), ten song tour de force in combination with the striking originality of Modern Cool set a new standard for songwriters across genres and was especially important in paving a future direction for jazz.

Mobile Fidelity Sound Labs' treatment of Modern Cool is indeed remarkable. MFSL's Ultradisc UHR (Ultra High-Resolution SACD Hybrid) pressing is superbly produced and provides better than excellent playback on both today's standard compact disc as well as the new Super Audio Compact Disc format. The accompanying booklet includes additional technical notes about the recording from Jim Anderson (recording and mixing) and Chip Stern (Stereophile & Jazz Times).

While the original release of Modern Cool (Premonition Records (USA), 1998) with its minimal engineering producing a masterpiece recording, the enhanced resolution and fidelity of this MFSL version provides listeners that much more opportunity to explore the depth of Patricia Barber's vocal and jazz songwriting talent.

(29 May 2004) The third in the recent series of new albums from Kaipa is entitled Mindrevolutions (InsideOut Music (USA) IOMCD 208, 2005). The release celebrates the 30th anniversary of the very first Kaipa album released in 1975.

With roots deep in the Swedish folk tradition, including centuries old Swedish choral music, Mindrevolutions is a journey through a landscape coloured by a myriad of influences and says their label, "the final result is certainly timeless." Kaipa is as appealing to the aesthetic of today's progressive music scene as it was 30 years ago.

On Mindrevolutions vocals by Patrik Lundstrom and Aleena (feature) prove that dream can mesh with reality in a musical that spans ten new songs. The the title track is a 26-minute-long multi-part musical adventure. In addition to the two vocalists, the two original Kaipa members Hans Lundin (keyboards) and Roine Stolt (guitars) are accompanied by Morgan Agren (drums) and Jonas Reingold (bass). With dramatic instrumentals combined with plenty of vocal content, this album is one of the more dynamic incarnations in Kaipa's history.

Kaipa enthusiasts will find the album vocally intense, much moreso than either of the previous two albums: Keyholder and Notes From The Past. And the online commentary from fans about the change, especially the vocals, has been dramatic. Patrik's and Aleena's interwoven vocal parts have drawn from a West End- or Broadway-style musical theatre influence and some have found the vocal work completely overwhelming. While both vocalists have expressive solo parts, their evocative duets contribute to the overall texture of the album.

The album is strong instrumentally with arrangements giving way to fine progressive musings. Vocals set aside, both guitar and keyboard solos are notable throughout and the powerful rhythm section is neither overwhelming nor understated. The material gives way to some lovely melodies amongst the superb progressive production. The album is clearly best listened when played from beginning to end uninterrupted.

Aleena's vocal parts are significantly larger than on the two former albums with her solos demonstrating her vocal dexterity and strength above the progressive instrumental stylings. Those that enthuse over her vocals willl be most impressed with the albums. Aleena's voice works well with Patrik's throughout and we did not find ourselves searching to pull her parts out of the mix. Kaipa clearly are going from strength to strength. Watch for a reissue of their much earlier work later this year.

(25 May 2005) Ballads And Burlesque (Mpress Records (USA) MP81881-2, 2004) is New Yorker Rachel Sage's sixth album released on her own label, but the first with her as sole producer and arranger--and maybe she's regretting not taking on these addition roles earlier as she has indeed done a stunning all-round job.

There are many aspects of this CD which lift it way above the common run of female singer-songwriter albums. The first thing that strikes the listener is the superb control of the vocals. Listen, for example, to the delivery of "Why Not Love." Throughout, the vocals fit the mood and lyric of the pieces--these just aren't songs being sung, these are songs being lived and played out. One might almost say 'acted' out.

Sage says the ten songs on this album are about different aspects of seduction--and she doesn't take the obvious options either. These tracks view the world from a number of perspectives. In the opening song, "Saviour," forexample, she takes a male perspective. "It's been a long time since you've held this hand/And since then I've grown from a boy to a man." Rachel's one of those artists whose lyrics, when read, have you scratching your head, yet whensung in context, are perfect--vividly evocative and displaying some dexterous rhythmic and melodic sensibilities.

But perhaps the greatest surprise of this album is the work of Rachel Sage as arranger. Using twenty or so guest musicians, the pieces here are something of a master-class in how to present songs in a variety of imaginative ways tocreate appropriate and sympathetic settings. The album is based around a variety of keyboards and some tremendously empathic drum work. The music is bejeweled with sudden unexpected melody lines, for example the glistening pianobreak in "Sacrifice."

There's some shimmering guitar in the powerful "It's So Hard." She's not afraid to use less common instruments either including some muted trumpet in "One True Thing." And again in the blissful song to the enduring power of love "Jane’s Dimitri." If if there was an award for 'best use of an accordion on a contemporary song,' "Leah" would take it hands down. The use of strings too is faultless. There are no massive, clumsy washes here, just subtle, expressive touches which add to the mood and feeling. The musicianship throughout is exemplary.

In the past, Sage has made no secret of her admiration for, and influence of, Ani Difranco, but Ballads And Burlesques represents a welcome sea-state change and a strong move away from her earlier folk and Ani-ish based music; the ghosts of both have been entirely laid to rest here. This time, Rachel's found a voice of her own and it's one you need to hear.--Jamie Field in Hereford, England

(23 May 2005) Killocain (InsideOut Music (USA) IOMCD 169, 2005) is the second album from Paatos following their 2002 debut Timeloss. The band’s roots are in the 90's Swedish progressive rock scene, as the original Paatos line-up included both bassist Stefan Dimle and guitarist Reine Fiske from the band Landberk. Since then, Fiske has left to be replaced by Peter Nylander and the sound has edged away marginally from Landberk’s dark and sombre progressive sound to a more melodic and spacious feel.

Much of the music on Killocain has a powerful sense of rhythm, whether it’s based in the impressive and solid drumwork of Ricard Huxflux Nettermalm, or in the more esoteric soundscapes that underpin a number of thetracks. One of the most impressive aspects of this album is the variety of approaches to the pieces together with their tonal range. They are never afraid to cut the music back to the bare minimum to create the feel they're looking for. It appears there's no obligation for every member iof the band to play on every track, something a lot of bands could learn from. Each song brings something new and keeps the listener guessing to the end. This is apparent from the beginning; the opening 45 seconds of the album is a violin cadenza!

In addition to the obvious Scandinavian progressive aspects of the sound--think of White Willow as a sister band--the music has other echoes that can be traced to the Cocteau Twin--on the opening song "Gasoline," there are momentswhen vocalist Petronella Nettermalm sounds uncannily like Elizabeth Fraser and the perhaps overlong "Reality" has a Portishead feel. At other times, there’s an essence of that fine Manchester band Lamb, and on parts of "Won’t BeComing Back" there’s more than a hint of classic Renaissance, albeit updated for the 21st century. "Happiness," the most immediate track on the album has a great hook, and a feel that bought to mind the tremendous Finnish bandKemopetrol.

Petronella's vocals have a ethereal feel. Sometime the words are sung in little more than an hypnotic whisper, which contrasts beautifully with the power of the band on some tracks and yet compliments them superbly on the moreatmospheric pieces like "Stream" where keyboardist Johan Wallen creates a wonderful backdrop firstly with piano and latterly with mellotron.

The album is mixed by Porcupine Tree's Steve Wilson and the sound quality of the recording is excellent. The finest track on the album is possibly "Holding On" with its spacious backdrop, gorgeous cello lines and wonderfully delivered vocal, or maybe "Absinth Minded" which builds from a simple 'backwards' opening to an immensely powerful piece awash with mellotron. But in truth, depending on the mood you're in, on each play it's likely that a different track will grab your attention.--Jamie Field in Hereford, England

(updated 24 April 2006) Nicola Hitchcock's long-awaited solo album arrived in the spring of 2005. Her last solo offering was A Bowl of Chalk in 1993. The new album is is entitled Passive Aggressive (Tempted (UK) 001, 2005). Many of our readers will be familiar with Nicola's vocals from her part in the Mandalay duo (feature). Learn even more about the new album in our all new interview.

While we have had brief fixes of her Nicola's vocal work since Mandalay was disbanded, her new album--including tracks from collaborations over the past couple of years and new material--delivers the emotionally-rich vibrato-laden vocals that the gorgeous singer is noted for. Arrangements are largely downbeat electronic instrumentals and require significant auditory introspection to appreciate to their fullest. Occassional brass and woodwind textures add flavor and depth to the album.

The emotion in Nicola's vocals cuts right through the arrangements and is delivered primarily by the powerful and sensually controlled vibrato in the lead. And while Nicola's lead is certainly vibrato-laden throughout, the harmony vocals clearly demonstrate the singer's ability to sustain solid notes as well as the broad range her vocal chords are capable of. The songs are primarily brooding in nature and therefore are most well suited to general chilling with the exception of the dance mixes that have been included in the eleven track compact disc.

Many of the album's tracks involve partnerships with other artists as illustrated in the very glossy sleeve notes. Names like Chris Bran, Hector Zazou and Ryuichi Sakomoto are featured in the collaboration credits. Material included on the album spans the past couple of years and features Chris Brann, Hector Zazou, Ryuichi Sakomoto, Lenny Ibizarre, Michael J Ade and Sounds From The Ground. The varied sounds achieve cohesion through Nicola's gorgeous vocal work.

"I Forgive Me" is one of the album's standouts, an extended mix with vocals perfectly joining the cinematic textures of the instrumental arrangement. Brass textures and a latin beat provide a contrasting texture in "Cloudy Skies & Rain." "Feel" and "Ordinary Day" are two further stunning standouts, with Nicola's vocals shimmering against accessible electronic- and guitar-based arrangements.

Listeners will be drawn to the evocative textures of the opening track "You Will Feel Like This" and both the rhythmic percussion and soprano harmony vocal line in "Because." The album concludes with "Morning," evocative strings and dissonant piano coupling with Nicola's brooding solo vocal line.

Nicola's debut solo album has been long awaited by enthusiasts of her music. Interested visitors should visit the artist's website for additional online material including a broad range of video performances. Passive Aggressive is generally available at a variety of online sources. Nicola Hitchcock is back, surely on the rise and to the delight of her fans, working on even more new music.

(15 May 2005) Enthusiasts of Kari Rueslatten's voice and her music--both solo and with The 3rd and The Mortal--are certain to be drawn to the latest offering by Norway's gothic folk metal band Lumsk. The eight member band is fronted by the stunning vocal work of Stine Mari Langstrand (homepage) who was formerly with Eternal Silence.

The band's second full length album is entitled Troll (Tabu Records (Norway), 2005). The eight track collection was recorded and mixed at the Skansen Lydstudio in Trondheim. Mastering was done at Tailor Made Studios with Peter In De Betou (Dimmu Borgier, Enslaved and Susperia). The new album comes on the heels of their highly successful debut album from 2003 entitled Asmund Fraegdegjevar.

Troll is a more substantial production blending the work of musicians from different musical backgrounds and genres. A cross between the emerging folk gothic metal style with symphonic orchestrall progressive rock, the material is certain to interest a wide range of enthusiasts. In addition to the band's eight members, guest performers have been used throughout the production. A string quartet and guest vocal from Andreas Elvenes (The 3rd And The Mortal) are a couple of the highlighights. Brass players from Trondheim's jazz scene contribute trumpets and trombones. Stian Hovland Pederson (from the Theatre of Trondelag) reads dialogs, and the all female choir Embla provide vocal inputs and add texture to several tracks.

The all-Norwegian lyrics are written by Birger Sivertsen and his wife Kristin. Sivertsen has written several pieces that include Norwegian mythology, and this was the main reason that the band felt that a cooperation would push the album to a level of exceptional quality on all different levels. Sivertsen's eight pieces are based on old tales and include stories of mythological creatures and Norwegian folklore. Lumsk have told the story in a blend of gothic, folk and metal-edged tunes. It is a superb ablum.

Our editorial staff immediately fell in love with Stine Mari Langstrand's vocals and found the instrumental and further vocal arrangements brilliant. While many in English-speaking territories will only find this album available as an import, an English-lyric version would be more broadly appreciated and expand the ensemble's following substantially.

(15 May 2005) The new Norweigian group Midnattsol are making their debut with the 11-track album Where Twilight Dwells (Napalm Records (USA), 2005) and they have been signed to a superb label. Midnattsol fits perfectly alongside Leaves' Eyes (feature forthcoming), Draconian, and Elis. Fans of epic sounding gothic metal will be pleasantly surprised by what they hear from this young band.

Gothic metal bands tend to all blend together, especially on debut albums, but Midnattsol seems to have found their place rather quickly. Their sound is both distinct and seasoned on this album. Gorgeous lead singer Carmen Espanaes, sister of the stunning Liv Kristian (Leaves' Eyes and Theatre of Tragedy (review) fronts the band.

The band lineup also includes Chris Merizinsky (drums), Daniel Fishcher (keyboards), Christian Hector (guitar, acoustic guitar), Birgit Ollbrunner (bass) and Daniel Droste (guitar, acoustic guitar). Lear more about the band in our exclusive interview.

Midnattsol's music focuses almost entirely on the subject of Nordic mythology throughout the lyrical content of Where Twilight Dwells. This strong focus creates an interesting lyrical atmosphere as well as an often haunting musical one. The album's lyrics are enhanced by the music and vice versa. It’s a definite marriage of the two and one could probably not exist without the other. Both are strong though and that’s rare for such a young band.

Midnattsol proves they can rock though with metal-edged songs like "Dancing With the Midnight Sun" and "Another Return" but in all fairness it's the quieter moments that really pull the listener deeply into the heart of the album. The passionate "Unpayable Silence" and the wonderful acoustic artistry of "Tarefall" are amazing songs that easily transcend musical boundaries. It goes beyond the blending of classical with gothic and metal, it reaches for the stars and nearly grabs hold of them.

The variety on this album prevents the listener from boxing this band into any one category. Where Twilight Dwells is a fascinating and superbly creative musical journey by a very talented group of musicians. This young band with has bright future ahead of them. Count us in.--Mark Fisher in West Virginia and Russ Elliot in New York

(15 May 2005) A few eyebrows were raised when it was announced that Mostly Autumn would play the Bloodstock open-air heavy metal festival in June 2005. Despite a strong crossover following, a metal band they are certainly not, yet listening to Storms Over Still Water (Classic Rock Productions (UK) CRP1745, 2005), the bands’ fifth studio album proper, it is easy to see why such an appearance might be considered appropriate.

Structurally, this new album has many similarities to its 2003 predecessor Passengers (review), with the shorter, more single-friendly songs beginning the album, while the real meat lies in its last 25 minutes. However, where the sound of Passengers was warm and wholesome, in the classic rock tradition, Storms has a big, bright, live sound. Indeed, the subject matter, while, in the main, retaining the traditional Mostly Autumn life affirming message, has a much darker, almost neo-gothic quality. Bryan Josh, Heather Findlay and Iain Jennings have again written all the material in various combinations, while Andrew Jennings makes his studio debut on drums. The darkness of the music means that Angela Gordon is underused on flute and recorders, though her contributions are excellent when they arrive, as is the contribution of Troy Donockley when called into service on Heather's "Carpe Diem." Indeed, "Carpe Diem"--seize the day--might be considered a theme for the whole album, and lyrically it is an especially strong record.

"Out of the Green Sky" is a hard rocker with some searing slide guitar. Bryan and Heather sharing lead vocals, in its call for us all to live life to the full. "Broken Glass" with its wonderful, poppy chorus is up next, though the lyrics, brought across by one of Bryan's best lead vocals, are somewhat down beat and Gothic. The urgent "Ghost in Dreamland" features some excellent synth and piano from Iain Jennings, plus a lead vocal from Heather, using her lower register, that owes a great deal to Julianne Regan of All About Eve.

"Heart Life" will be familiar to all those that have seen the band live in the last year or so. Its pretty recorder and acoustic guitar introducing a slice of bluesy rock sung by Heather that would not have been out of place on Passengers, with a typical Bryan Josh solo over its closing bars. "The End of the World" is a real departure, another shared lead vocal led entirely by the poignant yet gritty narrative--reminiscent of Raymond Briggs' "When the Wind Blows"--within the lyrics over a gentle, Genesis-inspired arrangement. This becomes crunching hard rock on the second, Bryan sung, verse. "Black Rain" is the natural closer to the first half of the album, a Deep Purple-influenced, thumping slice of heavy rock with a rasping lead vocal from Heather. Its lyrics make an impassioned call for environmental change. Bryan provides a powerful riff, and Iain's organ is eerily reminiscent of John Lord.

The doomy Iain Jennings instrumental "Coming to…" bridges the two sections of the album wonderfully, its sinister opening developing into a slice of dramatic, orchestral metal. "Candle to the Sky" takes us uncannily into “Dark side of the Moon” era Pink Floyd, with Bryan again giving us his impressive Dave Gilmour vocal impersonation. The song then diverts into an up-tempo, sing along mid section, and follows it with a progressive excursion with some great flute, and a gentle, if slightly superfluous, coda. Heather's "Carpe Diem," with Iain's lovely piano refrain, is the closest the album gets to a ballad. Its lyrics reflect on the Tsunami Earthquake disaster in Asia in a very personal way, and, with the aid of Troy Donockley's typically atmospheric uilleann Pipes and low whistle, it builds in stature to a wonderful Bryan Josh guitar solo, played over some impassioned, wordless vocals from Heather. "Carpe Diem" is a genuine Mostly Autumn classic, and the album highlight, combining the spirituality of “Passengers” with the emotional resonance of "The Gap is too wide." Andrew Jennings must also be praised for his spectacular drumming on this song.

The introduction to the magnificent title track is reminiscent of the rearranged live version of "Somewhere in Between," before a beautifully serene opening lead vocal from Heather gives away to a triumphant vocal section from Bryan. This leads to a beautifully fluid guitar solo, blossoming into an up-tempo guitar workout in "Evergreen" style. The album ends on a relatively low-key note, with the melodic instrumental "Tomorrow" which allows Angie some effective "Spirit" style multi-tracked flute.

The rest of the package has both good and bad moments. The booklet features stunningly reproduced photographs by Chris Walkden, though Bob Carruthers' sleeve notes are unnecessarily lengthy, and the cover itself, though pretty, is something of a mess. The accompanying DVD is entertaining, though hardly essential. A brief making of video accompanies the two--frankly, misguided--promos of "Ghost in Dreamland" and "Broken Glass." The DVD extras are interesting, with two projections from the last batch of multi-media concerts accompanying good live versions of "The Last Climb" and "Shrinking Violet" from the Mean Fiddler in 2002, and an audio-only version of "Mother Nature" from the marvellous York Opera House concert in 2003. The DVD hardly makes the package worth double the normal album price, in America almost $60.00 ppd. Patient enthusiasts should wait for the CD-only version due out from the band this autumn.

Under the guiding hand of Bryan Josh, Mostly Autumn have produced an album with variation, craft and very little padding. However, where Passengers was relatively safe and mainstream, on Storms the band have dared to move in a slightly new direction, without running the risk of alienating their growing fan base. With the material as strong as it has ever been, that might just be the best move of their career. Dark, beautiful and uplifting, Storms Over Still Water is something close to a masterpiece. It is a shame that the additional DVD does not quite do the album justice.--Stephen Lambe in Cheltenham, England and Russ Elliot in New York. CD DVD

(09 May 2005) Nia George was previously a founding member and keen participant of the Welsh rock band Jylt whose material has been reviewed at Musical Discoveries since 2003. Nia played bass, added vocals to the lyrical content and contributed to Jylt's songwriting process.

The two Jylit EPs entitled "Surrender" and "Retrospect" built the band a following across the UK and provided a foundation for a full length album that would have emerged had a personal situation worked out differently. Nia's health turned worse when she contracted Leukeamia that sadly took her life. Read more about Nia from Sarah Howells' perspective in our exclusive interview with Sarah Howells who worked with Nia in Jylt and were close friends since the two were very young.

In loving memory of Nia and her music, Bernie (father) and Trish (mother) George arranged to have a series of Nia's own writings and those done for future Jylt work properly produced and mastered onto a commemorative album. Trish and Bernie hope that listeners will agree that the album is a fitting memorial to a much loved and much missed daughter and sister. All profits from the sale of the CD will go to support the vision of a new cancer Day Unit at Withybush Hospital. To view Nia's art work or to let us know your views on the album click on www.niageorge.com.

Messages is comprised of sixteen individual recordings. Nine of them are co-written Jylt compositions and two are written by Alex Cooper. The remaining tracks are Nia's contributions. "Vain" is a special collaboration of Nia's done with Sarah Howells and Emma Bryden. The album was produced by Alex Cooper.

The album opens with the title track of Jylt's "Retrospect" EP, immediately drawing the listener in with an upbeat and accessible arrangement featuring vocal harmonies atop guitars and percussion. The demos of the "Can't See You" and "Change" ballads reveal a stunning works in process. The vocal harmonies in "Wounded" are superbly accompanied by keyboard and bass.

"Throw Yourself Away" is a much more finished track with warm keyboard washes joining guitar arrangements beneath the girls voices in this midtempo number. "Fall On Me" is a thickly arranged rocker, again the two singers working tightly together. "Give Me Somthing More" and "Vain" are guitar accompanied ballads wringing with Nia's emotions. The rocking "Obscure Passions" is an accessible and well-progressed Jylt number.

The album takes a turn to slower introspection with the guitar based demos of ballads "Suicidal Tensions" and "Nothing You Can Do." But the upbeat Jylt rockers provide sharp contrast in "Biteback"--the two vocalists harmonising well together. And the "Straight Lines" demo reveals the foundation of another great number. "Things We Said" is substantially a finished upbeat track with layers of guitar perfectly supporting the two vocalists.

The album winds down with an early demo of the guitar accompanied ballad "Things We Said." The album concludes with the upbeat track "Neutral" played in full Jylt splendour, vocal harmonies accompanied by pulsing guitars and crisp percussion that shows how great Jylt were at their peak.

Nia's father Bernie wrote, "For lovers of Jylt's music and these newly discovered songs, I feel sure that Nia's message to you all would be 'Enjoy!!'" and we have done so. This is a rare glimpse into to soul of an artist. Support the cause and hear it yourself.

(08 May 2005) Nicki Jaine at long last releases Of Pigeons and Other Curiosities (Shaman Records (USA) 2005). Hopes were set high when she first debuted the intense sound of her now former band Torn Paper Dolls, unfortunately the album never came to fruition. On her freshman release Nicki undoubtedly proves that she is one of the finest and most unique voices in music today.

Nicki recently toured the country with Goth icons Black Tape for a Blue Girl, both as part of the band and as an opening act at select shows. Since the end of the tour she has started collaborating with Black Tape mastermind, and Projekt records founder, Sam Rosenthal on a new band that is tremendously anticipated by her fans already.

Nicki's unique alto voice and stunning lyrical talents are sure evoke feelings of nervousness, sadness, enlightenment while intriguing all at the same time. Those that enjoy goth and creative singer/songwriter artists will be drawn to Nicky Jaine. Read more in our exclusive interview.

Of Pigeons and Other Curiosities is a dark cabaret of odd lyrics and sparse instrumentation. Using the word "cabaret" when describing this music is a bit cliché but you simply can't escape it. Its part cabaret and part artsy lounge music, full of starts and stops and dark imagery reflecting life’s harsher side. Piano and acoustic guitar are the predominate instruments, with some drums thrown in to ward off the evil spirits of monotony.

The album sways back and forth between the full band sound and the barebones singer/songwriter sound and it certainly helps to keep the overall feel fresh throughout its duration. Rightfully, the lyrics are at the forefront of the songs and Nicki's rich alto voice lends an almost haunting quality to them. Songs like "Sounds of Girls," "Octopi" and "Antarctica" are excellent examples of Nicki's songwriting prowess.

If you are a fan of music that is artistic, unique, and most of all great, then you really need to check out Of Pigeons and Other Curiosities. If you were a fan of Torn Paper Dolls, then it's a bit of shocker at first but the album will quickly grow to envelope the listener completely. Fans of bands like Black Tape for a Blue Girl and The Dresden Dolls will want to run out immediately and buy this album.--Mark Fisher