(21 October 2007) The second album by Florida's Blue Stone is entitled Worlds Apart (Neurodisc (USA) NRO 32080, 2007). Especially for female vocals enthusiasts, it is a natural and equally large step forward from the group's debut album Breathe (Neurodisc (USA) NRO 32064) which was as much pure instrumental- as vocally-laced. The group's new album is an accessible yet wonderfully complex 16-track collection of lush electronic soundscapes. Our editors have been enthralled with it for months.

Blue Stone is comprised of Bill Walters and Robert Smith. Worlds Apart features three stunning vocalists: Sheyenne Rivers, Maura Hurley and Samantha Sandlin. The three women contribute individually to the tracks but oftentimes add layers of their own harmonies to the tunes. The album plays as if a soundtrack with vocals varying between whispers, vocalise and lyrics sung both in English and other languages. The group have an affinity to French and have used lyrics in that language since their inception in spoken and whispered words.

The album will immediately draw attention from new age and electronic music fans with each track served as an appetizer although female vocalist enthusiasts will likely devour and appreciate the album more with repeated and indepth listens. The album is a treasure in every respect. A gorgeous 16-panel booklet with artwork by Brian Son (Sleepthief, Neurodisc Beauty and forthcoming Sirènes compilations) accompanies the package. While crisp keyboard and percussion are found within Blue Stone's music, electronic programming forms the centerpiece of the instrumental arrangements accompanying the vocal work.

Worlds Apart is a tremendously well conceived and delivered creation. While the whole album can easily be called a masterpiece, several of the tracks certainly stand out from the rest after many repeated listens. These include the rhythmic pulsing and dramatic "Waters Flow," and the evocative title track "Worlds Apart," both sensually sung by Sheyenne Rivers with percussion that underscores the vocal lead and lush instrumental accompaniment. Careful listeners will be reminded of Beverley Staunton of Balligomingo in both cases.

A testament to the instrumental prowess of the group is the track "Lost Son" which lies between the especially memorable "Waters Flow" and "Dreamcatcher." "Event Horizon" is a delicate track with lush vocals ranging from whispers to multilayered harmonies and a memorable chorus sensually delivered by Sheyanne Rivers. None of these tracks overshadow the equally accessible and downright sexy pop chorus that weaves between the worldly vocalise textures of "Remember This," sweetly delivered by Maura Hurley who also contributes a vast range of worldly vocalise and lyrical vocals to the spacious tune "Labyrinth of Dreams."

With tracks that have a defined start and finish, Worlds Apart really plays best listening end-to-end in order to absorb the full effect of this electronically arranged female vocals soundtrack. The perfectly mastered instrumentals blend with individual and layered female vocal energy to create powerfully sensual sonic and visual imagery. This is one of the finest albums of the year. Blue Stone have set themselves worlds apart with this release.

(22 September 2007) The middle of 2007 was a quiet time for Charlotte Martin. In the wake of promotional activity for Stromata, we noted a silence. As the summertime came to an end, and in conjunction with the never say never tour that began on September 23, 2007 and concluded on October 21, 2007, Charlotte released the eleven track collection Reproductions (Echo Field Recordings (USA), CMR-0018, 2007). The album was mixed and mastered by Ken Andrews.

The album was originally thought by some to be an album of cover tunes based on its selected title. Actually the recording deals with a much deeper subject and an unbelievable closeness to Charlotte personally. It includes a range of cover tunes as well as reworked recordings of earlier tracks considered rarities. The result is a well-produced project of great music that has allowed the artist to cope with one of the most significant emotional subjects a young woman may ever endure. The photos by Peter Dawson that comprise artwork for the digipak completes the story. Charlotte has dealt with her loss sensitively while delivering another oustanding recording to her loyal lister base. Watch this video for more detail.

From the rhythmic opener "Angel," Charlotte's ability to effectively cover the Massive Attack tune with layers of vocals and diverse electronic instrumentation, the material draws listeners into the album theme. The thickly arranged and darker tune "Obstacle 1," originally performed by Interpol, is nicely produced on the album. We found the arrangements a bit over the top. Charlotte's unique and lovely treatment of K D Lang's "Constant Craving" is a heartfully delivered ballad that permits the artist's voice to climb to the very front of the arrangement. Layers in the choruses add great texture to the standout piece.

The studio recording of a long time concert favorite is Charlotte's cover of Pearl Jam's "Elderly Woman Behind The Counter In A Small Town." The studio recording is as dramatic as Charlotte's live performance, not only in illustrating the power but equally the range of the singer's tremendous voice. Equally enjoyable is the studio recording of another live favorite, "Chocolate," originally recorded by Snow Patrol. Additional vocal layers and arrangements complement the tune wonderfully.

Charlotte's cover of New Order's "Bizarre Love Triangle" permits the artist to explore a denser level of electronic instrumentation without detracting from solo and harmony vocals. Here both arrangements and vocal delivery clearly evoke the song's theme. We especially admire Charlotte's cover of the Cocteau Twins tune "Cherry-Coloured Funk." The dramatic combination of Charlotte's own vocal style with both Cocteau Twins-derived arrangements and Elizabeth Fraser vocal stylings at the upper end of Charlotte's extensive range works remarkably in this album standout.

Enthusiasts will appreciate the bravery Charlotte has demonstrated across her career thusfar. She conquers new territory with her own dramatic cover of Sinéad O'Connor's "I Am Stretched Out On Your Grave." The challenge of combining her own voice with elements of O'Connor's sound demonstrates Martin's vocal viruousity. The album continues to please by drawing on previous on stage songs with its delightful new studio rendition of Joni Mitchell's "Urge For Going" performed in a more traditional Charlotte Martin style.

No Charlotte Martin album of covers would be complete without a new recording of The Cure's "Just Like Heaven." A longtime audience favorite is tremendously produced singer alongside percussive piano with crystalline and evocative vocals soaring tenderly yet powerfully across her vocal spectrum. The album concludes with "Song To The Siren" originally performed by Tim Buckley. Listeners will especially appreciate Charlotte's classically trained voice as it glides everso gently above keyboard washes and percussion in this tremendously produced and delivered closing track.

Charlotte Martin has indeed delivered to her audience. In Reproductions, the artist has selected a balance of material to create a timeless album of beauty and substance. She continues to grow from strength to strength without even a slight pause for the most significant adversity. The CD is available from Charlotte Martin's website and on tour. Downloads are available at popular online outlets. An artist that must be seen live to fully appreciate, we can count on further outstanding recordings from Charlotte Martin. Bravo!  

(01 November 2007) Dark Passion Play is the long awaited, hugely anticipated sixth studio album from Finnish symphonic metal outfit Nightwish. A band faced with the challenge of finding a suitable replacement for the role of lead vocalist following a controversial and highly publicised dismissal of original singer Tarja Turunen in October of 2005. Sifting through thousands of hopeful demos sent in from female singers across the globe, eventually Anette Olzon was chosen to be the new front-woman of the band. Press and fans responded with a mixture of reactions and initial samples of the 'new' Nightwish created divides amongst long-standing Tarja fans and those excited for a fresh force to carry the band onwards and upwards. Everyone desperately awaited to see which direction the band's sound would take with such a crucial change to the line-up and finally, three eventful years after the release of the critically acclaimed symphonic masterpiece Once, the new Nightwish album is now upon us.

With Dark Passion Play, Nightwish have created an album of outstanding quality. Offering 75 minutes of powerful, grandiose symphonic metal that showcases the amount of time, effort and energy that was put into this ambitious release has undoubtedly been worth it. The album maintains the bombastic, sweeping sound honed in previous release Once yet offers a highly diverse listen, as the band blend infectious melodies that are more memorable ever, passages of furious guitar work which hit harder than they ever have, and stunning string-work to create a rich musical tapestry resting inside the thirteen tracks on offer. New vocalist Anette may take some getting used to for Nightwish fans of old. Less operatic in style, she has a more controlled voice than that of Tarja, and while perhaps lacking the sheer emotional force and command of Tarja, her smooth, infectious and somewhat more streamlined vocals fit the songs found on Dark Passion Play perfectly.

Riskily placed 14 minute opener "The Poet And The Pendulum" presents Nightwish at their most cinematic, moving and majestic best. The outstanding strings of the London session orchestra weave within thick, chugging riffs, powerful drum work and thick, crunchy bass lines. This within the mere openings of a song that reveals main songwriter Toumas Holopainen at his most creative, honest and openly emotional. Lyrics dealing with the inner personal turmoil he faced reflect a dark, constantly shifting epic tinged with a hopeful, romantic tone that eventually calms after its crashing introduction to the delicate vocals of Annette atop pacing violins. Steadily rising towards a layered chorus, featuring bassist Marco's rougher vocals that are present more prominently than on previous albums, tying the song's sprawling sections together. Haunting narration's and churning riffs aplenty, the piece eventually closes with Anette's soft vocal strains dancing amongst fading piano notes, in what is a truly breathless listening experience.

"Bye Bye Beautiful" presents a complete change of pace with a song highly simplistic in structure, as warm keyboards, thumping drum and guitar work build up to a charging chorus which allows Marco to shine as he lets loose some forceful vocals, the band taking a tongue-in-cheek swipe at former singer Tarja in the album's catchiest and most pop-like moment. Single "Amaranth" opens with sparkling keyboards and echoing choir work that thrives upon a melodic, multi-layered chorus presenting a sweeping vocal performance from Anette, before the album take a heavier turn with "Master Passion Greed". Clattering drums battle with furious riffs before Marco roars into a scathing vocal assault throughout an unrelentingly aggressive song. One which slows only for the swaying, choir-filled chorus and spectacular outro, featuring charging strings which grow in intensity as they wrap themselves around pummeling double bass drum work and distorted guitar to create a flooring cacophony of sound.

Delicate ballad "Eva" is the album's weakest moment. Slow in pace and lacking in imagination, Annette tries her hardest to bring life to a song that lacks the mystic magic of past ballad's from earlier albums, for example "Sleeping Sun" from album Oceanborn. The quality soon returns within the latter half of the album however, with the fantastic folk-tinged "The Islander". Crisp acoustic guitar accompanies the rich vocals of Marco, in a song ripe with imagery of forgotten landscapes as whispers of flute float amongst highly emotive vocals. Anette gifting the raspy Marco a more delicate edge as her accompaniment emerges at just the right moments. Charging instrumental "Last Of The Wilds" allows guitarist Emppu to let loose some fret-board heroics as he duels with the Uilleann pipes of Troy Donockley in a vibrant mixture of instrumentation, one which keeps hold of the folk-infused melodies prominent in previous track "The Islander".

Anette steals the show for album closer "Meadows Of Heaven". A beautifully serene song carried by gentle piano and swirling violins, depicting imagery of Toumas's childhood surroundings through lyrics soulfully delivered by Anette and an emotional chorus that is as memorable as it is moving. Male and female gospel choirs eventually join the fray to create a blissfully uplifting outro that rises and rises in its intensity, sending you to the heavens this song speaks of, before strings and guitar crash as one. Bringing this song, and album, to a dramatic close.

An album high on expectation and anticipation has most certainly delivered, and how. Dark Passion Play sees songwriter Toumas lay himself bare lyrically and creatively as the album blends an exciting range of instrumentation. From stirring orchestral bombast and heavy rhythm work to gliding Uilleann pipes and plucked acoustics, the album offers a diverse mix of the band's attributes and Toumas's song writing skills. Newcomer Anette rises to the high-pressure challenge of taking on such a pivotal role, and, Tarja adorer of not, you can't help but feel her vocals fit perfectly inside the overall sound of the album. An awful lot went into this release. Energy, sweat, tears and probably much more besides, but there's no doubting that Nightwish are most definitely back in business.

Also worth mentioning is that the special edition version of the album comes with a bonus disc featuring instrumental versions of each song. A superb addition to obtain as it gifts the orchestra featured throughout the original versions a more prominent and fuller sound, allowing you to really pick out the intricacies of each composition and realise the impact such soaring instrumentation has in creating this band's fascinating scope in sound.--Jim Hall in Derby, England

(01 December 2007) As a lover of vocal music, it has been great to notice how the living legends of a cappella music such as The Manhattan Transfer, Swingle Singers and The Real Group have influenced the music world so that new, innovative vocal ensembles have started to emerge across the world, nurturing the great tradition of ensemble singing and developing it further.

One of the new generation's ensembles, Rajaton from Finland, has now been entertaining both concert audiences and record-buyers for ten years, and this year they are celebrating this by having an extensive concert tour here in Finland as well as releasing their sixth album, entitled Maa (Plastinka (Finland) PLACD0053, 2007).

It is very great that the new Rajaton album has also been made available outside Finland, because once again the ensemble provides an unforgettable aural experience throughout the album from beginning to end. Like Rajaton's debut album Nova, also the new album Maa has the core idea of composing songs to Finnish (folk) poetry, though this time most of the compositions have been written by the ensemble members themselves. Despite of some similarities between this album and Nova, the music still sounds fresh and new and there are no signs of any copy-catting whatsoever that could disturb those who already know Rajaton's earlier repertoire.

Compositions and the lyrics are all the time harmonically hand in hand with each other, at times one of them being slightly stronger than the other and vice versa. The Finnish poems being the centerpoint for the album, it is obvious that Finnish is the performance language that has been used throughout the album, but luckily the foreign listeners can understand the song meanings by reading the English translations given inside the album cover booklet.

Although Finland and Finnishness are forming the centerpoint on Maa, the music still avoids the dangers of becoming clichéd, too distant or too "exotic". This is one of the thing that makes the album very interesting to listen to regardless of the listener's nationality; the music really embraces the listener, conjuring up lots of different feelings and atmospheres ranging from ever-changing four seasons of Lapland to quiet power of the Finnish nature. Something that cannot be reached by listening just any kind of music!

Especially the very last track of Rajaton's new album, the great new a cappella arrangement of "Valse Triste", originally by Jean Sibelius, deserves a special mention here. Although the original composition features no vocals but a string orchestra, the new adaptation made by Rajaton's bass vocalist Mr. Jussi Chydenius leaves even the most cynic listener gobsmacked as the voices of the singers flow alongside the music beautifully like a mountain brook. Making ANY kind of rearrangement from any work by Sibelius is already a challenge itself, but the newly arranged vocal version of Valse Triste featured on Maa is astonishingly perfect proof of the great skills of Rajaton, not only as singers but as fully fledged musicians.

To summarize, the entire new album is a masterpiece celebrating not only the 10th anniversary of Rajaton itself but also it pays tribute to coinciding Finland's 90th anniversary of independence as well as the 50th anniversary of the death of Jean Sibelius. Highly recommended for anyone who like great vocal music, regardless of nationality!--Suvi Kaikkonen in Oulu, Finland

(09 December 2007) Italian-Canadian soprano Giorgia Fumanti released her debut album, From My Heart (Manhattan Records (USA) 0946 3 32175 2 2, 2007) in March 2007. This stunning singer's music has been likened to Andrea Bocelli, Sarah Brightman and Enya. Her music varies between pop and classical, and Giorgia's soaring vocals are pure and graceful.

Giorgia was born in the Tuscan village of Fivizzano and grew up in the nearby town of Aulla, which is still her family home. As a teenager, she first discovered that she could sing and she joined her church choir, the Città di Aulla Choir. She recounted, "I was shy as a teenager but in the choir on that first day, I opened my mouth and out came this soprano voice, totally without self-consciousness. Everyone was in shock. Within three months I had become the soloist in the Christmas concert."

Her parents had hoped that she would become a lawyer or go into the family mercantile business. She nearly did complete her law degree, but left law school with two exams unfinished. When she was 23 years old, she decided to sing professionally. Giorgia enrolled in the Conservatorio di Musica "Arrigo Boito" in Parma, where she studied for three years. She decided that she did not want to follow the opera path.

In 2002, she moved to Montreal, Canada to work with manager, Maurice Velenosi of MCM Entertainment Management. Her first album, Like A Dream was released in 2004 on the Canadian independent label Isba Music Entertainment. She did tour internationally and her work brought much acclaim. Within a year, major labels were pursuing her and she later signed with Angel Records/EMI.

Produced by Craig Leon, the album features Giorgia's stunning acoustic-flavored musical version of Sting's "Fields of Gold" (Campi d’Oro), and four Ennio Morricone classic film scores including themes from The Mission, Cinema Paradiso and Once Upon a Time in the West. It was recorded in the Abbey Road Studios in London with the English Chamber Choir, and the Netherlands Media Orchestra.

Throughout this album, there is a clarity and pureness of sound in her stunning vocals. There is a confidence and definitive style to her music interpretations. While she is compared to Bocelli and Brightman, Giorgia certainly has her own distinctive character in her singing. She displays her classical training and background on songs like the "Aria" (based on "The Swan" from Saint-Saens). There is a fun-loving side to her singing that she shows on songs like "Espiritu," with its choral backgrounds, and "Volero," another song featuring Giorgia's own Italian lyrics. Her diverse repetoire includes a salute to another of her heroes with her own take on Barbra Streisand's "I've Dreamed of You.”

In addition to focussing on her music, Giorgia has a longtime passion for helping others. She is the World Ambassador for the Cerebral Palsy Association of Quebec (L'Association de paralysie cérébrale du Québec), performing concerts, meeting with members and doing what she can to increase awareness of the condition. With her valuable time devoted to such important causes, music remains at the forefront for this talented singer.

When looking towards the future, she says, "When I was a child people asked me what I wanted to do. I said I wanted to be a missionary. Now my dream is to be a missionary through my music and share with people all the emotions that music makes me feel."

Giorgia Fumanti has a captivating musical style that enraptures the listener. The emotions evoked in her music reflect her devotion to her craft. She is certainly impressive with her diverse styles and she shows great maturity. Her music is certainly from the heart.--Audrey Elliot in New York

(09 December 2007) Dutch Symphonic rock group Within Temptation return after 2005's The Silent Force with a new, hugely anticipated release entitled The Heart Of Everything (Roadrunner Records (UK), RR 8003-8, 2007) With third album The Silent Force, the band formed an album cited by many as their best yet, showcasing a powerful blend of orchestral, epic instrumentation carried via the soaring melodies of iconic vocalist Sharon Den Adel. The album was lauded with positive reviews, as Within Temptation's popularity exploded across the globe and the band cemented their place as one of the most renowned and respected acts within their genre.

So to album number four: The Heart Of Everything. Where the challenge arises in being able to follow up the huge impact and success of The Silent Force and prove Within Temptation are a band still at the peak of their powers. Yet, despite the promising platform the band had set themselves to build upon, The Heart Of Everything is not nearly the album it could, and should have been. Taken as a whole, the album is a solid slab of accessible, symphonic rock that contains all the elements Within Temptation thrive upon. The album is filled with waves of symphonic keyboard work and thick, distorted guitar riffs backed by a solid rhythm section of driving bass and confident drumming. Sharon's vocals rise above the epic instrumentation and hold a flowing, diverse quality throughout, as whispered passages mix with those letting Sharon showcase a more aggressive edge than usual as she puts in an impressive performance.

These qualities surely make for just what the fans expected and hoped for this new release? Most certainly, yes. But the crucial difficulty with The Heart Of Everything is a disappointing lack of adventure, progression, indeed freshness to the song structures and overall delivery of the album that merely frustrates, leaving the listener craving something less recycled and more inventive. Clearly, Within Temptation are a talented band with the ability to push forward, yet there is a lingering feeling of a regression left after a focused, honest listen in an album that should be far more memorable than it is.

The album starts strongly enough, a moving mixture of piano and floating vocal work introduces opener "The Howling" before crashing into choir work and heavy guitar riffage in a song that presents the best of the band. It's catchy, driving and has a huge, epic chorus thriving upon Sharon's longing vocals. Following up with single "What Have You Done" the deep, looming guest vocals of Keith Caputo conjure an exciting duel with those of the delicate Sharon. They join forces for a dramatic chorus, and the song is peppered with piano and keyboards in possibly the album's strongest moment.

Yet as the album progresses, songs being to fade into one another, sounding too much like the last as the real edge, excitement and energy found in the opening tracks disappears. "Our Solemn Hour" is built upon a unmoving, slow-paced choir chant in a song that doesn't seem to really go anywhere and whilst the powerful production shines through, the song-writing quality of the band sadly fails to. Title track "The Heart Of Everything" presents a pained, stretched vocal performance from Sharon that would be effective if the instrumentation didn't consist of the steady, constant riffing and drum work that the band have produced so often before, resulting in a chorus that passes by without the memorability or lasting power of the earlier tracks.

Hidden amongst the weaker moments of the album, though, is a little gem in the form of ballad "All I need". Introduced by gentle acoustic pluckings, joined by paper-thin drums and a sweeping performance from Sharon, it's a song which builds to a moving crescendo of cello, emotive vocal melodies and crashing guitar work in a moving example of the band at their most impacting.

It seems The Heart Of Everything was always going to be a huge album for Within Temptation. Pressure to build on the plaudits and success gained from The Silent Force meant that it was also going to be a difficult one. Will this album satisfy the fans? In a sense, yes. It's a pleasant listen, containing all the elements that you'd expect from the symphonic rock act. At times it is even a great listen, namely focusing on the promising opening two tracks. Yet the majority of the album seems to be filled with song-structures, melodies and instrumentation we've heard before, and indeed executed more memorably on previous albums. The risk of innovation, gamble of experimentation could have made this album something special, yet you can't help coming away feeling a little flat, a touch disappointed that the band seemed to have taken a safe, 'secure' route this time around and in doing so have taken a step back, rather than that essential step forward.--Jim Hall in Derby, England

(19 June 2007) The Heart Of Everything is Within Temptation's proper introduction to American audiences, however the band have a massive following overseas and have released three previous albums to critical acclaim.Their latest offering is their first for major label Roadrunner Records and will likely be seen as a pivotal album in the band’s already impressive career. Within Temptation's sound has been altered quite a lot on The Heart of Everything.

The most noticeable change long time fans will immediately hear is the hard rock orientation. Although elements of the band's orchestral gothic sound are not lost in an overall sense, much of this album is very straightforward sounding hard rock. This sound will inevitably end up drawing more Evanescence comparisons than need be, but Sharon Den Adel handles the vocal changes very well and, if nothing else, proves she is a very diverse vocalist.

"The Howling" opens the floodgates in a similar fashion to the band's previous albums. It's big and bombastic but exhibits much more of the aforementioned rock sound. It's almost as if it starts out traditionally and ends up establishing the band as an entirely new entity. "What Have You Done," the album's lead single, cements the fact that this is going to be a less beautiful and more angst-ridden album than expected. The song features Keith Caputo (Life of Agony) alongside Den Adel and, quite honestly they sound very good together.

It's not until the more operatic "Our Solemn Hour" hits that you begin to truly see the duality of The Heart of Everything. Vocally this is much more akin to the band's 2004 release, The Silent Force. "The Truth Beneath the Rose" is the only true nod to the band'’s past however, musically and vocally fully assuming the operatic sound that garnered the band a lot of attention over the last few years. The title track, although more stylistically blended, also offers some of the more predominant elements of the band's former work. The song has a very tribal feel to it during the verses, and Den Adel's vocals are much harsher than many would have thought her capable of being.

The Heart of Everything is an incredible risk on the part of Within Temptation. The Evanescence comparisons will either propel this album to heights unimagined or it will destroy it. Most of this album sounds very little like what the band's established fanbase is expecting to hear but there is more than enough reason here for them to give it a chance and hopefully they will. Once the initial shock is over, it is actually a very well-crafted album. Those who enjoy strong female vocals that are both beautiful and aggressive lain over a mix of hard rock and progressiveness may want to give this emotionally draining album a good listen.--Mark Fisher in Fairmont, West Virginia

(03 February 2008) Individuality and true musical greatness are marked by an artist who follows his own intuition, without being influenced by other people’s expectations. Ritchie Blackmore's integrity may occasionally seem strange, if not indeed doubtful to many a Deep Purple and Rainbow fan but it shows that he is one of the best and most exceptional contemporary musicians in every respect. With his band, Blackmore's Night, featuring his partner, the vocalist Candice Night, Blackmore has certainly not broken with his previous creative forms of expression. Quite the opposite: the songs on his current album, The Village Lanterne, document unmistakably that there's still the rock musician inside him. But Blackmore has not remained static in his development, he has allowed his penchant for medieval music, which already shone through on many of his hard rock compositions, to culminate in his very own, unique style of music.

The album is in some ways their most realized effort. After several releases and years of touring together, Ritchie Blackmore and Candice Night seem to have a more clear idea of what they want to do with their music, and where to take it. Especially Candice Night has grown and improved immensely both as a lyricist and singer. Her voice is more mature now, with a distinct sense of confidence and passion. She sings with sheer emotion and conviction through the whole album, proving she's a key element in the unique sound of Blackmore's Night. As for Ritchie Blackmore, no words would do justice to describe his talents and songwriting skills, let alone his distinctive tone and phrasing he puts behind his compositions.

On The Village Lanterne (SPV/Steamhammer (USA/Germany) SPV9970A CD, 2006), Blackmore´s Night combine great vocal melodies, seemingly archaic instrumentations and virtuoso guitar parts with lyrics that allow the listener to dive deep into a mysterious, romantic world. In the process, Blackmore continues to develop his ability as a composer and instrumentalist without ever denying his former artistic identity. "Mond Tanz/Child In Time" is the resurrection of one of Deep Purple's greatest hits in a new guise, and "Street Of Dreams" is a haunting new edition of the Rainbow classic. Both songs represent the close artistic links to Blackmore's work in the aeventies and wighties.

At the same time, "Just Call My Name," "St. Teresa" or "I Guess It Doesn’t Matter" show that his rock musician’s heart remains ever-present in his new compositions. On the title track and on "Faerie Queen," Candice Night seems to blend together with Blackmore’s acoustic guitar, while "25 Years" displays oriental influences. Then there are wonderful moments, such as the folkloric instrumental numbers "The Messenger," "Village Dance!" and the beguiling "World Of Stone," "Olde Mill Inn" and "Windmills." The album is rounded off by a new version of Ralph McTell's "Streets Of London."

For those of you not familiar with Blackmore's Night, they play an impressive style of Renaissance era music, combining it with elements of new age, folk, rock, and blues, among others. Though heavily acoustic guitar driven, their songs blend a rich array of mandolins, violins, cellos, tambourines, drums, trumpets, bagpipes, and keyboards. Still retaining the classic Blackmore's Night sound, The Village Lanterne is arguably their most modern-sounding release to date. This seems to be because of the recording techniques they employed in the studio, rendering some of the pieces noticeably more contemporary than their earlier work. They are not omnipresent, however.

It's more like the band and producer Pat Regan decided to incorporate some new textures and a heavier focus on atmospherics on some tracks. Songs like "Olde Village Lanterne" and "I Guess It Doesn't Matter Anymore" are both marked with effective rhythmic patterns, particularly in the way the drums and percussion are played. Aside from that though, the songs are your typical Blackmore's Night numbers, highlighted by Night's convincing voice and Blackmore's crystal-clean acoustic guitar, both worth dying for. The symphonic backdrop on "The Olde Village Lanterne" lends it an ethereal new age vibe thanks to its creative arrangemen) while Blackmore fuses wonderful blues licks with 16th century folk melodies on its successor.

As with previous albums, there are mini instrumentals on The Village Lanterne as well. "The Messenger" merges Blackmore's love for new age and acoustic guitars, utilising subtle keys and orchestral motifs; while "Village Dance" is a more laidback yet more direct acoustic number. Much like these two tracks, "Mond Tanz" (Moon Dance) is the first instrumental part of the band's "Child in Time" rework on track nine. The instrumental piece starts out as a happy, upbeat cut, secretly slipping into the classic Deep Purple anthem, where Candice Night's harmony vocals are so beautiful you may want to freeze. Blackmore throws out full-on blues-inflected riffs before the band goes back to the playfulness of "Mond Tanz" to wrap the piece up. Another "cover" song on the album is the special bonus track "Street of Dreams", found only on the Japanese import of the album. This one features Blackmore's counterpart Joe Lynn Turner, who exchanges verses with Candice Night. The two singers duet, harmonise, and swap choruses, while Blackmore plays an enchanting lead solo with a medieval touch.

Candice Night's vocals on the emotional "Once In A Garden" recall her pure yet powerful performance on the debut album Shadow of the Moon, still a personal favourite of mine. The chanting-like male back vocals and Celtic bagpipe melodies on "World of Stone" and the almost-live performed "Olde Mill Inn", or the hard-rocking "St. Teresa" all help diversify the album, with impressive results. The Japanese version of the CD contains the aforementioned essential bonus track with Joe Lynn Turner, two booklets (the black and white one being in Japanese) and a neat packaging with a nice sticker. Though Shadow of the Moon and Fires At Midnight will remain on top of many lists, The Village Lanterne will make a great addition to the Blackmore's Night discography.--Murat Batmaz in Istanbul, Turkey

(03 February 2008) Critically acclaimed singer/songwriter Shauna Burns burst onto the music scene in 2005 with her debut album Every Thought (review) to wide crticial acclaim. Shauna's songwriting extension to Every Thought, is her followup EP release entitled, Desert Tune. (Red Rock Music LLC (USA) rrm7002, 2006). Strong allusions to Tori Amos both in singing and piano-based songwriting stylings continue into this EP.

This five song EP is witty and playful while in harmony with her nature of being personal and captivating. Shauna and her piano are once again joined by co-producer and drummer James Clark, Ryan Tilby on guitar and bass with Steve Lemmon on guitar. Inspired by residing in a desert landscape, Desert Tune gives the listener a different pair of eyes to view what this world can give and take from us, both physically and emotionally.

Shauna's music is inspired by many cultures and ideas that surround the world as well as the landscape of the deserts and mountains of the western US that she now calls home. Taking her knowledge in Anthropology as a shovel she is always digging, searching for her next musical adventure. Shauna explains her songwriting philosophy as, "It can start with just a feeling, that seed in your stomach that grows until you cannot ignore it anymore. I feel the need to cultivate and nurture these seeds because seeds can grow into big ideas if we take care. It makes me question: What's next for all of us in this world? What is the universe trying to tell us? I'm listening."

Shauna Burns sounds similar to a female Dave Matthews with a distinct Celtic influence. This may sound like an odd description of an artist after you listen for yourself, however, the interpretation works. Burns' vocals are very much her own, make no mistake about it. Even though some cringe by making comparisons to another artist, and one that is so popular, it is something that needs to be expressed. Although there are only five tracks that encompass Desert Tune, they are strong and create an impact for the artist.

This EP is the extension of songs that did not make it onto Shauna's debut CD Every Thought. The music is mystical and ethereal--it is very enchanting. Shauna's vocals are the key element that completes the circle for each track. Burns sings about squirrels dancing around in your head, fairytales, ghosts, and Celtic castles. Whatever she is singing about, it always seems to fit the music just perfectly, and the timing lyrically is impeccable and is supported by spotless musicianship. That covers all the most important aspects of any recording, not withstanding production values, which are excellent as well.

Desert Tune is a solid EP and it certainly will lead to an outstanding full-length album to follow. Shauna Burns has a vocal style that you are attracted to right away or it has to grow on you. There is no middle ground here. This could be the X factor that separates her from the pack.

(27 December 2007) Singer-songwriter Natascha Sohl was born outside of Paris and moved to the U.K at just nine months of age. She progressed through the first year of Brunel University studying Film and T.V before the need to take hold of a love of music, and the performance of it saw her crucially leave Brunel and enroll instead at The Academy Of Contemporary Music in Guilford, gaining a higher diploma in vocals. Fast forward through the initial time spent in her first band, before deciding to go it alone and being consumed in writing, recording and performing solidly, to 2004. The year that saw the release of Natascha's debut release, Strange Fascination (Granite Music (UK), 5 036098 003888, 2003). With this, we are treated to a first glance into the lyrical ideas and song-writing along with vocal abilities of Natascha, as she presents a collection of vibrant pop-rock songs fresh with the feel of an individual desperate to show everyone just what she can do.

Collaborating with a number of experienced musicians for this album, the twelve tracks on offer are played out with an assured confidence as the standard drums, guitar, bass instruments provide a solid backing to Natascha's edgy, strong vocals. Lyrically, we find Natascha covering themes ranging from love, to loss, to ambition, dreams and beyond and these lyrics certainly stand out and clearly mean a lot to this singer as she belts out each word with a real passion.

"Are You Ready?" serves as a catchy, head-nodding opener. Simplistic drum and guitar work creates an almost jazzy edge, enhanced by Natascha's enticing, alluring vocal melodies, as her voice bounces atop the instrumentation, slowing to a smoother tone set against gentle piano as she asks: "Are you ready for me? Let me show you how good I can be for you." A well chosen first single, giving you a feel for the flavour of the whole album. "Give It All Away"--clearly an album standout--presents a chunky bass line and cymbal-heavy drum work in a song that sees Natascha's vocals at their most edgy and fierce, the memorable chorus pulling together an anthemic pop number that will surely have crowds fists raised high in a live environment.

Gritty beats appear for "My Needs", chugging their way underneath piano and the alluring voice of Natascha, who strains to sing of a longing for her needs to be understood. "Missing you, missing you sometimes" she croons with a pained fragility in a touching bridge. The album progresses in a similar fashion of short, sharp bursts of pop-rock that are helped by a rich, warm production. "Another Day" features fast-paced vocals building to a distorted chorus of guitar and Natascha's hovering, aggressive vocal cries whilst "I Didn't Know" slows things down with soft drum work and clean guitar jangles, an explosive, melody-filled chorus breaking through this energetic number. Closing song "Wishful Thinking" opens with Natascha's vocals sounding distanced against drums that settle into a rapid groove, lyrically focusing on the desperate dreams of those wanting to make it big: "Do you know what you're wishing for?" A song simplistic in structure, and an ideal conclusion to the album.

Strange Fascination is an album filled with promise. Vocally, Natascha's voice is already swimming with confidence, drive and ambition as she sings of topics relevant to her own life, and certainly to the life of others who can no doubt relate. The production is impressive, and helps to breathe life to each song. The song-structures are largely of the tried and tested formula, and there is a risk of the formulaic nature creeping into the album that is it's main weakness. It's up to Natascha to stay focused and as driven as she seems to be with this debut release, and take a solid, enjoyable collection of pop-rock anthems to that next level, with her follow-up release. An engaging first insight into a lady from which you sense there is much more to come.--Jim Hall in Derby, England and Russ Elliot in New York

(30 December 2007) Singer songwriter musician graphic artist painter. Astrid Chevallier is indeed a multi-dimensional artist. As a musician, she started playing flute and studying classical music at the age of six. She has been performing solo and with ensemble for twelve years. Life took her from home country France to Austria, where she graduated with a mention "excellent" in both Music and Visual Art classes. Astrid relocated to Paris to attend Fine Art Schools, and to take singing and guitar classes. She led rock blues music jam cessions with fellow art students, and performs as the lead singer of a local punk band. Her debut album, So Far My Love (Astrid Chevallier (USA) 837101197786, 2006) is an eclectic collecation of fourteen experimental-, ambient- and pop-style tracks.

Astrid is credited with writing, recording and production as well as performing all instruments and providing all of the vocal work on the album. She is assisted on one track by Kamil Rustam (lead guitar, production) and shares production credit with Santino on two other tracks. The music is lush with lead and bass guitar. Pop-oriented tracks have memorabe chorus segments while the others have that warm sensual overtones of Germany's Chandeen. There is a distinctly European sound to the album overall.

The eclectic combination of material on Astrid's album demonstrates the artist vast musical talent and the diversity provides tracks that will appeal to a broad range of audiences. Attention to detail in the production delivers a superb result. The punkier sounding tracks like "A Million Miles Away" and "Wake Up" demonstrate the power in Astrid's voice as well as her well-honed guitar chops at the same time. Listeners will be especially intrigued by the effective blend of styles within theses tracks.

The ambient orientation of several of the album's selections, specifically the brief opening "Reverse" but notably the rhythmic "We're Gonna Dance" and the standout track "The World" are especially accessible and will draw comparisons by many listeners to Chandeen, one of our editorial staff's favorite European bands. The punky pop track "Suitcase" is certainly another standout, rich guitar (yes, listen for the riffs all the way through the song) and keyboard arrangements supporting layers of Astrid's almost spoken but sung crystalline vocals.

The memorable choruses within the upbeat new wave pop track "I Will Wait" is especially illustrative of Astrid's ability to experiment while not drifting too far from the accessible. The dance rhythm and layers of crystalline vocals in "Running Away" also combine for a stunning and memorable number.

Experimental material requires great courage to write and to record, especially on a debut album. "After Cirque" is one of the several experimental tracks on the album with pulsing percussion and strings underscoring layers of harmony vocals. Mental images will be drawn to after Cirque du Soleil for listeners familiar with their performances whether intended by Astrid or not. The artist's interests emerge in the sound effects of "Bug" and incantations in "Pluie," both highly experimental numbers that will delight listeners some but not others.

Clearly Astrid Chevallier is a a very talented multi-dimensional musical artist. While not all of the tracks on this album are going to appeal to every listener, there are enough songs to draw interest from a broad range of enthusiasts. The ambient- and pop-oriented tracks drew most attention from the editorial staff here. Astrid is equally talented and interesting artist onstage; see the numerous video recordings of Astrid's live performances at her website. So Far My Love is currently available at CDBaby.

(26 January 2007) Indie artist Johanna Beekman performs an eclectic collection of songs about longing, loving, and learning on her sophomoric album, If I Could Fly (Iconfluence Music (USA) 701, 2007). It has been five years since her debut album, Stolen Grace. She continues to produce original, rhythmic tracks that have captivating melodies and heartfelt lyrics. Johanna creates a diverse set of songs from a multitude of genres including alternative folk-rock, indie pop, gospel, reggae, funk, piano jazz, a capella, and electronica. Although these fourteen tracks are distinct in their sound, the album feels interconnected.

This talented artist began writing songs early in life, and created her first at age nine. Her vision continued and at age 20 she released her first album of original music. During this time period, she studied songwriting with Chris Williamson and Tret Fure, musical improvisation with jazz singer Rhiannon and rhythm-master Keith Terry, performed in musical theatre, rock and world-beat bands, gospel and women’s community choirs, improvisational acting and singing troupes, social action theatre groups, films (including Gus Van Sant’s Sundance Award-winning “Elephant”), and countless festivals, political rallies, clubs, coffee houses, colleges, and universities. Her varied musical influences include Ani Difranco, Sarah McLachlan, Tori Amos, Carol King, Grace Slick, Tracy Chapman, Bette Midler, the Indigo Girls, the Beatles, and Motown.

Johanna has wonderful soaring vocals throughout this imaginative collection. There is a richness of tone that is highlighted with her honest and creative style. On this CD Johanna's soaring voice is backed by a talented crew of musicians, including Halie Loren, Neal Gladstone, Audrey Perkins, John Shipe and other singers and players who've made their marks in rock, folk, jazz, classical, world beat, electronic, and a cappella music.

In 2005 Johanna completed her BS in Women’s Studies with a focus on diversity education and a minor in theater with a focus on social action and improvisation. This background and her free spirited musical interpretations lay the foundation for the diverse content of the album.

She opens with album with the gentle "Summer Lover." Her lyrics combined with the flowing melody draws an intimate connection to the story she is telling. The smooth tones continue with the love song, "The Only One." The mood changes in "Over You" with upbeat yet relaxed, soulful baritone sax refrains. Delicate piano segues into the tender and emotive "If I Could Fly." Johanna's poignant vocals are highlighted in this beautiful composition.

"Free To Decide (Breathe)" is accentuated by hypnotic, rhythmic beats of body percussion. She is accompanied by the a cappella group Absolute, and it was recorded live, singing in a circle, with no overdubs or editing. Stunning. To add diversity, Johanna brings the reggae sound to this album with "Already Gone." This song has been performed previously as a country rock song. "Shift In Time" was inspired by the rhythmic drones of the washer and dryer that inspired the funky beats and harmonies of this song.

The touching "Escalation" reveals a tender sensitivity in this story of attraction. Flowing cello and violin heighten the intensity of the song. "The Other Side of Time" is a tribute to the families of miners in West Virginia and to all of those that have lost loved ones. Johanna's mournful tones, supported by piano, cello and violin, set the mood. The haunting "Beginning Again" was written about driving home on the freeway at midnight in the fog. The mood was well preserved in this piece.

"Smoke In The Snow" is based on a song she wrote at age 16. A reprise and remix of "Shift In Time" follows with its dreamy electronic element. Her brother, DJ Beeker, created the electronics for this song. "Amazing Grace" is sung a capella, and maintains the emotional power of this classic song. Johanna described feeling the song's meaning on a deep and personal level. This particular recording was done in just one unplanned take in the studio. She concludes this tremendous album with the touching rendition of "Strong."

Johanna's album is available through CD Baby. If I Could Fly is a wonderful assortment of musical styles that showcase the diverse talents of Johanna Beekman. She draws in the listener with her velvety tones and powerful performances. She has a wonderful vocal range with emotive lyrics that tug at the heartstrings. It gets better and better each time it's played.--Audrey Elliot in New York

(26 January 2007) Singer/actress Kathrin King Segal and guitarist Charlie Brown combine their efforts in their 2006 release, Land of Beginning Again. The eleven track album is a collection of jazz, folk, country and even some classical musical influences. This collaboration contains four original songs by Kathrin, including the title track, as well as two of Charlie's songs which are mainly instrumental. The album has been described as an eclectic range of styles and is a collection of original and traditional songs.

Kathrin was a teenager in the 60's and began her singing career in Greenwich Village’s golden age of folk music as Kathy King. She had the good fortune to perform with musician greats such as Stephen Stills, Richie Furay and Gram Parsons and later as a backup singer with Bobby Vinton. She hooked up with some other young folk singers and they became the house group at the Café Au Go Go. They cut one LP, but eventually the group went their separate ways. Kathrin met Charlie Brown in New York in a show group called The Performers, and they've been friends ever since. They both entered the Broadway scene with Kathrin in the risque musical Oh, Calcutta! and Charlie as the lead guitarist in Hair. "I had changed my name to Katherine King and then to Kathrin King. I figured that if Barbra Streisand could drop a vowel from her first name, I could drop two."

She later appeared in plays by many gifted writers, including Emmy-nominated Peter Tolan (Analyze This, Rescue Me), and Tony winners Martin Sherman (Bent), and Tom Jones and Harvey Schmidt (The Fantasticks). She became a popular performer in New York’s cabaret/supper club circuit before relocating to Los Angeles in the early 1990’s and rediscovering her songwriting and folk roots. She’s the author of one published novel, Wild Again. Her first album, Better Late Than ..., was released in 2002. Charlie has three albums of his own, Up From Georgia and Portrait of a Glad Man (Polydor), and Ride in the Country, and has performed and recorded with Van Morrison, Bob Dylan, Solomon Burke, Chuck Berry, Eric Weissberg and Barbra Streisand.

The Land of Beginning Again has brought together these two performers after forty years. Kathrin displays her vocal versatility and virtuosity and Charlie demonstrates his multitalented musicianship on lead guitar, electric bass, Dobro and lap steel. Kathrin said, "As I’ve gotten older, I’ve been waiting for my soprano voice to drop itself down into some kind of blues growl, but it seems I would have to live to be about a hundred and fifty or smoke heavily for that to happen. On the CD, I sing the old Sippie Wallace blues, "Women Be Wise," but as more of a vintage pop/jazz song than a traditional blues. In the title track Kathrin wanted to express her feelings about regret, time passing and second chances.

The jazzy/folk combination of styles presents cohesively in this delightful album. The years of experience between Kathrin and Charlie certainly exhibit a maturity and expertise in their creations. They have not lost their touch and this album exudes a wonderful finesse. Land of Beginning Again will appeal to many.