(23 May 2009) With a revised lineup and new name, the Israeli rock band Manga are back with an all new EP both under the moniker Align. Fronted by the stunning Yael Akron, the band lineup today is completed by Manga stalwart Tal Vaisman (guitars, vocals) and newcomer Maayan (Banan) Henik (drums). Their new self-titled EP is comprised of five well-produced tracks. With fantastic artwork, the EP is also superbly packaged.

When Yael and Tal committed to moving to the United States, Chen Teibloom (bass) and Alon Kaplan (keyboards) left the band to pursue other interests. As Manga until recently, as photos at their website clearly illustrate, the band played Tel Aviv's most popular rock venues--including The Barbie, Koltura and Sublime--continually. Align's live performances are rounded out by Yoni Oren (bass) while live keyboards are replaced with computer programming which characterizes the band's new sound. In addition to developing their style significantly, the band have also made the lyrical switch from Hebrew to English.

The five tracks on the new EP depart from the band's Evanescence-sounding roots in texture, intensity and angular dynamic. While the hook of "My Secret Truth" drew significant interest on the former band's unreleased album Vacuum, on Israel Unleashed and in their live performances, Align have evolved the sound with Tal's heavier "kick-ass" style guitar work and additional vocal work complimenting Yael's lead. Learn more about the band in our exclusive interview with Yael Akron.

The EP opens with the robustly arranged "Faint Memory." Tal's rocking guitar is supported by a powerful bass and percussion rhythm section, Yael's stunning vocal soaring above the thick arrangement. Sustained vocal lines blend perfectly into instrumental breaks. "Confused," with sung parts by both Yael and Tal shows both sides of the band's sound, opening with Yael's tender vocals as a ballad but quickly develops in full splendor into a powerful rocker. Although we have not yet seen the band perform this on stage, it obviously has room for further interpretation in a live performance.

Tal takes the vocal lead on "Vigour" both with sung parts and screeches. The track builds into a superb duet with Yael who enters the fray in the chorus lyrically and with harmonizing vocalise. She then joins with both backing and lead vocals in the verses that follow in this standout track from the new EP. We can't wait to hear the extended version.

The percussion in the most-like-Manga track "Kill Your Own," is especially crisp. Another Tal-Yael duet opening with Tal's lead and Yael backing, it transforms as tension builds into an especially well-produced rocker. Alternating lead vocals between the band's two singers, we especially appreciated the way Yael's leads rise above the instrumental and the way her layered backing harmonies support Tal's vocal work. The guitar solo during the instrumental bridge is especially robust against Banana's crisp percussion work.

The EP concludes with "Carry On." As with "Confused," the track opens with a light, almost-ballad texture, Yael singing tenderly. Guitar work develops quickly before and through the first chorus. The rhythmic texture that emerges works well underneath Yael's powerful lead and multi-layered harmonies. The outstanding instrumental breaks blend well with the sung parts.

Align have released the EP in a range of popular online sources including amazon, Napster and Rhapsody. The physical EP will also be available via brick-and-mortar outlets. With a bright future ahead, the EP provides a taste of where the band is going. The band are also offering the track "Confused" as a free download via their MySpace website. We can't wait for their forthcoming full length album, additional new tracks and the English reworkings of the best of their earlier material. Certainly Align are a band to watch as they move out internationally later this year.

(07 May 2009) "Strawberries On My Tongue" (Makaki Music (Sweden) MMSCDS 11, 2009) is delightful new summer single from Swedish artist Sofia Talvik. It is the second in a series of summer singles by the artist.

Sofia plans to spend her own summer in Florida, playing at Florida music Festival and record her fourth album. Sofia also played at the Lollaplaooza festival last year and did a whopping seven gigs at South by Southwest in March.

Be sure to check out further coverage of Sofia Talvik at Musical Discoveries. Read our review of her third album Jonestown as well as our well-illustrated interview.

The new single is mixed by acclaimed producer Magnus Frykberg who has worked with world renowned artists like Eagle Eye Cherry and Lisa Miskovsky.

The B-side track is a live recording by Sofia and her band with a guest performance by Steanfan Hannigan who has worked with artists and bands like Bjork and Depeche Mode to mention a few.

The single is the first release from Sofia since she partnered with American label Worldsound. We would have liked to hear some Jonestown extras as some bonus tracks!

(24 May 2009) Cyber Neptune (Unicorn Digital (Canada) UNCR 5059, 2008) is the fourth album from Quebec's Claire Vezina. In her own words, "powerful and significant, the album sails across open waters; sometimes stormy, sometimes calm but always intense. Cyber for modern world, daily life and virtual reality whereas Neptune stands for water, imagination and depth." With her new album, Claire makes us navigate through her universe with the help of electro-rock atmospher, slightly influenced by progressive sound, without disconnecting from her musical roots.

Claire provides color and legendary warmth from the Rhodes that she brought back in many of her compositions. The pianist reveals herself with other parts of piano, Wurlitzer, Mellotron, organ and even handles the guitar strings. Serge Poulin is a co-writer of several songs and co-producer of several of the recordings. He played all the drum parts, percussion, some of the guitars. Jeff Grenier of Monocube studio is responsible for recording and mixing as well as for his participation as a guest musician on some of the songs and Marc-André Dubé plays bass. Guitarists Éric Savard, Richard Soucy and Christian Poirier as well as David Jacques on saz join Claire on this production.

Sung in French, and delivered evocatively, the dreamlike and sensitive lyrics are about about life and death, love and war and tell us about urban stories ("Il Pleut Sur La Ville," "Dans Ton Monde Cyber"), a Vendeen legend ("Méluzine"), comtemporary questions ("Cyber Neptune," "Jeanne," "Les Soldats"), waking dreams ("Naufrage," "11h52," "De l'Ouest Une Brise Souffle") and interrogations about life ("Soleil," "Tant de Guerres").

Critically acclaimed, "Cyber Neptune is a very captivating disc. Claire Vezina's musical style is one that will appeal too many symphonic or prog fans who appreciate what Peter Gabriel does, mixing pop and prog together." In other comments, the music is "very progressive-flavored with full electric rock instrumentation on many tracks impeccably performed and full of magical atmospheres. Vezina has a beautiful voice to deliver the lyrics, in French of course, essential to the feel of her music. Claire Vezina joins Emily Bezar and Kate Bush in the aristocracy of female progressive artists."

Listeners will be equally drawn to the softer ballads and to the upbeat rock numbers on Cyber Neptune. We found it especially interesting that the title tracks that opens and close the album are unusually short, especially for a progressive rock artist. But they work well and are perfect bookends to the collection. The more upbeat rock tracks "Jeanne" and "Soleil" are two of the albums standouts. The modern percussion and rhythm section arrangement on "Dans Ton Monde Cyber" is balanced against Claire's soaring vocals.

The piano ballad "Les Soldats" is especially illustrative of Claire's well known keyboard work. The ethnic guitar arrangements in "De l'Ouest" balance Claire's vocals elegantly. Sung partly in English, the standout "Tant De Guerre" is the most accessible tracks on the album. The arrangements and verse chorus structure work especially well.

We especially appreciated the and production on this album. Both lead vocals and backing harmonies are perfectly placed in the mix. Listeners are reminded that this is a progressive rock album - and like many in the genre - it will require repeated listenings and some patience to fully appreciate. Singer songwriter Claire Vezina has turned out to be a wonderful discovery and Cyber Neptune is recommended to listeners that like warm female voices and poetic lyrics in progressive rock. This is an artist to follow further in the future.

(25 May 2009) Originally from Boston, indie artist Beth Wimmer lived in Santa Monica honing her craft. She since moved to Switzerland and is located there today. Her second album is entitled Miracle Girl (Beth Wimmer (USA) 8 59700 71280 1, 2008) is a collection of ten folk songs that showcases a folky sound with an Americana edge. She sings her folk/rock songs with richness and passion. Beth also did all the photography used in the package and designed the package herself. She wrote all the songs and performs these creations with heartfelt emotion. Her music and style vibrates within the unique family of Americana - embracing alt-country, indie-rock, and folk music.

As we wrote in our review of Live Within Live Without, she was fascinated by rock and roll music at an early age, and as she listened to various artists, she became inspired. Some strong musical influences include notable artists such as Neil Young, Tom Petty, Led Zeppelin, Bonnie Raitt, Lucinda Williams, Pretenders, Police, Tracy Chapman, Aimee Mann, and Elliott Smith.

There is an earthiness to Beth's musical style. Beth says some of her inspirations in her music and life are "My travels and people, other countries’ stories, Amnesty International, the practice of complete and unsafe love, blissful states of mind…utter distress--all kinds of music and musicians and artists."

Her songs are infused with lush vocals and guitar laiden accompaniment. Her luxuriant voice mesmerizes the listener, wanting more and more. She tugs at the heart strings with her songs of humanness, hope, painful honesty, love lost and love found, and personal and spiritual redemption, all with a sense of humor. This tapestry of human emotions is beautifully woven and quite captivating. She is supported on this album by the same musicians as her former work. The group includes: David Raven on drums; Taras Prodaniuk on bass; Billy Watts on electric guitar; and Danny McGough on keyboards and hammond B3.

Miracle Girl picks up where Live Within Live Without left off. Again, Beth treats listeners to her unique blend of Americana and folk with a touch of rock and a lovely cover of Neil Young's "Only Love Can Break Your Heart." The album opens with the title track, "Miracle Girl," where Beth's heartfelt and tenderly delivered lead vocal are delivered over a foundation of slide and acoustic guitar. Some listeners will go for the big Americana sounding tracks on the album like "Ten-Four" and others are likely to be enthralled with the folk numbers or upbeat rock tunes.

The fast paced "Lover From Last Summer" is a fast paced verse-chorus styled track that must be equally great live as it is on the album. The mix on the track is superb, clearly highlighting the power and range of Beth's voice. "I Couldn't Do It" and "Powerful Love" are a bluesy ballads with an Americana tinge and "Dreams Bring Me Down" is a more upbeat, almost country song, especially with the addition of rich vocal harmonies. Listeners are certain to be reminded of the Olde West in these songs' stylings.

The album's lightly arranged folk-styled tracks like "O My Brother" and the heart wrenching "My Name Is Love" are perfect for the Sunday morning coffee house setting and serve to illustrate the range and depth of Beth's well-honed talent. Miracle Girl ends with the stomper "Self-Righteous Sone of a Bitch." A song certain to draw attention when performed in a bar setting with everyone singing along, it is a great conclusion to Beth's second album.

On Miracle Girl Beth Wimmer has continued to hone her craft, expand her listener base and work with the same supporting craft from her debut album. The album is available today at CDBaby and amazon.com. Now based in Switzerland away from her band, it will be interesting to see and hear what she does next.

(25 May 2009) Although only 23, Amanda Zelina has already experienced death and rebirth. That notion is at the core of her full-length debut album, Love Me Till I’m Me Again (Amanda Zelina (Canada), 2009), the culmination of a three-year journey that found the singer/guitarist chasing her musical ambitions to Los Angeles before returning home to Toronto, consumed by a battle with her demons. Read more about Amanda's journey in our exclusive interview.

Zelina's art proved to be her savior. Reaching back to the primary sources of classic songwriting: blues, country, folk and soul, she infuses this mix with raw emotions, and a haunting voice that stands apart from the current influx of female artists. In fact, it can be said that her closest musical contemporaries are male, as she draws heavily from the same well of brutal honesty as Ray LaMontagne and Ryan Adams. Similarly, Zelina’s strength is that her music crosses all boundaries. Her only intention is to penetrate the hearts of all who listen.

Amanda was born and raised in the town of King City north of Toronto; her first musical connection came through listening to blues and soul tapes her father played on road trips. She says she first started developing song ideas during this time, but didn't act upon it until graduating high school and taking up the guitar. Her next move was to Los Angeles, ostensibly to study music more seriously, although she admits her primary motivation was to pursue what ultimately became a doomed relationship.

Before leaving Los Angeles, Zelina recorded a generally unavailable live album, Subtitles, comprised of her earliest songwriting efforts, but once back in Toronto an entirely new approach emerged. She questioned her past motives, belief system, goals, and everything else that made her who she was. Once able to pick up the guitar and sit at the piano again, the new songs rushed out in a torrent until a unifying vision for the album, both musically and lyrically, became apparent.

Amanda began recording on her own, but when she approached City And Colour producer Dan Achen for mixing help on two tracks, he immediately offered to do the entire record at his Catherine North Studio in Hamilton. Although the original material was left on the cutting room floor, the final results present Zelina as a fully formed artist now in the same league as her heroes.

From the loping beauty of "Midnight Train" to the fragile intensity of “Love Leads The Way,” Zelina wears her heart on her sleeve, but like all great singer/songwriters, there's always a sense that the ability to do that didn’t come without learning some hard lessons along the way. It may be hard to gauge the true depth of those struggles when encountering Zelina's outwardly charming personality for the first time, but the second she begins a song like Robert Johnson's "Ramblin' On My Mind," it's all there in the voice and guitar. Listen to "Obsessed" at her MySpace and the selection YouTube teasers via the media page of her offical website.

Amanda Zelina has all the tools to join the illustrious ranks of internationally renowned Canadian roots artists and,despite its running length of under 30 minutes, Love Me Till I'm Me Again is a sure-fire introduction.

(30 May 2009) MaryAnne Marino began to draw attention as the voice of November Project, a band that grew out of the ashes of New York City's October Project in the late 1990s. November Project released the "A Thousand Days" EP in 1999 and, after a number of successful live performances on the northeast circuit, went on to record a full length album that sadly fell short of release. MaryAnne and several of the musicians went one way as the Nobodaddyband while Emil Adler, Marina Belica and Julie Flanders reformed October Project in the years that followed.

MaryAnne's solo act began to develop incorporating the remaining musicians from the former November Project. Originally signed to Lava Records, MaryAnne recorded Ghost Of You (2005). In another sad turn of events, Lava Records elected not to release the album. Determined to make the music available to her fans, MaryAnne worked out an arrangement to more or less release Ghost Of You on her own, often including the album with merchandise. Read our interview for further details.

The well-produced EP A Little Something (MaryAnne Marino (USA) 8 84501 14946, 2009) is MaryAnne's first release since Ghost Of You. With five tracks, the EP runs just under 20 minutes. While an array of supporting artists contribute to the recordings on the EP, longtime fans will recognize drummer Doug Yowell and bass player Michael Visceglia in the individual song credits. "Let's Get Married" is a happy, upbeat song dating back to the first incarnation of MaryAnne's website.

With her own lovely backing vocals, MaryAnne sings the gentle acoustic rocker "Life Less Ordinary." Her touring percussionist Jen Scaturro splits performance and production credits with MaryAnne, who also contributes acoustic and electric guitars, bass, mandolin and keyboard samples. The light yet well-produced lush instrumentals are wonderful. Produced and performed by the same team, "Forever Is Mine" is a light and lovely acoustic ballad.

"Tell Me" is the album's standout. Full band instrumental arrangements result from bass contribution by November Project stalwart Michael Visceglia, drums by Doug Yowell and electric guitar by Thad DeBrock. Produced by the singer and Dibs Shackney, MaryAnne's vocals soar above the tremendous arrangement. The EP concludes with the aptly titled "Start Again," a folk-rock styled tune supported by Viscelglia and Yowell in their respective bass and drum roles.

MaryAnne performs frequently in and around New York City and continues to expand her following drawing critical acclaim in printed and online publications. Packaged in a gatefold sleeve designed by Jenny Begin and photography by Kurt Gardner, her long-awaited new EP is available from online outlets and at her performances. MaryAnne Marino has clearly 'started again' with the release of her stunning EP A Little Something and this appetizer will certainly garner the independent artist the support needed for another full length album.--Audrey Elliot in New York

(30 May 2009) Kate Earl says, "I have so many hours of dreaming logged in at my parents gas station in Chugiak, Alaska. Ring up a customer--dream, stock the shelves--dream, mop the floors--dream, plow the snow--dream. Now aged 28, Earl spent her whole life in this remote town asking the question, "what am I gonna do with myself if I stay here?" So as soon as she had saved enough for a ticket and a guitar, she moved to Los Angeles. Her three song sampler Introducing Kate Earl (Universal Republic (USA), 2009) features tracks currently streaming on her MySpace page.

"My Dutch/Welsh father dropped out of sixth grade to survive the Great Depression by picking cotton for bowls of beans until he lied about his age to serve during the Korean War to support his parents, Earl Says. "He was a self made man. He built our gas station with his own hands and he taught me to follow my bliss." Those wondering about her incredible features should note, "My Filipino mother left her parents to board in another town and thenwalked miles in the rain with a banana leaf for an umbrella to go to school, having sewed her own uniform and cooked her meals on a little fire as a child, beleived in the American dream and made a new life in Alaska with greater possibilities for her children." Kate continues, "She taught me that wit, intuition, resolve and improvisation can go a long way. The rest is left to fate or luck or the combustion of our individual spark."

About her quest, Kate says, "With common sense, hard work and manual labor, my upbringing at the gas station, pursuing music was a luxury, it was not hard for me to save a lump of change and go to the city." She did the Hollywood thing hitting the streets with the demo made at a friends house. The demo included the only songs she had written." She continues, "I had played piano and sang in church since I was yay high but I was going by the seat of my pants, figuring out my sound as I wrote." And now signed to Universal Republic with an album on the way, she been developing her sound under the guidance of Tommy Mottola." She concludes, "I'm in good hands, after all he is the architect of dreams.

The sampler opens with the stunning track "Melody." Rich studio arrangements present Kate with a sound not unlike Lily Allen and Kate Nash. Her sweet vocals glide over string-based arrangements glistening with chimes. The EP develops. "All I Want" is subtly arranged and is contrasted with the other tracks by its crisp percussion and lush harmony layers. The sampler clearly builds with this wonderful pop track with a lovely hook. The stunning concluding track "Everlasting" combines the best features of the other two and left us longing for more. This is a promising sampler. We can't wait to hear her album.

(30 May 2009) Bridgeport, Connecticut's Saint Bernadette have released their third recording entitled Word To The Lourdes (Exotic Recordings (USA) Er-1026, 2009). It is a six-song EP that takes a tougher stance than their previous albums, and is the first of three EPs they plan to release in 2009.

The title alludes to the shrine in France where the band's namesake first saw the Virgin Mary, as well as to the present-day Madonna's actual daughter and her metaphorical daughters, who, like lead singer Meredith DiMenna, grew up with the one-time Madonna Louise Veronica Ciccone as a role model.

DiMenna recounts her affection for the Diva by noting, "In the 80s, Madonna kicked the door down. She was powerful and positive and singing that women should express themselves." But DiMenna also considers the cost of that power: "Madonna fell into her own trap. She believed the hype, and now she has to run around in thongs and thigh-highs to prove it."

But just as the Material Girl constantly re-invents herself, Saint Bernadette move beyond the Motown influences of their stunning In The Ballroom debut and 2008's I Wanna Tell You Something EP to produce their most rock 'n roll offering to date.

"Already Gone," the first single from Word To The Lourdes, pushes wailing guitars and propelling drums to make for a fierce and catchy new-wave anthem anchored by the seductively commanding female vocals. The lovely closing track, "Don't Take This Away From Me," is a stunning ballad that showcases Meredith's vocal chops. Ripping electric guitar provides the foundation for "I Can't Add You To My List."

The band's shift to rock is evident from the guitar-laden opening track "Nobody Wants My Kind Words." Layered vocals pierce through the driving arrangement. Album standout "[He's] A Collector" is an upbeat new wave-edged tune. The chorus is reminscent of 60s rock, with more layered harmonies gliding over the glistening electric guitar. "Wrap It Up" is a short rocker with the band's characteristic vocal harmonies and raunchy guitars adding an 80s texture.

Saint Bernadette have not only innovated their sound, but also in their planned release strategy that includes three EPs for 2009. Instead of keeping their audiences waiting for a full album, they will dole it out in segments. We are intrigued to see if the band continues to grow from EP to EP this year as they have from their last EP elease in 2008.

(30 May 2009) A rare few times each year, we discover a female artist whose music completely blows us away. This happened when our friends at Ariel Publicity introduced us to Jeannine Hebb via her 2007 debut EP Too Late To Change Me. Her music is certain to appeal to those that follow Eleisha Eagle (latest review) and the rapidly emerging singer songwriter from Israel Savannah Zwi (review).

Jeannine is an award-winning songwriter and vocalist who has been studying, performing, writing, and rocking out since she was eleven. At 20, she graduated magna cum laude from Berklee College of Music, having studied with some of the best in the business, including Gabrielle Goodman, Pat Pattison and Livingston Taylor. For two consecutive years, she won both the Berklee Singer/Songwriter and Songwriting Showcase competitions.

Jeannine was chosen as the recipient of the Frank E. Remick and E. Ione Lockwood awards for excellence in music and vocal performance, and was honored with the Susan Glover Hitchcock scholarship for outstanding musicianship. Upon graduation, Jeannine received the Scott Benson scholarship for performing songwriters, the highest honor in the Berklee songwriting department.

Since graduation, Jeannine has been seen both as a singer and songwriter at many a famous venue in the Northeast including: Scullers, The Ragatta Bar, The Middle East, Harper's Ferry, The Berklee Performance Center, The Bitter End, Rockwood Music Hall, Don Hill's, and Galapagos Art Space, and many more. She's appeared with jazz legends Ben Monder, Clarence Penn, James Genus, and Tim Ries, and has served as an opening act for two-time grammy nominee Tracy Bonham.

Jeannine’s debut EP is comprised of six original songs. Entitled Too Late to Change Me (Jeannine Hebb (USA) 7 96873 03516 3, 2007), the EP has already received national attention and acclaim. The songs, while roughly categorized as pop/rock, borrow influence from blues, jazz, R&B and soul. Comparisons have been made to Fiona Apple, Laura Nyro, Carole King, and Norah Jones.

Jeannine (vocals, keys) is joined by Ujin Amano (guitar), Dan Wintersteen (drums, percussion), Bryan Ladd (bass), Clifton Hude (acoustic guitar on "Just Enough For Me") and Saric (additonal guitars) on the recording. Produced by Saric and Jeannine, the recording, mix and mastering of the six songs on this EP are superb.

Percussive piano and crisp percussion provide the foundation for the upbeat "Only Ones," the opening song on the compact disc. Immediate allusions to Eleisha Eagle's earliest recordings come to mind, vocals soaring well above the well arranged instrumantals. The rhythmic track "Things Haven't Been So Bad Lately," is gorgeous. The tension that builds in each verse is completely released in the melodic chorus. The tremendous harmony vocals contribute a warm texture, especially as the track builds to its climax, and the guitar solo breaks the song away from string singer songwriter territory.

"All The Way Down" is a lightly arranged heartfelt ballad sung atop piano. The album's title track "Too Late To Change Me" is a standout. Extremely well arranged instrumentally, Jeannine's stunning lead vocal is backed by lovely multi-layered self-harmonies. Listeners will adore the lush expanse of this gorgeous song. Others' comparison's of Jeannine's music to Laura Nyro's work is evident in the bluesy downtempo "Just Enough For Me." Delivered with heartfelt vocals, the disc concludes with the piano-backed ballad "Whatever You Want." It left us longing for more.

Although released two years ago, the debut EP by Jeannine Hebb remains a stunning example of the singer songwriter's vast talent. One new song has emerged streaming on MySpace with an accompanying video on YouTube. The artist is clearly working towards a full length album. Join us impatiently in the wait for her next release.

(30 May 2009) Rick Wakeman know as one of the finest keyboard players in the world finally had his dream come true on May 1st and 2nd, 2009. Rick had tried back in 1973 to stage a live performance of his infamous debut album The Six Wives of Henry VIII at Hampton Court Palace. The album went on to sell 15 million copies worldwide and is considered to be one of the finest progressive rock albums of all time. Unfortunately Rick wasn't granted permission to play the album live at Hampton Court Palace back in 1973.

On May 1st and 2nd at Henry VIII's palace at Hampton Court Rick Wakeman played the entire album for the very first time. The live performances have been captured as a double CDR entitled Rick Wakeman: The Six Wives of Henry VIII, Live at Hampton Court Palace (Concert Live (UK), 2009). Joining Rick on stage was The English Rock Ensemble, the English Chamber Choir, the Orchestra Europa, conductor Guy Protheroe and actor Brian Blessed, who provided narration throughout the show. Rick also composed three new pieces for this historic event. These were "Tudor Overture," "Defender of the Faith" and "Tudor Rock."

The show opened with the fabulous "Tudor Overture," one of the three new compositions written for this event. Spectacular in every way and featured the Orchestra Europa along with Rick and The English Rock Ensemble. It was a perfect start to this wonderful concert. Brian Blessed, perfectly suited for the event provided historical background for each of the wives.

"Catherine of Aragon" came next and was played to perfection. Rick's keyboards sounded great and with the addition of the Orchestra Europa and the English Chamber Choir this track was brought to a whole new level. Swirling strings, powerful brass and wonderful vocal"s from the choir make this a highlight of the show. "Catherine Howard" opened with a piano introduction and then quickly switched to the full band. Wonderful brass parts from the Orchestra gave a new punch to the song. Rick's extraordinary keyboard runs throughout the track never sounded better and the song ended beautifully with just piano and choir.

"Jane Seymour" has never sounded better. This was the highlight of the show. Rick climbed up a lit staircase to play a full size church organ. Rick has never been in better form. The sound clear and powerful and Rick"s runs up and down the keyboard were flawless. Clearly Rick new this track was going to be the highlight of the show and delivered perhaps his best performance of the song to date. "Defender of The Faith" the second of three new compositions written for this show. A powerful synth led song which could have easily fit on the Six Wives album closed the first part of the show.

"Catherine Parr" a fan favorite with its massive organ opening leading into some of Rick's best keyboard runs as well as some of his best Moog work. The English Rock Ensemble has never sounded better on this track. Tony Fernandez provides some of his best drum work to date. "Anne of Cleves" rarely, if ever performed live gave the band plenty of room to shine. Plenty of rhythm changes throughout the track and Rick switching from one keyboard to another. Not an easy song to play live. Rick and the English Rock Ensemble pulled it off perfectly.

"Anne Boleyn," one of Rick's finest compositions, opens with Rick on grand piano. Wonderfully melodic piano leading directly into an all out jam with his band. The orchestra was perfectly suited to provide sweeping strings which enhanced the track and provided fullness to the song that only an orchestra can provide. Rick ended the song on piano with the English Chamber Choir providing gorgeous vocal"s to the songs slow wonderfully melodic ending. "Tudor Rock," the last of the three new compositions, closed the show. The song is a pastiche of the tracks from Six Wives blended in with the new composition and is a perfect close to a wonderful concert. Grandiose and powerful it brings all of the elements that define Rick"s legendary compositions and playing.

A once in a lifetime event that Rick has dreamt about for 36 years finally came true. Rick's shows have always been truly amazing to say the least. These two concerts are nothing short of spectacular. Concert Live recorded the shows and they did a fantastic job. Sound quality is excellent, a great mix of Rick, The English Rock Ensemble, Orchestra Europa and the English Chamber Choir-- not an easy feat when recording a live show on the spot and they managed to pull it off tremendously. These rare once in a lifetime shows are a must have for both fans of Rick Wakeman and fans of progressive rock. The CDR sets are limited edition. Order (here) early so as to not miss out on these once in a lifetime shows.--Scott Bassin in New York  

(31 May 2009) Tori Amos has been a very busy woman. During the time since The Beekeeper was released, Tori released the full length album American Doll Posse (2007) and yet another label released an extensive 5xCD box set retrospective with rare b-sides entitled A Piano: The Collection (2006). In addition to these major releases, the artist is also credited for both live and studio DVDs (2008), a comic book (2008) and biography (2006) during the period.

With the yet another label switch, in the run up to this year's extensive 17-track release of Abnormally Attracted To Sin (Unversal Republic (USA) 6 2327 03435 5, 2009), neither the label nor management was able to secure Musical Discoveries an interview to update our audience since the MSNBC interview published here almost five years ago. Our editors were provided streaming access to the album a month before the release and a pre-release CD (only) two days bevore the product was generally available. The increased level of protection in the run up to this release and lack of access to the artist and related publicity materials perhaps illustrates the market's economic threat to continue distributing the artist's work on in physical packages.

The groundbreaking singer/songwriter chose to release Abnormally Attracted To Sin to her public with a DVD of corresponding visualettes for each track in the deluxe version. These interlocking episodic films bring to live the narrative of the album. The footage was captured over the past year and shot with a noir twist in HD and Super 8.

For nearly two decades, Tori Amos; stark lyrical fourishes and inspired musicianship have shaped the musical landscape. She is also considered one of the most emotionally powerful live artists in music today. Her most recent world tour, launched in the summer of 2007, with media platforms such as the BBC who lauded both her live show and album as returning Tori Amos back to the forefront of a genre she defined -- still pushing our boundaries. Musical Discoveries hopes to bring readers our own live performance review later this summer.

The artist's tenth studio album, Abnormally Attracted To Sin, is another innovative chapter in the artist's trend setting story. Tori's most recent album, 2007's American Doll Posse was heralded by Rolling Stone magazine as "her best album in years," and also enjoyed a chorus of rave reviews. The captivating album, like many of her previous efforts, adhered to a strong conceptual theme, with Tori inhabiting multiple archetypal female personae, a testament to her willingness to continue to push the boundaries of the female singer/songwriter.

Regarded as one of the most emotionally fearless live artists in music today, her most recent world tour, launched in the summer of 2007, saw her soar with her first full-fledged rock band in nearly a decade. With more than 12 million albums sold, and commanding a significant and uniquely loyal audience from the rock, pop, alternative, and under-the-radar regions of the music world, Amos has influenced a new generation of artists in a myriad of platforms. Most recently, she was the catalyst for a one-of-a-kind anthology chronicling her career, the 500-page Graphic Novel, Comic Book Tattoo, featuring stunning visual interpretations of her songs by more than 80 artists, including an introduction by friend and creative influence artist Neil Gaiman, creator of the Sandman series.

Her genre-shattering breakthrough in the early 1990s, including Me And A Gun (1991), and her masterwork, Little Earthquakes (1992), single-handedly revived the piano-and singer motif in rock music. Little Earthquakes went on to sell more than 3 million albums worldwide, with subsequent Grammy® nominated albums such as Under The Pink (1994), Boys For Pele (1996), Strange Little Girls (2001) and Scarlet's Walk (2002) continuing to explore broader themes. Nominated for multiple awards, including ten Grammys®, Tori Amos has been working on a musical for London's British National Theatre called The Light Princess tentatively scheduled to debut in 2010.

Listeners will need to be patient with Abnormally Attracted To Sin, perhaps moreso than her prior releases. After repeat listens we believe that many of the album's initial reviews were premature. Trade publications complainined that Tori didn't have an edit function to her production. These publications claimed that, of the seventeen songs, she could have had a much more solid record with a fraction of those songs. Perhaps, but the seventeen tracks are indeed a great listen for people that will take the 1h:15m listening time to enjoy them.

Tori hasn't sacrificed anything in regards to her songwriting or performances. If anything, she keeps evolving with her instrumentation and orchestration and constantly constantly constantly plays with her syncopations and timings which is certain to keep those without AAD listening. The new album is instrumented similarly to To Venus And Back, which alongside Scarlet's Walk, is a favorite. The production is daring, taking a giant step beyond American Doll Posse. She incorporates so much on this release. Little intricacies are revealed with each listen.

"Give" opens nicely with plenty of mystery from its steely production. "Welcome To England" recalls several first off singles of late from Tori but is solid on its own. Again, syncopation is key here. She can take a two syllable word and nearly create a sentence out of it. Maybe some would think that's trite or a bit annoying. others see it as fresh. "Police Me" is a favorites, definitely recalling the artist's earlier work. At once, completely creepy leading to a hopeful melodic altogether different chorus. Again, song craft has not been sacrificed at all here.

"Fire To Your Plan, "Not Dying Today" and "500 Miles" are strong pop entries to Tori's already elaborate catalog while "Strong Black Vine" recalls "Witness" plays with timing while slamming some religion that only she can. "Fast Horse" is reminscent of "Virginia" and "Marys of the Sea" being one of the final songs on the album that is quite strong and appealing. No one should underestimate Jon Evans and Matt Chamberlain. They really fill out Tori's sound with each album. I look forward to countless more collaborations with these guys. They've really developed her sound just as much as she has herself.

The packaging is lovely but quite grim with its cold European hotel scenes. Those skeptical that she'd have all these new characters to cloud the music will be grateful that everything has worked out positively. No one else is quite as prolific as Tori. Each release is so far different from the previous, and while themes are recognizable, one never feels as if we are treading over the same ground with her. Bring on the wigs. Bring on the characters. As long as Tori stays true to her creative vision, and she certainly has one of the most colorful creative visions, we are ready for her next installment.--Russ Elliot in New York with additional crtitical contributions by Cliff Holt in Hartford, CT

(31 May 2009) As White Willow goes from strength to strength, so do the individual artists that comprise Norway's most notably acclaimed progressive rock band. The Opium Cartel is a project put together by songwriter / guitarist / producer Jacob Holm-Lupo working with members of White Willow and others. With something of a split cult following, White Willow has influenced both the modern psych-folk scene. Their 1995 debut, Ignus Fatuus is considered one of the forerunners of the psych-folk revivial. The band is equally sought out by the extreme metal scene. In fact, the White Willow's fans include Norway's Enslaved and Emporer, England's Cathedral and US group The Soil Bleeds Black.

Gathering up his favorite singers and musicians including, Rachel Haden, Sylvia Skjellestad, Tim Bowness, Ketil Einarsen, Rhys Marsh, Mattias Olsson, Sigrun Eng and Lars Fredrik Frøislie, Jacob Holm-Lupo wanted to make a more eclectic and personal album. Made on a laptop in the comfort of the various contributors' homes, the album was made leisurely over an extended period. Most songs were build around orginal sketches recorded on dictaphones or minidiscs, and the end result is a patchwork of material sourced from different places and eras. All songs are by Jacob Holm-Lupo except "By This River" by Enio/Roedelius/Moebius and the intro to "The Last Rose of Summer" by Ketil Einarsen. Recorded, mixed, mastered and produced with stunning quality, credit also flows to Jacob Holm-Lupo.

The Opium Cartel's nine-track debut album is entitled Night Blooms (Termo Records (Norway) 7090001911835, 2009). Musically, this is partly a back-to-the-roots dip into the folk-rock that originally inspired Holm-Lupo, although the album touches on a variety of genres, from electronically impaired folk ("Heavenman," "Three Sleepers") via garagey power-pop ("Honeybee") and art-pop ("Skinnydip") to proggy exursions ("Beach House"). The album also features a cover of "By This River" from Brian Eno's album Before and After Science, one of Jacob's favorites. A common thread on the album is Mattias Olsson's sound mangling and an abundance of wobbly, vintage keyboards like Mellotrons and Optigans.

The album opens with the familiar sound of White Willow in the gentle ballad "Heavenman," but with Rhys Marsh's vocal work. The lovely melody that follows immediately draws listeners in. Although sparsely arranged, yet with stunning guitar solo, the album's production quality is superb from the start. Whispers female backing vocals hint that more will follow. Rhys also sings the guitar-led rocker "Better Days Than Here" features a wonderfu tempo changing instrumental break fed with swirling keyboards.

The songs featuring female vocals are certain to draw a special level of attention from our readers. "Skinnydip" is the first, and an album standout. A gentle almost-pop ballad sung wonderfully as a duet between White Willow stalwart, Sylvia Skjellestad, and Stephen Bennett. Sylvia's vocalwork is delivered so evocatively that it is quite liternally spinetingling. She returns in the track "Three Sleeps," accompanied by warm strings, keyboard washes and acoustic guitar. Not unlike the other longer tracks, novel instrumental breaks parse the songs's individual passages. Sylvia's additional harmony layers and lovely vocalise add a wonderful texture to the lush arrangement.

"Flicker Girl," led by Rachel Hayden's crystalline vocals, is another track streamed on the band's MySpace. Clearly another album standout, Rachel's sweetly delivered multi-layered harmonies work extremely well with the light string-based arrangement. While the verses are terrific in their own right, it's the joinup with the vocally laden chorus and Ketil Einarsen's flutes that clearly set this song apart from others on the album. Arrangements build throughout the song and reach a wonderful climax. A final instrumental break featuring Ketil's flute work winds things down as the song reaches its conclusion.

Perhaps the most White Willow tracks on the album are the artsy "Honeybee" and the progressive rocker "Beach House." "Honeybee" has a driving, percussive and with layers of vocal contributions, a complex arrangement. In "Beach House," numerous tempo shifts and extended guitar parts are underscored by vintage drums and percussion and are supported by a range of psychodelically swirling keys.

Warm strings accompany the singers in "By This River." Led by Tim Bowness, Rachel Haden provides a tender backing harmonies to the softly delivered ballad. The album's last track, "The Last Rose Of Summer," is introduced with layers of Ketil Einarsen's flute work before being joined by acoustic guitar and Rachel Hayden's lovely multi-layers vocal part. Strings and standup bass join percussion in the gentle ballad that brings this tremendous album to its conclusion.

The album was mastered by Jens Petter Nilsen of Xploding Plastix, and the package is rounded off with illustrations by Japanese illustrator Mako and design by Trine+Kim. Apart from The Opium Cartel and White Willow, Jacob Holm-Lupo plays guitar in experimental black metal grou In Lingua Mortua along with Lars Fredrik Frøislie and Jorgen Munkedby, and works as a producer. He produced Wobbler's debut album and is currently working on Rachel Haden's first solo album. We can't wait to hear it.

While the album's tracks include vocal parts by men and woman, the female led songs are intoxicatingly delicious in every respect. This is not to say that the other songs are not great, in fact the entire album is tremendous and was one of three albums that our staff listened to extensively while on extended holiday this past April in the Virgin Islands. It is hard now to imagine how this holiday would have been without The Opium Cartel's Night Blooms.