(21 May 2000) Linda Rutherford & Celtic Fire's already well-acclaimed 10-track second album is entitled Flames Of Eviction (Celtic Fire (USA) FOE-10CD, 1999). This initial concise review will be expanded into a feature when our exclusive Musical Discoveries interview with the artists and reviewof the band's debut album Stop The Rain are completed.

Formed in 1995 and based in Hilton, NY (northwest of central Rochester) and fronted by the stunning vocalist, songwriter and multi-instrumentalist, Linda Rutherford the band also includes family members Tony (accordian, keyboards, vocals), Johnny (drums) and Rosheen (electric and acoustic guitars). Linda plays fiddle, mandolin, acoustic guitar, keyboards, tin whistle, saxophone and flute. Celtic Fire also includes Francis White (bass) and Don Mancuso (lead and rhythm guitars, vocals). The album'ssongs are written by Rutherford family members in various combinations. The group is managed and directed by Bruce Pilato of Pilato Entertainment (Asia, ELP,Greg Lake, Carl Palmer, Tacye, AnthonyPhillips, and many others). This album's music is as wonderful asScott Hamilton's everso well-designed album cover.

Celtic Fire's latest album blends traditional Irish instrumentation and song structures with highly accessible original rock tunes. LikeThe Corrs and Capercaillie, jigs and reels are often major parts of instrumental bridges within the group's songs. Stunning vocals adorn the majority of the rich instrumentally arranged songs on Flames Of Eviction and are a notable step up from the debut album according to other reviewers. With the public's growing interest in modern interpretation of traditional folk music arising from successful dance musicals Riverdance and Lord Of The Dance, fans of these shows as well as Clannad, Capercaillie, Iona, Ronan Hardiman and other progressive Celtic recording artists are certain to enjoy Celtic Fire's music and Linda Rutherford's vocal prowess.

Lyrical themes within the album deal with serious subjectsincluding domestic violence and sexual assault. The title track sung in English and Gaelic ("An Gorta Mor") that opens thealbum refers to the plight Irish citizens faced during thedevastating great Potato Famine that struck their homelandin the 1840s. Comprised of two distinct styles—an acousticCrosby, Stills & Nash-style harmony and a more agressive rocktheme—the highly accessible tune typifies the depth and power of Celtic Fire.

Upbeat Celtic-rock numbers ("I Said No" and "Nowhere toRun") feature traditional pipe instrumentation, acoustic guitarand lovely vocal passages laced with lots of backing vocals.The richly arranged "King Of The Faries" is the group's rockingtransformation-featuring accordian—of an old Celtic reel and Irish set dance. The album's serious vocally-laced rockers ("What I Am," "Vengeance" and "I Believe") combine agressive electric guitar with vocal harmonies and traditional instrument-based solos featuring whistles, pipes, fiddles and even Jethro Tull-style flutes.

"Too Far" builds an effective blend alternating between traditional, alternative rock and reggae themes. We especially enjoyed "Silence," a ballad with Linda's soaring lead vocal sung over densely arranged traditional and electronic instrumentation with lovely backing vocal harmonies in the choruses. Rosheen's "The Answer" is a heavy rocker lushly arranged featuring accordian and fiddle. It combines modern rock sounds with stunning vocals; modern and traditional arrangements comprise a reel within the instrumental bridge.A reprise of the title track concludes the song.

You can hear soundbites from Celtic Fire's debut album, access other reviews and order the band's albums at their website.Worth a cross-country journey, this new album is absolutely a must listen!

(21 May 2000) Alternative singer / songwriter Nichole Nordeman's second album, entitled This Mystery (Sparrow Records (USA), 2000), is a wonderful followup to her debut album Wide Eyed which sold in excess of 130,000 units. The latest project from the acclaimed recording artist,is comprised of ten heartfelt songs spanning various secular themesand was produced by Mark Hammond with executive producer Grant Cunningham. Nichole writes about the inspiration behind the album, "Ms L'Engle has given me a gentle nudge to remember and reclaim the innocence, naivete, and mystery of my faith long before it got lost in the land of adult reasoning." The new album will appeal to a variety of female vocalist enthusiasts and will certainly enthrall Michelle Tumes (review) fans. Soundbites and additional information are available at the artist'swebsite.

The album's title track is an alternative rocking ballad accompaniedby contemporary electronic arrangements balancing tension and release. Evocative lyrics are sung emotionally and sensitively and backing harmonyvocals are effective at additing texture. The ballad "Tremble" has a slow rocking tempo and thick instrumentalarrangements add to the accessibility of the track. "Help Me Believe"is a slow and sensitive jazzy coffee-house ballad that illustrates thesensitivity of the artist's vocal delivery. Guitar riffs within theinstrumental bridge and the layers of harmony vocals are most notable. The sensitive yet moving ballad "Home" continues in a similarvein with Nichole's soaring vocals leading the way through the track.Male and female backing vocals create a lovely texture in the chorusas the song builds to its instrumental splendour.

The soft and slow ballads "Small Enough" and "Home" are carried by Nichole's sensitive solo delivery. "Small Enough" is joined by only slight male and female backing vocal harmonies. Harmonies in "Home"are joined by lovely instrumental arrangements and build the depth ofthe song's sound. The ballad "Every Season" is performed with almostorchestral instrumental arrangements. Nichole's vocals are presentedsweetly and sensitively and are modulated with the power necessaryto delivery the lyrical message. It is a lovely and likely will bean award-winning track!

The production quality of This Mystery is superb and evidence ofthe labels significant support of their priority developing artist. A nomination for the Dove Award for New Artist of the Year and anotherfrom the GMA in 2000 for Female Vocalist of the Year are indicative ofthis artist's growing notariety. You can read further reviews, hearsoundbites and order This Mystery from amazon.comhere. Be sure to check out Wide Eyed as well; you can find furtherinformation, soundbites and order it from amazon.comhere. Nichole's new album is worth a journey andis certainly a very nice listen!

(21 May 2000) The fourth album from Kansas City-based Connie Dover,The Border Of Heaven - Celtic Music On The American Frontier(Taylor Park Music (USA) TPMD0401, 2000) is an eclectic collectionthat blends traditional Celtic themes with songs of the American west.Dover's earlier albums received international acclaim and include Somebody, The Wishing Well and If Ever I Return.The album was produced in conjunction with Phil Cunningham andis comprised of twelve tracks with instrumental contributions bya bevy of additonal performing artists. Be sure to visit Connie'swebsite for additional information about the album and the artist'scareer.

Connie's soprano voice perfectly suits the folky themes of hernewest album. Songs are sung either in Gaelic or English and mostblend Irish and American instrumental themes. The album opens with "The Blessing" sung in Gaelicand combines traditional melodies with additional instrumentation.The traditional American folk song "Sweet Betsy From Pike" has alovely moving melody and Connie's sensitive lead vocal carries itwonderfully. Adapted form the Alabama folk song, Connie's "I Am Going To The West" is a folk ballad with a catchy melody certainto appeal to a broad audience. The eclectic combination continueswith Connie's interpretation of "The Streets Of Laredo" accompaniedprimarily by accordian. A contrasting vocal by Skip Gordon addsto the American cowboy flavour of the track.

Phil Cunningham's penny whistle introduces the ballad "LordFranklin," perfectly illustrating the crystalline texture ofConnie's voice. The traditional Irish song "An Spailpín Fanach" (The Wandering Laborer) is sung in Gaelic with tremendousclarity and, a highlight of the album with a lovely instrumentalbridge, is also a tribute to Connie's vocal talent. The track"Last Night by the River," written by Connie Dover is a veryslow, almost droning, hymn; vocals soar over the lightestinstrumental arrangement. An American folk song of Scottishorigin, "The Water Is Wide" and the English folk song "My DearestDear" are highly accessible yet slow paced ballads with stunning lead vocals and light instrumental accompaniment.

Orchestral-sounding instrumental arrangements support Connie'slead vocal in the hymn "Wondrous Love" and make it a highlymemorable track. The pace actually picks up in the folk song"Winters Night" with dancing feet contributing to its percussive texture. The American Civil War folk song "Brother Green" issung almost a capella and serves to illustrate the range anddepth of Connie's vocal talent.

Taylor Park Music has spared no expense in the production ofConnie's latest album. Artwork is lovely and a thick bookletwith complete lyrics and song backgrounds accompanies the compactdisc. You can read further reviews, hear soundbites and order thealbum from amazon.comhere. Connie's earlier albums are also available at amazon.com.This latest album is technically superb and eclectic in its construction.The music is very listenable and most appropriate for relaxation.Worth a journey, it is certainly a very nice listen!

(21 May 2000) The second album from New York-based singer /songwriter Jennifer Marksis comprised of fourteen relatively short alternative pop tracks.Entitled My Name's Not Red (Red Kurl Records (USA) RK 000-2,2000) the album is the followup to the artist's debut album from1998, Pizza. Described as having lyrics ranging fromedgy to humourous, her honesty and integrity separate herfrom the rest of woman's pop music and place her in aleague of her own. Influenced by The Beatles, Joni Mitchell,REM, Prince and Elivis Costello, she is similar in sound toAimee Mann, Sarah McLachlan and Fiona Apple. Further informationis available at the artist's website and an extensive rangeof downloadable music is available at her mp3.comwebsite.

The songs on Jennifer's album are sung evocatively and theheartfelt delivery comes through in each one. The albums'ethereal tunes mix contemporary electronic instrumentationwith soaring vocalise and whispy lyrical segments ("Window" and"Dreamill"). The swinging tempo of "Halo" is perfectlycomplimented by the instrumental arrangement and maleharmony vocal.

Alternative pop tunes vary tempo betweeen slow and upbeatand include heartfelt lyrical segments ("Thick," "I Can'tLove You" and the highly memorable 60s sound of "High School Reunion"). Jazzy undertones of the title track are complimented by Jennifer's unique vocal treatment. The vocal raunchiness of "Turn Away" is contrasted by a rich instrumental arrangement; soft harmony vocals are especially notable. The quirky sound of "I'm Getting Old" is achieved with experimental vocal harmonies and the combination of various instrumental—circus-like—themes.

Slower numbers include folk rock tunes like "Unpredictable"and "Fly" where Jennifer's lead vocals far outweight the supporting instrumentals. The album's ballads ("Fragile" and "I'll Try") drip with emotion and instrumentals support the moods developed with the vocal delivery. The albumconcludes with excellent lead and harmony vocals in the alternative structured ballad "Standing In Lines."

You can find additional reviews, soundbites and order JenniferMarks' album My Name's Not Red from amazon.comhere. The album contains some highly memorable moments and is worthfurther exploration. Many of our readers will find the album is anice listen!

(21 May 2000) The fifth album by Costa Rican recording artist Patricia Saravia is entitled Ritmo de los Santos (Song-O-Sau'rus (USA) 724783, 1999). Eleven Latin-rhythmtracks feature her stunning vocal work and lush jazz-inspiredinstrumentals. Patricia's four earlier albums include Caracol(1989), Atrapar un Instante (1991), Entre el Son y elCorazón (1992) and De Inga y de Mandinga (1996). Herlatest album was selected by Luis Tamargo of Latin Beatmagazine of Los Angeles as one of the ten best Latin Americanalbums of 1999.

Patricia's main objective has been the performance of Peruvianmusic. She is considered by Peruvian journalists to bean artist with special quality and performance. She lives inSan José de Costa Rica where she is currently workong on research about Central American and Caribean music. Patricia haswon awards in Costa Rica for her musical work there. Her sixthalbum includes a brief anthology of Peruvian rhythms and someLatin American tunes; it is due to be released later this year.

The music on Ritmo de los Santos is earthy and rhythmic,with lush production and lovely vocal passages. It is mostakin to jazz in its texture with guitars balancing otherinstruments and never overpowering the vocals. Some of thetracks are dance-oriented.

In Offbeat, Joseph Irrera wrote, "Not only acompelling vocalist, Saravia composed the jazz-tingedselection "Asucenes" and the title cut of Ritmo DeLos Santos. Backed by Ruben Blades' current ensembleand members of Costa Rica's National Sypmphony, along withvocalist Fidel Gamboa (one of Costa Rica's most prominentmusicians), Saravia is an excellent introduction for thosmusic lovers in search of the indigenous and creole soundsof Peru. Seemingly related to the precussion-oriented music of Brazil and Cuba, Afro-Peruvian songs provide theaccompaniment for the country's three main dance forms' the lando, samba maleato and the alcatraz. PatriciaSaravia provides the invitation: 'Come to me if you dare ...come because to dance with me, determination you've gottahave."

Readers that are interested in expanding their horizonsare encouraged to explore Patricia Saravia's latest album.Her stunning (Spanish) vocals are backed by Latin and/orjazz textures to produce a lovely and sound. You can find additional reviews, soundbites and order PatriciaSaravia's album Ritmos de los Santos from amazon.comhere. We enjoyed listening to the album and learningabout this different style of music. A very relaxing listen!

(27 May 2000) The only album from Annyland released to dateis entitled She Walks In (AsFab Music (USA) AM2700, 1995). Fronted by singer guitar-player songwriter Anny Celsi, the band also includes Tim Lindholm (drums and percussion), Bruce Kaplan (guitar), Steve Janowski (bass) and backing vocalist Cindy Jones. The band is currently based in Los Angeles. The music on the album is highly accessible with relatively short tracks spanning blues, R&B, hearfelt ballads and new wave rock'n'roll. Although released five years ago,the album has a timeless quality. The music has a similarity tothat of the Pretenders, but Anny Celsi's voice is more appealingthan Chrissi Hynde.

Chris Manahl (MTV, LA) wrote, "To look at Anny Celsi and hear hersing, is to dream of riding off with her on a Harley in a whirlwindof romance and road dust." Continuing to describe the music, hewrote, "Celsi's come-hither voice and bluesy songs like, "Under Coverof the Rain," and "Drag the River" are played and sang with thelife affirming energy of the world's best pop songs. ... On stage,she matches her Chrissie Hynde black leather pants with a knowing,enrapturing smile."

Steve Alcorn (Pasadena Weekly) wrote, "The CD rolls throughone catchy number after another. From the straight aheadpop of "27" to "This House Won't Rock," an R&B-style romp fueled bythe horns of Lee Thornburg and Greg Smith ... "Hole In The Sky" is abeautiful piece with piano and male chorus that swirls gently. Itwas at this point that I had decided that Annyland had locked upa damn-near perfect disc. Then "Kiss A Crocodile" rocked on -- whata stomp! Driven like a kid in a rental car on a dirt track, Chris'sax tears it up, along with the rest of the band, in another R&Bstyled thrill ride. Amazingly, the energy of Annyland's live showshas been translated to their disc."

The music on the Annyland album features stunning technicalrecording quality; vocals are mixed way up, never overpowered bythe instrumentals, and the processing incorporated perfectly suits each of the song styles. We especially enjoyed Anny's soaring vocal excursions; her vocal dexterity is tremendous,whether sultry or sensual, the dynamic range and vocal energywill enthrall female vocals enthusiasts. The epic ballad "Drag The River" is emphatically sung and spans a significant portion of Anny's range and its instrumental riffs demonstrate the band'svirtuosity.

Further information on Annyland and their album She Walks In is available at their website. The CD has been attractively silkscreened to look like an Atlantic 7" single. You can find additional reviews, soundbites and order Annyland's album She Walks In from amazon.com here. The album contains some highly memorable tune and worthy of further exploration, it is a nice listen!

(27 May 2000) Tammy Trent, with her empassioned spirit for the Lord,shares her fire for music in Set You Free (SPC/D 1732, 2000), herfirst release on Sparrow Records (USA). Like many other secularartists, Trent grew up around the Church. Following her motherby travelling to churches, women's conferences, nursing homes,and prisons, Trent learned that "Christian music was a verypowerful thing, full of hope and a huge source of strength."This latest 9-track album was produced by Michael Linney but includestwo tracks produced by Mark Hammond. The album's executiveproducer was Grant Cunningham. The music on the album is bestcategorised as pop.

Seeing Amy Grant in concert gave Tammy an urge that pushed a dreamforward. "She was affecting my life so much, I thought it wouldbe awesome if I could inspire a little girl someday just like shedid me," Tammy recalls. From then on, she knew her dream was music.

Set You Free has not only upbeat tunes, but ballads too. TammyTrent sings under Gospel influence, but her music incorporates R&B and popas well. "My Irreplaceable," "I Do Believe," "If You Need Love," "Everybody Move With It" and "He's Right There" are all upbeat songs but each has a different musical influence. "He's Right There" brings out a strong R&B influence. "Everybody Move WIth It" uses a pop influence withrap vocals by DjMaj. These tunes really show that she is excitedto perform with her zest for life while spreading God's word.

Trent easily switches gears and channels that energy into a quietreverance with ballads like "Light of Love" and "Your Love Pursues.""Light of Love" is a song about the importance about being areflection of the Lord. "That song is a prayer for me me thatspeaks so true to my heart about simply being a reflection of God in all I do," says Trent. On "Your Love Pursues," she addressesthe miracale of God's love and forgiveness and its awesomemagnitute. "How God's love pursues us is an amazing thing,"says Trent.

"Without You" and "Trusting You" really bring out the Gospel influencein Tammy Trent's music. She shows through an upbeat ballad that she is true to Jesus and she needs direction in her life. "I seemyself growing closer to more of an image of Christ."

It's imperative to Tammy that she record only songs that speaktruth that she can both relate to herself and others. She takesher responsibility as a conduit for God's love seriously andhopes to continue growing and reaching more and more peopleas she stretches as an artist in future years.

This latest album from Tammy Trent can be further exploredat her website or at Sparrow'sexcellent website. Youcan read further reviews, hear soundbites and order the album atamazon.com (link will be provided) from June 20. Certainly worthy of further exploration, the album is a nice listen!—Deborah J. Elliot

(28 May 2000) Built around lead singer Lili Plieninger, Germanprogressive rock band Wildeve have released one album to dateentitled Touch and Go (WMMS 1111, 1996). The bandformed in 1995; before that Plieninger sang backing vocals withEnglish classic rock bands Landmarq and Casino. Lili also contributed backing vocals to the album by German progressiveband Rejoice.

In Wildeve, Lili also contributes vocals, electric and acoustic guitar and keyboards. Wildeve's album features band members Andreas Brenner (acoustic guitar), Leno Vijackic (electric guitars), Rudi Liechtle (drums, percussion), and Peter Steinbach (bass); guests include Hardy Heinlin, Werner Danneman and Helmut Kipp. The songs are primarily written by Lili Plieninger. The music is mainly light and airy, never too heavy and often quite accessible. It can bebest categorised as folk rock with a progressive edge, similar in some ways to Rebekka (Phoenix), and it certainly has a 1970sfeel. All songs are sung in English.

The band is presently working on new songs, demo recordings and that they are preparing a new album for release later this year.The lineup supporting Lili now includes Alex Mueller (electricand acoustic guitars), Mark Ellis (bass) and Hardy Philipp (drums and percussion).

Wildeve's Touch and Go album is comprised of tenrelatively short tracks each featuring sensitively sung vocalpassages. Production quality on the album is superb with vocals mixed way up, never overpowered by the instrumentals, which with lush keyboard parts are very effectively arranged. The occasional multi-tracking adds depth to the vocal textures.

Lili's vocal work is evocative and sensual; soaring excursions in several of the passages show her vocal dexterity and the tremendous depth of this talented singer. Accurate parallels have been drawn by German media to Tori Amos,Cranberries or early Kate Bush as well as Heather Nova and Alanis Morissette. She has a unique vocal style, perhapsdue to the German edge (accent) of her voice, that suitsthe light style of, and acoustic guitar within, the progressive rock that Wildeve plays.

The album's acoustic tracks feature lovely harmony vocalssung over light acoustic guitar or piano and include "DaysOf Desire" and "What Can I Do." The tremendous vocal lead in theacoustic track "Radioman" is most reminiscent of Rebekka'smusic. The more richly arranged rock tracks have a slighly heavier edge with thicker bass and keyboard parts joining electric guitar. These include "City Rain," "Strange Girl," "Eternalize" and the everso densly arranged ballad "As the Days Go By."

Several of the album's tracks include both styles effectivelymixing acoustic with the denser rock arrangements. Thesesongs include the title track, "Touch and Go," "What a Man" The vocal parts in these songs are among the best due to the soaring excursions. We especially enjoyed "Good For Me," a lighter track that mixes Wildeve's lovely acoustic folk rock style with a thicker, almost live chorus and many layers of backing harmony vocals.

With preproduction of their follow-up album complete, it'sa good time to explore their debut album further. You can findfurther information, soundbites and ordering information at Wildeve's website. Worth a cross-country journey, Wildeve's Touch and Go is certainly a must listen!.

(28 May 2000) Madrigal are a progressive rock band from Hannover, Germany. They are currently compiling their first full length compact disc.Fronted by the stunning lead vocalist Sandra Werner, the band also includes Lars Totzke (guitar), Kai Paulmann (drums) and Kai Spickenbom (bass and keyboards on "(No More) Face to Face"). Madrigal's first four-track EP is entitled Silence (Madrigal (Germany) 1997); a second four-track EP was issued in 1999 in the runup to the band's full length album. The band's music has a harder edge than Wildeve, along the lines of Leger De Main (review) but not as hard and more accessible instrumentally. The sweet and crystalline quality of Sandra's voice comes through in all of the songs. Sung in English, all music is written by Lars Totzke (music) and Sandra Werner (lyrics). The band's second EP is vocally stronger than theirdebut.

Silence begins with the rocking track "(No More) Face To Face" which is a powerful instrumental number with sufficient leadvocal work to introduce the listener to Sandra Werner. "CoveredSun" clearly places Sandra in the spotlight with instrumentals taking a backseat to her soaring vocal passages and lush multi-tracked backing harmonies. The production quality of the guitar work is exceptional. "Turn Back The Time" is a very Yes-like track; it balances thickly arranged melodious guitars with Sandra's jazzy lead vocal passage and lovely backing harmonies. The EP's titletrack is a folk rock-style song with layers of vocals supportedby a progressive mix of light acoustic guitar and more thickly arranged electric guitar. The solo guitar work in the instrumental bridge is especially notable and their first EPis a delight.

The band's second EP was provided to Musical Discoverieson CD-R. The first track, "Before Your Eyes," has incrediblevocal clarity that will strike all listeners from its first play. Similar in some ways to "Silence" in its instrumentalarrangements, the vocals are immediately more evident and aremixed way up, right in your face, with harmonies above the lush instrumental arrangements. The—perfectly performed—a capella vocal introduction to "Evolution Error" is a further illustration of Sandra's vocal dexterity. Another vocal-oriented track with layers of harmonies, the thick guitar never overpowers Sandra's crystalline mid-registerperformance. Vocals and instrumentals contrast with both harder and softer edges in "Deep Blues" and "Crystal Night" whichconcludes the second EP.

The two Madrigal EPs contain eight tracks featuring thestunning vocal work of Sandra Werner with excellent lead andsupporting progressive instrumental work by the rest of Madrigal. In anticipation of their first full length recording, it'sa good time to explore these EPs further. You can findfurther information, soundbites and ordering information at Madrigal's website. You can order an eight track digital audio music (DAM) CD with the eight tracks reviewed here, downloadsamples and read further information about the band at their mp3.comwebsite. The band can be contacted via Lars Totzke, Karlstraße 8, 30559 Hannover.Madrigal's two EPs are worth a cross-country journey, andwith the second vocally stronger than the first, the twoCDs are certainly a must listen!.

(29 May 2000) The latest album from progressive rock band Glass Hammeris entitled Chronometree (Arion Records (USA) SR-9000, 2000); it should delight fans of Yes and Emerson, Lake and Palmer as well asother bands of that genre. A concept album like the group's former releases—Journey of the Dunaden, Perelandra and On To Evermore—the album is comprised of one multi-part epic yet it has two smaller pieces embedded within it. There are actuallytwo numbering sequences for the album's tracks which, with a little bitof studying, can be easily interpreted. The two major parts of"All In Good Time" consist of album tracks "a" through "j." The fifth and six tracks of the album, "A Perfect Carosel" and "Chronos Deliverer," are the middle songs. A short instrumentalbonus track is also included at the end of the album.

The album was written and recorded by Fred Schendel (Hammond organ, Mellotron, mini-Moog, keyboards, acoustic, electric and slide guitar, autoharp, drums and backing vocals) and Steve Babb (bass guitar, keyboards, Mellotron, synths and backing vocals). To round out thelineup for the album, Fred and Steve brought in Brad Marler (lead vocals and writer of "Perfect Carosel"), Walter Moore (drums, guitars), Arjen Lucassen (Ayreon; also Lana Lane's latest album (review)) and Terry Clouse (additional guitar work). This is the first Glass Hammer album to be produced without explicit female vocal parts; there is,however, a choir passage with guest performances Susie Warren, Jamie Watkins and Sarah Snyder on "Chronos Deliverer." Enthusiasts will be interested to know that Glass Hammer also released a limited edition album of rare live performances and remixes from their work prior to On To Evermore entitled Live and Revived (Arion Records (USA) SR-5710, 1997).

The storyline of Chronometree revolves around Tom, aprogressive rock fan from the 1970s who heard voices fromouter space within the music he listened to. The aliens instructedhim in the science of Chronometree. Tom captured the fundamentalsin a series of drawings and esoteric manuscripts ultimately revealing directions to construct a time machine. A series ofgraphics from the project are available at Glass Hammer'swebsite.

"All In Good Time" is primarily an instrumental number,laced with layers of keyboards drawing a strong resemblenceto ELP's Tarkus in many places. Arrangements blendGlass Hammer's style from former albums with this very 1970sKeith Emerson-style keyboard work and the metal edged guitarwork of Arjen Lucassen. The album requires several devotedlistens to appreciate the details of the music and the instrumental themes evident within it. It is a very wellwritten, performed and recorded album, and will appeal tosymphonic and orchestral progressive rock enthusiasts.

"A Perfect Carosel" and "Chronos Deliverer" contrastthe balance of the album both in their style and delivery."A Perfect Carosel" is an acoustic guitar- and light synthesizer-based ballad. Wakeman-style keyboard excursions contribute to Yes similarities within thetrack and compliment the lyrical theme of the tune.A highlight of the album is "Chronos Deliverer," a very Yes-like track with soaring electric guitars and keyboard parts similar to Howe and Wakeman respectively. We especially enjoyed the vocal parts and the supporting orchestral keyboards. The later tracks on the albuminclude both Wakeman- and Emerson-style keyboard passages.

The first album to emerge from the band since 1998'sOn To Evermore, Glass Hammer's Chronometreeeffectively blends elements of their earlier styles with thoseof classic ELP and Yes. The group's website is a resourcefor further information; there you canfind further reviews, soundbites and ordering information.Chronometree is also available from good online andmail order progressive rock retailers including CD Services(Dundee, Scotland) and ZNR (Louisville, KY USA). The band's earlier albums are available at amazon.com.You can orderJourney Of The Dunadanhere,Perelandrahere andOn To Evermorehere. A progressive album worth extensive exploration and certainly a long distance journey, this latest Glass Hammer release is a must listen!

(21 May 2000) Slovenian singer and flute player TinkaraKovac's latest album is entitled Koscek Neba (Sazas (Slovenia) 105326, 1999). The eleven track album is sungentirely in Slovenian and features highly accessible mainlypopular rock tunes. A biography, stunning photographs ofthe artist and soundbites are available at the Englishportion of Tinkara's website. Further information and two additional songs by the artist—including one sung in English—are available from her mp3.comwebsite.

Koscek neba is comprised of songs that fit relativelyeasy into one of several categories. The highly pop-orientednumbers are easy to listen to and are well arranged blendinginstrumentals to support Tinkara's soaring vocal passageswith catchy choruses. Songs include "Ko bo prisel" and with a rocking style reminscent of The Cars, "Loahheeiyeee."

Several of the numbers are more vocally and instrumentallyexploratory and demonstrate the range and depth of the artist'sraw talents and would most comfortably fit into the EurovisionSong Contest. These include "Brez lazi," "Ti si tu," the orchestrally rich movie theme-like "Zakaj" and "Grem." The album's ballads have a gentler texture yet move right along as well and include "Ko samo skupaj" and the varied "Nikoli."

Tinkara's effective and evocative Slovenian cover of The Corrs (review) "Only When I Sleep" is entitled"Od zvezd pijan." She has added her own vocal textures to thetrack and the electric guitars have been mixed with a raunchiersound that works quite well with Tinkara's voice. The track"Nic je vse" is performed in a similar, but less melodic, style.

The album closes with "Nocem vec" a rocking number with soaringvocals and hard edged electric guitars. The jazzy Ian Anderson-styleflute solo during the instrumental bridge is most notable.

Tinkara Kovac's latest album is certainly a tribute to a talentedperformer. With samples available online, her work should beexplored further. We found her latest album a nice listen!