(09 July 2005) New Zealand singing sensation, Hayley Westenra, presents Live From New Zealand (Decca Music (USA) B0004199-09, 2005), a DVD recorded at the Westpac St James Theatre in Wellington, New Zealand in August 2004. This beautifully produced DVD showcases Hayley's amazing talents.

With the dramatic flair of a traditional haka greeting by the Te Orowai Maori dance group, Hayley opens her concert with a traditional Maori song, "Pokarekare Ana (Come Back to Me)," which is her signature song about a loved one going off to sea. She sings in the Polynesian language to absolute perfection. Her angelic voice, backed by orchestra and choir in "River of Dreams," delights with her pure and soaring vocals. Her tone is exquisite and unfaltering.

"In Trutina" from Carl Orff's "Carmina Burana" is sung with perfection and immaculate clarity one would expect from a seasoned operatic soloist. One tends to forget that Hayley is a mere seventeen year old when performing in this concert in 2004. "Across the Universe in Time" opens with gentle guitar riffs and a costume change for Hayley. She emotes passion in her vocals and exhibits a simple elegance in her style. Her younger sister, Sophie, provides accompanying vocals. Obviously, talent and beauty abounds in the Westenra family.

Enya's "May It Be" from Lord of the Rings is flawlessly performed. A background of various New Zealand landscapes dramatize the sensational vocals that lift the listener to a new level. Hayley has tremendous richness in her singing and one is blown away by her vocal maturity and expansive talent. With another costume change that continues an elegant theme, "Beat of Your Heart" brings about a more contemporary feel in the music. Hayley appears comfortable singing anything from classical to current music.

Her aria, "Cantilena," from Villa-Lobos' "Bachianas Brasileiras No.5" showcases her amazing singing ability. She is accompanied by a cellist, and the combined vocals and instrumentals complement one another's virtuoso talents. Utterly fantastic! Showing her diversity and versatility, Hayley sings "Who Painted the Moon Black?" Backed by both band and orchestra, she sets the mood with her rock/pop interpretation.

Baritone Teddy Tahu Rhodes sings the duet "How Many Stars" from Bombay Dreams with Hayley. Their rendition is delightful and full of resonant and rich tones. Hayley can easily star in a West End or Broadway production with her multitude of vocal talents. A spiritual medley follows, mixing the traditional "Ave Maria" with interpretive English lyrics.

Hayley touches on Country music with "Down to the River." She continues to amaze with her singing versatility to all types of music. She sings comfortably in country, opera, rock/pop, musical theatre and religious genres. "Amazing Grace" is performed in a stunning manner. Accompanied by a male quartet, Musical Island Boys, Hayley's magnificent and soaring voice makes a lasting impression. "Benedictus," from The Armed Man:A Mass for Peace by Karl Jenkins was simply spectacular. Chills run up and down your spine with Hayley's vocal perfection and the beauty of the orchestra.

"Mary, Did You Know"" and Joni Mitchell's "Both Sides Now" begin the final sequence of songs from this incredible concert. Hayley's lush tones continue to excite the listener. Her version of "Never Say Goodbye," a modern vocal arrangement of Ravel's "Pavane Pour Une Infante Defunte," is superb. Her effortless voice brings about a feeling of joyous contentment and a flowing ecstacy.

Hayley certainly puts her own touch to Kate Bush's "Wuthering Heights" bringing the song to new heights. She most definitely gives Kate Bush a run for the money on this one. "Hine e Hine (Girl O Girl)" concludes her concert and Hayley absolutely shines. Teddy Tahu Rhodes again joins her to perfect this duet.

Bonus features on the DVD include interviews with Hayley. Her lovely and genuine personality is highlighted in this feature. Her parents' comments are also included. One learns tht Hayley and her sister were buskers, gaining experience in front of an audience on the streets of many famous cities worldwide. Also, Hayley's vocal talent was discovered in primary school and her teacher found her voice pitch perfect. She performed in her first stage production at the age of seven in Annie. She is a well-rounded performer and has studied ballet, piano and violin. The interview goes on to discuss Dame Malvina Major, who influenced her music and grounded Hayley in her singing as well as discussing her favorite singers, musical influences and other personal tidbits.

Other bonus features include a video of "Pokarekare Ana," a concert performance of "I Dreamed a Dream" from Les Miserables, a New Zealand tourism documentary, a fabulous photo gallery and a memorabilia slide show.

What more can be said about Hayley Westenra. She gives a stellar performance and you get more than you paid for. She is beautiful to watch, astonishing to listen to, and one can only imagine a very bright future for this extraordinary talent. The US audience is certain to be humbled by her glorious voice. She is in no doubt a shining star with a gift for all of us to relish.

Bond are back with their newly released album, Explosive: The Best of Bond (Decca Music (USA) B0004748-82, 2005). Their exciting new DualDisc contains a collection of favorite tracks from their previous hit albums Born, Shine and Classified plus three all new tracks on the CD side. Three fabulous promo videos, an extensive photo gallery and full discography is presented on the DVD. The complete album is mixed in 5.1 surround sound on the DVD as well.

These exceptional and virtuoso women have introduced three previously unreleased tracks on Explosive: "Caravan," "Sugar Plum” and "Carmina." During their last tour (our editors saw them in York, PA in December 2004 - feature). There Bond performed "Sugar Plum," a very playful rendition of this Nutcracker ballet favorite. The CD version is certainly a wonderful reminder of their extensive talent and exceptional ability to bring the music to life in a unique and delightful manner.

"Caravan" whisks the listener away with a Caribbean flair in its captivating beat. The Duke Ellington and Juan Tizol melody has a new edge created by Bond in a most unique manner. "Carmina" from Carl Orff's Carmina Burana is certainly powerful and fiery as Orff originally intended this magnificent piece to be.

Bond released its debut in the US in 2001 and created a stir with its mix of classical and pop that appeals to a wide audience. The band toured and performed on ABC's Good Morning America. The magnificent quartet released Shine in the fall of 2002 and topped the charts. Remixed was released in 2003, followed by Classified in 2004 (review).

Their music continues to be a unique blend of dance rhythms, international themes and orchestral music that enthralls the listener. Bond’s use of techno beats, sitars, Spanish guitars and full orchestra for its neo-classical sounds continues to bring their music to the forefront. With their contagious energy, you can't help but dance to their inspiring and sensational musical interpretations.--Audrey Elliot in New York

(25 June 2005) Fans of metal and progressive music need no introduction to Liv Christine. For a decade she fronted the popular metal band Theatre of Tragedy. After the band's 2002 album Assembly--their strongest to date, Theatre of Tragedy unceremoniously dismissed Liv from their ranks via their website.

No longer tied to other people's visions Liv quickly rebounded with her Napalm Records debut, under the monniker Leaves' Eyes, entitled Lovelorn (Napalm Records (USA), NPR 145, SPV 085-343212 CD, 2004) and soon the whole music industry was enthralled. Fans and critics alike were blown away by the band's unique sound and grand approach. Backed by the members of Atrocity, Liv quickly established herself as one of music's most important female artists.

In addition to the new Leaves' Eyes album and maxi reviewed below, Liv will also release her first solo album since 1999's Deux Ex Machina later this year. She has signed to one of rock's biggest labels, Roadrunner Records. We caught up with Liv recently to talk about her past, present, and future. Read our interview for details.--Mark Fisher in West Virginia

Vinland Saga. Leave's Eyes latest full length release is indeed an epic concept album. Entitled Vinland Saga (Napalm Records (USA) NPR 164 SPV 085-37190 CD, 2005), the album is a beautiful and majestic blend of classical, goth, and metal. Comprised of twelve tracks, the album is rich with warm orchestral string arrangements supporting Liv's glorious vocals. Almost soundtrack, the album is certain to enthral a wide range of enthusiasts.

The title track that opens the albums certainly sets the stage immediately establishing the cinematic beauty Leaves' Eyes consistently delivers. They do so by perfectly mixing guitar and keyboard with a massive rhythm section. "Farewell Proud Men" is a warmly arranged rock track, Liv's Sarah Brightman-style pop vocals in the verses contrasted by thick metal-edged choruses a la Within Temptation. The album's first single "Elegy" is a stadium style rocker, graced with Liv's tenderly delivered vocals, at times multi-layered, against vast rocking guitar excursions.

Vinland Saga clearly provides the canvas for the band to build a rich musical tapestry. Soaring vocals contrast thick guitars in "Solemn Sea" while the semi-acoustic and highly memorable ballad "Leave's Eyes" and internally contrasting "The Thorn" showcase Liv's incredible vocal talent. "Misseri" (Turn Green Meadows Into Grey) again combines metal-edged guitars with orchestral arrangements in a foundation for Liv's soaring multi-layered vocal arrangements. The thick instrumentals within "New Found Land" provide a rich foundation for Liv's tenderly delivered lyrical message.

Layers of Liv's soaring vocals are backed by gentle acoustic arrangements in the lovely track "Amhrain" (Song Of The Winds). The very accessible and memorable ballad "Mourning Tree" showcases Liv's vocals and is certainly one of several album standouts. The last metal-tinged track on the album is "Twilight Sun," and as several of the others, it is full of contrasts providing ample opportunity for instrumentals and vocals to come to the fore. The album concludes with the atmospherically flavoured rock ballad "Ankomst," sung gloriously in Norwegian. The multi-layering of Liv's voice is superb.

Clearly Vinland Saga has demonstrated significant growth over the band's superb debut album and is already a strong contender for one of our best of the year recommendations.

Elegy. The first single by the band since their prior album is entitled "Elegy." The maxi-CD includes two versions of the title track: a shortened single version and the album version. It also includes three non-album tracks and a lovely demo--and differently arranged--version of the album track "Solemn Sea."

"Senses Capture" is a mid-tempo number featuring a powerful string arrangement beneath a Liv's memorable solo vocal lead and multi-layered harmony. In addition to the stunning middle eight, the drum parts, strings and keyboards in the main body of the track are especially notable.

"A Winter's Poem" is a lovely bonus track. A slow number, richly arranged with a foundation of orchestral textures, Liv's tenderly sung and strongly vocals rise above the equally powerful instrumentals. "Mot Fjerne Land" is a short atmospheric instrumental number with strong Nordic influences that combines male and female choir textures atop powerful rhythmic percussion.

Comprised of six excellent tracks, the "Elegy" maxi is a tremendous package and an excellent companion to a new or existing Leaves' Eyes collection!--Russ Elliot in New York

(26 June 2005) Tracey Brennecke is a muti-talented female bass player, singer and professional songwriter who has made music her life and soul. Since graduating from Middlesex University with a music degree she launched herself into session playing for various artists from pop to rock to jazz, which has seen her touring in the Far East and Europe.

Says Halo Management, "Tracey has been compared to the likes of Blondie mixed with Dido whilst her writing skills have been likened to legendary song writer Dianne Warren." Musical Discoveries reviewed Tracey's pre-album EP entitled "Alibi" in 2004, considering her voice one of the best new discoveries as the new year begain.

Tracy's debut full length album, entitled Found (Halo Management (UK) CAT04, 2005), is a collection of thirteen well-produced pop-oriented tracks. The album opens with stunning torch ballad "The First To Know," which is one of the four tracks released on her 2004 EP, the others including the country-tinged rocker "Alibi," another torch ballad "Best of Us" and the country rock tune "Lovesick."

Found is notably well produced with rich arrangements of keyboard, guitar and rhythm section providing the canvas for Tracey's accessible lead vocal. Multi-tracked, (at times gospel-sounding) choir-style backing vocals add tremendous texture to the individual numbers. On the Found, album Tracey provides lead and backing vocals and bass. She is joined by Nigey Nige (keyboards), Tim Hammill (guitars), Gail-Louise James (drums) and Christian Philips (backing vocals).

Tracks vary between country-tinged and powerfully arranged rock tunes ("Better Than Me," "Alibi," "Lovesick," "Memories Of You"), torch ballads ("The First To Know," "Best Of Us," "Found") and delicately delivered love songs ("I Hate Love," "Remember Me"). The easy listening "Let Me Know" and "Saturday Girl" and rhythmic tune "Cold Hearted" that would be equally at home on the dance floor round out the album. The title track that concludes the album is a standout torch ballad and most likely the best illustration of Tracey's vocal virtuousity.

Individual instrumental showcases within the tracks' mid sections demonstrate the virtousity of the individual performers--especially notable are Nigey Nige's keyboard and Tim Hammill's guitar solos in "Better Than Me." Tracey has a tremendous range and equally strong sonic power, yet her voice is best showcased in the delicate love songs and torch ballads, especially in "Found." While the tunes provide a showcase for her talent, Tracey would be likely be even better served with a broader variety and dynamic selection of material.

Tracey Brenneke's debut album is certain to propel her to great heights in the business. She has a very accurate mid-range voice with tremendous power. While many of the tunes on the debut album have a country-style edge, her songs will appeal to pop enthusiasts as well. Tracey Brenneke will be significantly appreciated by the American audience once her CD makes it stateside.

(16 June 2005) After listening to any number of major label, clone-like, femalesinger-songwriter releases lately, Sarah Glynn's independently produced ToSweeten Up (S. Glynn (USA), 2004) comes as a breath of immensely welcome fresh air. And'independent' is the right word--not only has she written, produced, recordedand mixed the album herself, but she plays every instrument on every track (barpassing the drumsticks to Julio Figueroa for three cuts).

Currently resident in Austin, Texas, by way of Richmond, Indiana and Boston,MA, Sarah was classically trained on both piano and violin, though she latertook up guitar, and says her heart has always been in popular music. Shegraduated from Wellesley College and was on the point of going to Med Schoolwhen she made the sort of decision that is the stuff of parents' worstnightmares. She decided to concentrate on her music. To Sweeten Up isher second album following Lucy And The Luck Band released in 2000.

The opening track, "Don't Say No" grabs the attention immediately with adramatic electric guitar figure. It's a very powerful piece which goes througha number of phases in its four minutes - a miniature epic in fact. It'sbreathless in feel, an impression created by combining complex melodic lines toform the harmony behind the sung melody rather than using the usual block chordapproach. This is one of the trademarks of the album and you can hear it onother songs such as "You Always You Never" which also features an acousticguitar track that appears to have arrived unblemished from "Dogs" on PinkFloyd's 1977 album, Animals."One Day Older" has a guitar break reminiscent of The Cure's Wish period.In fact the more I listen to this album, the more I'm convinced that Sarah mustlisten to a LOT of British music.

"Should I, Could I" is the commercial highlight of the collection withSarah's distinctive vocal phrasing, a killer chorus and some lovely stabs inthe background of the instrumental passage.The album's title track is the first chance to catch breath, it's in three-timeand opens with a gentle melodic verse, though it soon picks up steam, goingthrough a musical metamorphosis which sees it ending up a long way from whereit started.

"Money Retail Millionaires" is a Catatonia-like piece that goes on aroller-coaster of rhythmic changes and has some of the strongest lyrics on thealbum, "What we wants not in the stores / Yet we still shop and we still find.""Full Badge Bar" motors along nicely and "Young Emergency" uses some imaginativevocal harmony. Although the album is melodically strong, one of the oddities isthat on a number of songs, "Young Emergency," is an example along with "My BestFriend" and "Riddle To Stay," the choruses are less memorable than the musicand verses that surround them. The hooks in these pieces are elsewhere in thesong.The album rounds out with another three-time song "Us Girls," and the unexpectedinstrumental "Cromwell" which hints at even more interesting things to comenext time around.

Elsewhere, Sarah's voice has been likened to The Sunday's Harriet Wheeler--aterrific compliment indeed--and certainly there's a British feel to a lot ofthe music on this album, as well as to her distinctive and individual vocals.There are moments where her singing strongly recalls Louise Wener and CerysMatthews for example - and although there are also echoes of Kristen Hersh,Juliana Hatfield and Tanya Donelly, Sarah has one of the least obvious Americansinging voices I've heard from an American in a long time - it's certainly partof what singles her out from the crowd.

This is as original and unconventional female singer-songwriter album as I'vecome across recently. The songs have a fresh feel and take the listener throughsuch a fascinating labyrinth of rhythmic changes that you find yourself smilingat the sheer audacity and exuberance of it all. And let's face it, there aren'tmany CDs around these days that put a grin on your face. You can't take yourears off this album for a moment, and no reason why you'd want to.--Jamie Field in Hereford, England

(31 May 2005) After winning the Tampere Vocal Group Contest some ten years ago, vocal ensemble Rajaton has grown to become one of Finland's flagships within the a cappella choral music, constantly touring in Finland and abroad in countries such as USA, Canada, as well as some European places, having sold-out concerts almost all the time. Not to forget the domestic success with the sales of their albums worth for gold and/or platinum discs, most lately having achieved gold status from the sales of their double album Joulu (Christmas).

Kevät (Spring) (Plastinka (Finland) PLACD017, 2005) is a fresh welcomed pearl to the "bracelet" of Rajaton's success story, showing once again how surprising, unique and refreshing vocal music can really be. Once again no instruments have been used to make the music, but still it sounds as if there would be real bass, drumbeats and other sounds backing the singers. Believe it or not, but the disc is, as always, 100% celebration of the abilities of the human voices!

Rajaton's stunning harmony and ability to use their voices so superbly have been their trademarks ever since they started to sing together, that certainly being part of their worldwide success, but the new album amazingly succeeds to provide even more new, surprising and highly interesting dimensions from how to make the group sound so marvellous! On Kevät, Rajaton has worked with a bunch of talented Finnish composers, many of those being familiar for the Finnish pop music listeners, but in addition to those, the foreign listeners of the album may recognise songs written by e.g. Mr. Teemu Brunila, the man behind the successful band "The Crash"! Rajaton members have also composed some of the tracks, though the emphasis of their worl has naturally been in arranging and performing the music, which they, of course, have done stunningly!

Stylistically speaking, the new Rajaton album cannot be described with just one or two words--if the words "stunning" and "marvellous" aren't counted--and there is no need to do so! The new album is a splendid mixture of almost anything, from the beautiful choral structures of the ballads "Kauniimpaa" (More Beautiful) and "Jos Sanot" (If You Say) to the melodious lullaby "Hopeaa Hiuksillaan" (SIlver On His/Her Hair)and to more upbeat pieces such as "folk-reggae" piece "Venelaulu" (A Boat Song) and the sweetly swinging, beguine-like single release "Kertosäkeen Nainen" (Refrain Lady). Just to name only a few elements.

Melting these various styles together in one album can sometimes make albums to sound even too diverse, like collections of different pieces without any connection with each other, but Rajaton's solutions are so cleverly made that their music does not have that risk at all! Everything happens in perfect harmony, and on "Kevät" album the listeners can hear all of the Rajaton members having lead vocals one after another. This is really something that not all vocal ensembles can do!

Although all of the album's songs are actually performed in Finnish, this is not any kind of a limitation to neither the singers nor the listeners, but instead a huge potential! Namely, the overall sound of the Kevät album is so international that it certainly will appeal to real music lovers worldwide! This means that if Rajaton's latest album would not be released outside Finland as well, it would definitely be a huge loss indeed. In the meantime one can always try to get to hear this stunning music live in concert or try to get the CD from Finland, but, seriously hope that yet another Rajaton album would be released for wider, international audience as well, just like the previous ones have been. This musical diamond is not to be missed out by any means whatsoever.--Suvi Kaikkonen in Oulu, Finland

(31 May 2005) Anna-Mari Kähärä has been involved in many various music and theatre productions during her life as a professional musician, and already so far, her musical CV leaves its reader gasping air with all kinds of commitments such as her own groups How Many Sisters and ZetaBoo, the duo and the bigger ensemble with the past Sibelius Violin Competition winner Mr. Pekka Kuusisto, not to forget Anna-Mari's outstanding collaboration with the world-renowned composer Karl "Adiemus" Jenkins together with eight other stunning Finnish female singers.

In the middle of all this, Anna-Mari has continued writing material for both ZetaBoo and herself, so it was not until now that her debut "solo" album became completed and finally released. The word "solo" has been put inside quotes just because Anna-Mari has gathered Pekka Kuusisto and some other of her music friends to play for her on this disc. Her debut album is self-titled Anna-Mari Kähärä Orchestra (EMI (Finland) 7243 973846 2 0, 2005).

The album starts with a very poignant song, "Requiem", tough, rough and very sad piece just like the song's lyrics are. Although this version is also great, one must wonder why Anna-Mari has not taken her How Many Sisters mates Pirjo Aittomäki and Mervi Hiltunen to become guest musicians, since the version at the How Many Sisters concert some time ago was at least equally great!

Already the first piece shows the singing abilities of all of the musicians, but in the next piece, "Lynmouth Widow", the voices are even more primitive, if not raw, to say it frankly--sounding like Björk or Joni Mitchell at times. It might have helped Anna-Mari very much to be part of Adiemus, since in this case her voice is indeed quite on the class of its own!

Next there is "I Hear Drums", a bit repetitive piece but perhaps it is why it is so interesting! The piece features the drums throughout indeed, and it kind of forms the core of the song in addition to Anna-Mari's (and others) singing. Very clever. After all that intensive drumming then the mood relaxes to a soft ballad-like "Love Is In Your Heart", once again a piece featured on the live show of 2003 before the release of the album. Then follows "Dead Love", a rhythmic, quite jazzy piece with very poignant lyrics as well as a funny "telephone" voice of Anna-Mari, and a great, melodic piece "War", where everyone is once again doing the vocal parts in glorious harmony.

A great album has a great ending too, this time it is a ballad-like piece "So This Is Love" with its quite bitter lyrics written by Lorna Crozier. But, it's not that melancholic, as the musicians had some greatly ironic choreography on the stage when performing this with Anna-Mari live in 2003, just when they sang the "raining" point. Also, the chorus's "la-la-la"s in the middle are rather hilarious than sad, which is quite a contrast to the lyrics.

As Anna-Mari told in one of the past interviews how her friend called these tracks as "miniature movies", and listers will surely. Each of these are telling their own story to the listener, and although having not so cohesive album as traditionally one would think, this brings a whole new dimension to the music. Who said everything in music should be cohesive?

Anyway, as all the pieces are sung in English, I really hope that this album would once be released outside Finland, so that people would then have the chance to get to listen such awesome, unique, brilliant, and, maybe a bit shocking music. It really deserves to be listened also by others than the hardcore fans of this kind of multi-approach music,and although it might require from the listener to focus on the music a bit more than usual, it is really worth for a try. Well done, Anna-Mari and others!

In the meantime of waiting for the possible (and definitely desirable) release of the album outside Finland, one can always take a peek at Anna-Mari's new (though Finnish) website and another option is of course to buy this stunningly unique album from Finland.--Suvi Kaikkonen in Oulu, Finland

(09 July 2005) Iona's first DVD offering is a 2003 release of a 1990 filming of the band in various settings. Self-titled Iona (Open Sky Records (UK) OPENSKYDVD1, 2003) The documentary includes portions of and full tracks from the band's debut album performed on stage before an enthusiastic live audience.

This DVD should not be considered as much an "in concert" collection; rather it is a documentary where each of the band members -- Joanne Hogg, Dave Bainbridge, Frank Van Essen, David Fitzgerald and Tim Hines--comment on their inspirations and the religious and inspirational connections they have each achieved through their musical experience. The film includes shots taken in and around Iona as well as a concert hall.

The DVD opens with an extended mix of "Turning Tide" and "Flight of the Wild Goose," clearly demonstrating Dave Bainbridge's excellent guitar work and David Fitzgerald's emotional rendition on saxophone. Interview segments are intersperced between segments of "Here I Stand" featuring Joanne Hogg's stunning vocal work evocatively delivered on the DVD and "Trilogy."

Powerful instrumental segments of "Beijing" and "Columcille" are joined with further visual sequences and interview segments, the artists sharing their experiences blending faith with music and lovely scenery. Tim Hines' work on the chapman stick in the live sequences is especially interesting, especially for those that have not seen this often forgotten instrument played. The DVD concludes with a lovely rendition of "A'Machair" and a short portion of "Iona" featuring Joanne Hogg's tender vocals.

The Iona DVD is a tremendous introduction to the people that comprised Iona in 1990 and their stunning music. While the lineup has changed slightly since their first release, and their music has evolved, the band have continued in the direction they set on this DVD. An Iona Live DVD, recently filmed in London, is expected in the second half of 2005. Iona provides an exciting 30 minute professionally filmed appetizer while their fans wait for the main course.

(07 June 2005) At Last (Acoustyistics (UK) ACYCD104, 2005) is an appropriately titled album. The sleeve notes confirm that Julie Ellison's debut solo CD has been six years in the making. Was it worth the wait? You bet!

Here's the deal: one voice, one guitar, no overdubs but a heart full of attitude. This is Julie laying her soul bare just as she does during her live performances and the result is simply stunning. Like Stephen Sills and Dan Fogelberg, Julie manages to cross musical boundaries without ever diluting the essence of her material.

From the punchy blues of opener "Easy Goodbye" to the unaccompanied folk of "Eyes of a Man", via the heartbreaking ballad "Look Into My Eyes" everything sounds, well, like it belongs on a Julie Ellison album. This eclecticism serves her, and the listener, well.

The songs are complemented by three instrumentals. "Parting," a lovesong to a guitar which Julie describes as "a tune uncluttered with lyrics", the self-evidently tricky "Spinning" and the truly beautiful "Daydream," all of which demonstrate Julie's seemingly effortless mastery of the guitar.

I've seen Julie’s guitar skills and voice described as "a formidable combination". I'll second that. This album is highly recommended.--Wayne Stote

(10 July 2005) Kara Williamson has performed all over the United States with her family's Gospel group since the ripe old age of three and during her late teens/early twenties she toured relentlessly. After singing backup for major artists Amy Grant, Michael W. Smith, and Point of Grace, performing with her family throughout her life, and releasing a debut that didn't quite fit anywhere, Kara Williamson is on track to become one of music's brightest stars. Read more about Kara in our interview.

Kara released her debut album in 2002 as one of Vertical Music's cutting edge artists. The album was dominated by dance and electronica sounds that rivaled what artists like Madonna were doing and received critical acclaim. Her sophomore album, Undisguised is released on her new label, INO Records (Sara Groves, CeCe Winans) and there is no doubt that more people will take more notice this time around.

Musically Undisguised has little in common with Kara's debut album. In fact, in many ways they are polar opposites. The cutting edge electronic approach heard on her debut is all but gone on Undisguised. The electronics are replaced with more guitar driven sound--although there is no shortage of piano on the album either--that will certainly widen her appeal. The Beatles-esque, piano-driven, "Dear Performer" and the triumphant modern rock approach to the album's title track introduce longtime fans to a different side of Kara. Undisguised covers a lot of musical ground and is probably a lot more reflective of Kara as an artist.

Songs like the straight ahead rocker "Bring It On" and the somber "Wounded King" act as firm reminders of why Kara is an artist worth watching. Kara's voice is very powerful --yet still very feminine--on these two songs in particular and if nothing else catches your attention these songs will for sure. Her lyrical approach to Undisguised is much the same as before, however the lyrics here display a lot more maturity. The lyrics seem a bit deeper on this album; there aren't so many Christian clichés.

Kara shows tremendous growth on Undisguised and fans of such artists as Avril Lavigne, Kelly Clarkson, and even Switchfoot will find plenty to love about Undisguised. Sometimes an album just perfectly captures amoment in an artist's career and on Undisguised, Kara sounds like an artist finding where she belongs.--Mark Fisher in West Virginia

(10 July 2005) Ashley Cleveland has been making great music for over a decade. Much like Sam Phillips, Cleveland is an artist that has never found massive success despite the fact that she has written and recorded some of the most essential records of the last twenty years. Anyone who is familiar with her work already knows that and those who will be hearing her for the first time will never see music the same. Read more about Ashley Cleveland in our

Cleveland’s most recent release, Men and Angels Say (Rambler Records (USA) WD2A-343003, 2005), is a collection of hymns redone in a more contemporary way. The songs have a certain blues based honest rock flare to them that is reminiscent of her previous albums. The sound is comparable to that of artists like Bob Dylan, Sixteen Horsepower, and the like.

To say that this album is powerful would simply not do it justice. Cleveland's distinct voice soars throughout these twelve tracks. She has never sounded better as a matter of fact. The passion and conviction she sings these songs with runs deep, and it is evident it in her voice. When coupling her voice with songs so intimate that they have remained staples of our culture for over a hundred years you get something altogether beautiful.

The inviting and peaceful "Come Ye Sinners" is like a beacon that shines and offers hope in a frustrating world. It is every bit as powerful as when it was written. The more rock-oriented "Power in the Blood" and the unbridled conviction of "It Is Well With My Soul" are definitely highlights.

Perhaps the album's best moment comes though with the desperate and confessional "I Need Thee Every Hour." Although this song would be powerful on its own, the addition of the legendary Steve Winwood is like icing on the cake. His immediately recognizable voice will undoubtedly grab the listener's attention.

This is an amazing collection of songs from an artist you should expect no less from. Longtime fans will be well pleased with the quality of this record. If you aren't in the know aboutAshley Cleveland the check out her music, because you are missing something. This is as good a place as any to start. There's not a bad one in the bunch.--Mark Fisher in West Virginia

(10 July 2005) Ephemeral Sun are an extraordinary five piece rock band from the North Virginia area of the USA. Their music is very hard to categorise--a complex and compelling mixture of progressive rock and pitch-black metal laced with hints of world music and electronica. Despite its length, clocking in at over 70 theatrical minutes, Broken Door (Ephemeral Sun (USA) ESCD 200401, 2004) hangs together brilliantly as a piece of work much greater than the sum of its parts. It demands listening to in one sitting, immersing the listener in its Gothic world of pain and decay without ever failing to entertain, alternating moments of dark beauty with those of brooding, aggressive intensity. Indeed the sound effects alone are worth the price of admission, as chillingly atmospheric as a David Lynch film. And then there is the music.

Each member of the band has a chance to shine, particularly as there are so many shifts in style and tempo, handling both crunching metal and up tempo progressive moments with confidence. Guitarist Brian O'Neill should be praised, in particular, for his versatility. Though his playing is not especially distinctive, he deftly masters metal, melodic and ambient progressive lead lines, not to mention jazzy acoustic soloing, with effortless skill.

With excellent female vocals from Laurie Ann Haus, parallels with Within Temptation and Nightwish are inevitable, though her soprano is less operatic, and overall the bands sound is pitched midway between the melancholy of Norwegian prog band White Willow, and the Gothic metal of British band Season's End. However, the star of the album, undoubtedly, is keyboardist John Battema. From gentle and beautifully recorded piano and rasping organ, to ambient synth excursions and hard edged moog flourishes, his playing dominates the album. His solos are strongly influenced by Rick Wakeman, even down to the Yes man's trademark mid-solo key changes, but his ambient synth playing is equally impressive.

"Discovery" sets the tone for the whole album--an electronic whirl polarises into more ambient swirls of sound, before the song proper kicks in--a dramatic gothic metal workout with some typically melodic guitar figures. Its end section features some inventive Eastern-sounding vocals. "Hands of Fire" begins with a dark vocal and keyboard interlude, before the song itself continues the Eastern-tinged theme, by way of some stunning multi-tracked vocals.

"A Blanket of Darkness" is a disturbing mix of sound effects, electronics and treated vocals, which gives way to the delicate piano and solo vocal of "Fall Betrays the Earth." Next up is the crunching prog metal instrumental "Winter Has No Mercy," which features the first of Battema’s amazing synth lines, a huge Hammond organ solo and a jazzy Spanish guitar interlude, before a huge metallic climax.

After this breathtaking piece, the next section of the album commences with the title track, a sinister combination of sound effects, segueing into "Walking with Frightened Angels,"another huge metallic instrumental with eerie, wordless vocals and a truly throbbing bass line. "The Dance" commences with another big metal riff, giving way the main song, dominated by whirling keyboards and multi-tracked vocals. "Interlude" is the briefest of piano pieces, before the crunching "Rats," with its heavily treated lead vocal and stabbing guitar and keyboards. The song has a gentler mid section, with dreamy keyboards and another melodic guitar solo, and the rat noises at the end of the song are remarkably chilling.

"Approaching Acheron" is a delightfully surreal and dreamy ambient instrumental, led by choral keyboards, delightfully restrained guitar and some inspired drumming from Tim Miller. A final burst of metal at the end of this piece spoils the mood rather, but sets the scene for the band's twelve-minute tour de force, "A Song for Twilight." This commences with some brooding bass from Charles Gore before a lovely vocal section, leading into a mid section which has a faint reggae feel to it. The song then shoots off into an extended instrumental passage with metal guitars and some more great lead synth, before a pounding end section and a reprise of the instrumental mid section. A few minutes of disturbing sound effects complete the album.

There are faults amidst all the brilliance, changes in mood and effects. Occasionally some of the actual song writing seems underdeveloped, and one of the things that of readers of Musical Discoveries most dislike--that the vocals are mixed a touch too low amongst the instrumental pyrotechnics--slightly tarnishes an otherwise astonishing debut. However, these are minor considerations. Disturbing, beautiful and full of invention, this is must-have for all fans of dark, female fronted rock music.--Stephen Lambe in Cheltenham, England