(21 July 2005) Antigone Rising is one of independent music's sweetest success stories. The five woman band toured the country practically non-stop for five years making a living of their passion. They rocked every night with such varied artists as The Push Stars, Living Colour, and the Lilith Fair festival. And they were doing just fine.

The band surprisingly landed a deal in 2003 with Lava Records (also home to bands like Kid Rock, Cold, Smile Empty Soul, and Embrace) and then their was silence. After much anticipation and a long wait, the band has finally released their Lava Records debut, From the Ground Up (Lava (USA) 93805-2, 2005), an acoustic/coffee house style record recorded live at the famed Sony Music Studios.

The band has never sounded better than they do on this record, absolutely enthralling you with their emotional and raw performance. Since its arrival From the Ground Up has become a staple in our rotation and it will remain there indefinitely. We caught up with guitarist Kristen Henderson to find out more about the record and the circumstances that led to its release in this interview.

How many bands can you name that have gotten the nod of approval from artists like Sheryl Crow, Rob Thomas (Matchbox 20), Steven Tyler (Aerosmith), and Little Steven (The E-Street Band) before they were even signed to a record label? Greenwich Village’s Antigone Rising are making their mainstream debut with From the Ground Up. Antigone Rising is fronted by stunning lead singer Cassidy. The lineup is completed by four additional beautiful womeh: Kristen Henderson (rhythm guitar, backing vocals), Cathy Henderson (lead guitar, backing vocals), Dena Tauriello (drums) and Jen Zielenbach (bass).

From the Ground Up not only mark's the bands first album for Lava Records and Antigone Rising are the first artists to be featured on Starbuck's own Hear Music label, who partnered with Lava Records for this release. The album soars with the same kind of heart that U2 has in their most reflective moments. This is rock and roll stripped down to its soul and it sounds great. Causing outlets like Starbuck's and VH1 to declare that Antigone Rising is band that "just won't let go" when you hear them.

The album opens with an intro song called "Hello." Normally this would be completely ignored but the power of sisters Cathy and Kristen Henderson's guitar work combined with the passionate and welcoming vocals of the singer known simply as Cassidy is to great to be ignored, even when all they do is sing "Hello, It's good to see you my friend." Cassidy's voice rolls through the studio with a flare heard very little these days.

The album's first single "Don’t Look Back" has the all the grace of a Bruce Springsteen song and all the power of a Janis Joplin or Carole King song roiled into one tight package. The bluesy "She Lived Here" and "You’re The Reason" come back to back and provide a bit of diversity on the album. While bluesy, they are still catchy as all get out and highlight the fact that this is not your average band. The album's best moment though comes in the form of "She’s Not Beautiful." The song brings forth equal doses of beautiful and bold in its musical and lyrical explorations. Lead vocalist Cassidy says the song is about what it's like to love someone who "doesn’t need anyone. A survivor."

This is an excellent album from a band that is bursting with passion and talent. The appeal of From the Ground Up is almost universal. There are influences from Sarah McClaughlin to Lynyrd Skynyrd to U2 to Tom Petty to Bruce Springsteen to Janis Joplin. While this album sounds great and represents the artists well, they never completely let go like they do when they are full-on electric. The band is great live; it is truly an experience to see Cassidy let go. From The Ground Up is clearly one of the best albums we have heard this year.--Mark Fisher in West virginia

(17 July 2005) This month saw the long-awaited release of the epic two-CD masterwork Glass Hammer. While the band have been enticing their fans with material recorded live since their 2003 NEARfest performance in both CD and DVD formats, The Inconsolable Secret (Arion Records (USA) SR1320, 2005) is the band's first all new studio recording since 2004's Shadowlands. It is their most diverse project to date with progressive material spanning hard rocking numbers to orchestrally arranged, cinematically influenced soundtrack themes.

A completely glorious project in every single respect with the trifold digipak's artwork features an all-new illustration by the legendary Roger Dean. The two-CD set includes a wide variety of enhanced material in addition to well over two hours of stunning recorded material. Bonuses include the entire storyline in an epic poem by Steve Babb and lyrics in PDF format, the Inconsolable Sessions video, desktop art and further digitial resources.

Glass Hammer's lineup is Fred Schendel (keyboards, electric guitar, steel guitar, vocals), Steve Babb (keyboards, bass, vocals), Walter Moore (vocals), Susie Bogdanowicz (vocals) and Matt Mendians (drums). Glass Hammer's material continues to draw on influences from Yes, ELP and other modern day progressive themes. Vocal harmonies drift in and out of vast instrumental excursions often led by Moore, Schendel and Babb which gives the material a Glass Hammer unique texture. The signature Glass Hammer sound is not lost anywhere on this album however there are positively clear ddvelopments from their earlier work.

On the inside one finds two CDs, one entitled "The Knights" and the other "The Lady." Glass Hammer informed our editorial staff that the new project would highlight the work of the band's female vocalists more than on previous recordings on the second CD ("The Lady"). The women include: Susie Bogdanowicz (lead vocalist), Sarah Snyder (featured soprano), Bethany Warren (backing vocals and girls choir), Flo Paris ("Long and Long Ago" and "Having Caught a Glimpse") and Laura Lindstrom ("Morrigan's Song"). Visitors will know that Susie and Flo have worked with Eric Parker on his various artist albums and Laura Lindstrom is half of UI Blue, featured here earlier this year.

"The Knights" is comprised of two epic-length tracks. The recording opens with "A Maker of Crowns," an extended number with wonderful Keith Emerson-inspired keyboard and piano riffs. A range of stunning guitar and further keyboard solos complement the rich arrangement. One can not escape from Steve Babb's incredible and melodic bass lines within the instrumental mix. Walter Moore's expressively delivered vocals are well delivered and most memorable, especially in the brief choruses and heartfelt in the verses.

"The Knights" concludes with the 24+ minute progressive rock masterpiece "The Knight of the North" whose passages include crisp vocal breaks, powerful keyboard and piano excursions and melodic bass lines. Lead vocals are perfectly backed by and alternated with vocal harmonies. Numerous keyboard passages will immediately draw comparisons to Keith Emerson, ELP, Yes and Rick Wakeman, while the rapid and melodic bass work is clearly reminscent of Chris Squire and Jon Camp.

Vocals, as with "A Maker of Crowns," are led by Moore and backed by Schendel and Babb. String work by the Inconsolable Symphony featuring The Adonia String Trio: Rebecca James (violin), Susan Hawkins (viola) and Rachel Hackenberger (cello) adds great texture to the track. Later passages include brief solos by the band's lead female vocalist Susie Bogdanowicz. Further harmonies are added as the track develops. The number closes with a dramatic choir and organ passage.

While "The Lady" CD has a different feel from "The Knights" in some respects--two epics and nine much shorter tracks--the instrumental themes and overall sequence of the second CD has been developed to equally enhance the album whether played before or after the first CD. "Long and Long Ago" is a very typical extended Glass Hammer upbeat progressive rock track full of glorious male and female vocal harmonies, vast guitar excursions and orchestral keyboard passages. Steel guitar and melodic bass give a tremendous Yes feel to the number. The instrumental mid-section is superb with orchestral interludes broken by a ripping guitar and bass passage and further vast richly arranged keyboard excursions. The number includes a wonderful, although tragically brief, vocal solo by Flo Paris.

The series of shorter numbers begins with "The Morning She Woke," vocals led by Walter Moore but underscored by a rich choir and lush keyboard-driven arrangements. Susie Bogdanovicz's hearfelt solo in the song's quiet midsection is delightful. Susie working together with Moore, the song becomes a duet as she brings it to a conclusion. "Lirazel" is a gentler ballad, acoustic guitar joining warm keyboard washes and light percussion. The lead is well sung by Susie and backed with sweet harmonies from the girls choir (Haley McGuire, Summer Hullender, Emily Hammett, Natalie Pittman, and of course Bethany Warren).

"The High Place" continues the album's divergence from previous Glass Hammer recordings. Cinematic arrangements with deep bass and choir create warm textures and draw meditative emotions from the listener. Beatlesque male vocals are contrasted by Susie's sweetly contrasting lead. "The Morrigan's Song," sung by Laura Lindstrom's is performed atop acoustic lovely woodwinds and gentle percussion. Her crystalline vocal perfectly suits the number blending naturally into Sarah Snyder's vocalise at the introduction to the symphonic "Walking Toward Doom." A rich choir part adds to the cinematic texture of this series of shorter numbers. "Mog Ruith" is a short and fast-paced keyboard-driven ELP-style instrumental interlude. Crisp percussion is precise, perfectly complimenting the rapid-fire keyboard passages.

Tender woodwind and orchestral passages introduce "Through A Glass Darkly," a richly arranged soundtrack number that develops with a piano backed vocal passages featuring Susie Bogdanowicz. Lush soundtrack style string quartet-based textures continue to envelop the album's musical theme of the second disc in the richly arranged instrumental "The Lady Waits." A whisping choir adds texture before "The Mirror Crack," a natural instrumental extension in the movement, begins.

The Inconsolable Secret concludes with "Having Caught A Glimpse," which begins instrumentally where the two preceding instrumentals left off. The orchestral soundtrack develops before rock instrumentals return, rich keyboards echoing the themes underscored by rich percussion. Flo Paris' gorgeos lead vocal is sung atop a gentle piano, bass and percussion instrumental. Powerful Glass Hammer-style instrumentals develop and Walter Moore's vocals join working in duet with Flo--with lyrics sung and backed with lovely vocalise--atop rich progressive arrangements featuring thick and powerful [church-style] organ parts. Following a series of solos in the midsection, including keyboard, guitar, bass, and woodwinds, the number builds to a stunning climax with a robust choir passage as the album concludes.

The Inconsolable Secret is a tremendously adventurous and well-produced album of diverse progressive material. Glass Hammer continue to grow instrumentally and vocally, building on their past experience. This release recognizes the contributions of their stunning female singers, showcasingtheir voices significantly and letting them truly soar on the second CD in this set. The album is a progressive masterpiece that summarizes the path they have followed and shows that their journey is far from complete.

(17 July 2005) John Wetton and Geoff Downes were indeed half of Asia, a supergroup whose melodic progressive rock has drawn significant attention and critical acclaim for decades. The announcement of their collaboration on Icon (Frontiers Records (Italy) FR CD 242, 2005) has been well publicised and the album has been eagerly awaited by the enthusiasts for many months. Two brief cameo vocal appearances by the legendary Annie Haslam (Renaissance) expanded interest in the album. That John Wetton played briefly with Renaissance is a fact known to die-hard enthusiasts.

Every one of the ten tracks on Icon are excellent melodic rockers with vocal harmonies and rich rock arrangements working together superbly. Although critics have suggested the album departs from the stadium rock quality of earlier Asia quality, every bit of Icon is enjoyable regardless. Instrumental production is rich and without fault. Vocals are perfectly mixed; Wetton's lead right is up where it belongs leading each song to complete glory. One criticism is the relatively short running time of the overall album.

Guitars and keyboards work together harmoniously with crisp percussion and melodic bass. Downes contribution to the orchestration and performance of the keyboard parts is evident and while this isn't an Asia album, most enthusiasts will be equally delighted with the material and the recorded performance. Keyboard and guitar solos are individually stunning. Memorable melodies emerge from almost every track, even the slower numbers such as "Meet Me At Midnight." Wetton hasn't lost his signature vocal talent and is certain to woo fans back on Icon.

Signature tracks span the album; pay particular attention to the opening number "Let Me Go," the melodic ballads "Far Away" and "Sleep Angel," and the stadium style rockers "I Stand Alone," "Hey Josephine" and "Please Change Your Mind." The string arrangements within the melodic ballads are stunning. An album standout is clearly that harmonious "Spread Your Wings." The choir and bass arrangements in this number are especially awe-inspiring.

Instrumental solos and guitar excursions have been well written and are well played. Annie Haslam's contribution is most notable on the album's concluding track, "In The End." Sadly, the recording quality of her voice certainly doesn't do the track any favors and one must wonder if sufficient bandwidth was allocated to the recording before it was taken into the mixing stage.

The Japanese release on Avalon Records includes a recording of "Heat Of The Moment," a longstanding Asia favourite, as a bonus. Continued work with Annie Haslam would certainly be appreciated by Renaissance and Asia fans. Wetton and Downes have done an incredible job with Icon. We want to hear more.

(17 July 2004) The third "solo" album by Tomas Bodin is entitled I Am (InsideOut Music (USA) IOMCD 209, 2005). Bodin is known for his two prior solo albums Pinup Guru (2002) and Sonic Boulevard (2003) and for his keyboard work with the Flower Kings. The lineup for I Am is completed by Anders Jansson (lead vocals), Helene Schönning (vocals), Pernilla Bodin (vocals), Jonas Reingold (bass) and Marcus Liliequist (drums). Enthusiasts will recognize Reingold and Liliequist as stablemates of TFK and Reingold's role in The Tangent as well.

The I Am album is comprised of three epic length tracks, "I," "A" and "M." The first two clock in at well over 20 minutes each with only the third running 18+ minutes. Lead vocals throughout the set are by Anders Jansson. A powerful singer best suited to hard rocking material, he has diverse voice that simply can not be overtaken by instrumentals. The opening number is a tremendously diverse collection of progressive rock arrangements with passages encompassing eleven movements of hard, melodic and symphonic rock. The return of memorable musical themes throughout "I" adds to its accessibility. Bodin's keyboard virtuousity is evident in the vast Keith Emerson-style excursions that encompass the piece. Reingold's signature bass adds a dynamic edge to the upbeat arrangement. The majority of vocal work is delivered by Anders Jansson but a brief vocal solo in a ballad-like movement by Helene Schönning provides a great contrast within the number. Instrumentals are superb!

"A" is a hard rocker, especially in comparison to "I." Comprised of eight movements, Jansson's vocals soar above the thick rocking electric guitar parts. Further vocal harmonies support the lead singer in the choruses. Instrumental excursions eventual settle down into more melodic keyboard-driven passages certain to please Wakeman fans. Tempo and textures shift exposing a lighter vocal texture, jazzier keyboard moments and Reingold's melodic bass lines. Vocal harmonies add richness to the arrangements and emphasize the emotional content of the material. Superb guitar solos by Jocke JJ Marsh (Glenn Hughes) echo the track's musical themes. We especially enjoyed the female singers' soaring vocalise alongside the guitar solos. Cinematic textures in the midsection are derived especially from the thicker keyboard-emphasized passages. The segment that finishes the piece with backwards vocals is draws too much on an old cliche.

The final track on the album, entitled "M," opens with a ballad movement featuring a emotionally wrenched vocal delivery from Anders Jansson. A thicker keyboard-based arrangement develops but never drifts far from the lead vocal until the guitar-driven rocking arrangement develops in the song's mid-section. The duel between guitar and keyboard that underscores the powerful vocal delivery works extremely well. A brief but melodic guitar solo begins the final two movements of the track sweeping up musical themes developed on the album thus far. A quiet ballad sung above gentle piano provides the penultimate movement of the album. The album comes to a startling conclusion with a ripping instrumental and vocal harmoney that showcases the band's tremendous talent.

As a sonically tasty alternative to The Flower Kings and The Tangent, our visitors should be drawn to the keyboard-driven album work of Tomas Bodin. His use of great female vocalists to add texture to these numbers is similar to Kaipa but sadly somewhat more austere. As a continued development from Bodin's earlier albums, I Am is an excellent album, certain to draw more progressive listeners into his music.

(23 July 2005) A rising star has emerged high above the musical horizon with a dazzling display of talent, shining like a beacon in the night. Bittersweet (Oar Fin Records), the latest recording from singer/songwriter Susan Angeletti, illuminates the soulful purity of the blues and the hard driving intensity of rock and roll with unbridled passion and heartfelt emotion. Angeletti's no nonsense, high voltage performance style, continues captivating blues enthusiasts as well as the rock and roll faithful all across the country. Receiving high praise for her debut release, Next Years Model of The Blues, Angeletti soon discovered her loyal fan base had quickly expanded into a major following, playing to packed blues clubs and music halls throughout New England.

She absolutely electrified the audience when opening for legendary bluesrocker Johnny Winter, manager Teddy Status wasted no time signing Angeletti out on tour as the opener for Winter. Her first national tour performing to sell-out crowds at popular concert venues up and down both coasts, proved to be a major turning point in her career. Angeletti's solid debut release and successful tour experience generated quite a buzz, catching the ear of multi-talented producer Tom Hambridge. Hambridge has collaborated with several artists on a variety of projects, but is better known for his work with Grammy nominated singer/songwriter Susan Tedeschi on her celebrated debut, Just Won't Burn. Hambridge was so impressed by Angeletti's talent, he agreed to produce her next recording. After working together on a few arrangements and reviewing several new songs Angeletti wrote with her Seagull (model S-6) acoustic guitar and on piano, they agreed on final selections for the new album.

The result of this dynamic duo's creative efforts is Bittersweet, a powerful, robust recording firmly planted in rock and roll with a noticeable late '70s Jagger/Richards influence heard throughout. What's most distinctive and inspiring about Bittersweet, is the soulful essence of Angeletti herself, a singer/songwriter who's amazing talent just radiates throughout this latest release. It's difficult trying to categorize Angeletti in a specific genre, considering she easily incorporates a variety of musical formats into her repertoire, representing each one with infinite exuberance and emotional purity. Her unique performance style is honest and straight forward, very authentic and deeply heartfelt. She vocally articulates the stylings of artists like Janis Joplin, Etta James, and Tina Turner with remarkable detail, blending them together into a genuine sassy style, truly all her own. Compared at times to these legendary woman, Angeletti equally shares their instinctual expertise when expressing that gutsy, raw emotion especially performing on stage as it erupts from a place deep within her soul.

Bittersweet contains twelve tracks of original songs and co-writes by Angeletti, as she vocally delivers a wealth of emotion, conveying both the pleasure and pain of the human experience with commanding authority. She vigorously exercises her vocal prowess on the opening track, "Don't Want Your Love", a solid rock tune with Angeletti grabbing your attention right from the very first note and never letting go. She's backed by a group of experienced, wily musicians who know exactly how to drive the message home with some sizzling harp solos by Stuart James and blazing fretwork by Pat Buchanan.

The following track, "Go To Hell", is a tasty, fast-paced rockabilly tune, seasoned with plenty of Chuck Berry flavor. Tony Harrell lets loose on this fan favorite, tearing up the ivories and motivating you right up outta your seat. Another great track is, "Love Doctor", this spirited blues shuffle finds Hambridge keeping a steady beat as Buchanan offers up a generous portion of stinging guitar licks. Angeletti is heard having a heck of a great time on this one, serving up some sassy vocals and spicy attitude.

Just when Bittersweet sounds like a stick of dynamite ready to explode, Angeletti eases off the throttle to explore the pain and sorrow of lost love and a broken heart on several ballad tracks. This is where Angeletti truly shines, not only as a talented singer/songwriter, but also as a gifted storyteller, especially with sensitive subjects on ballads like, "Feel Love Tonight". Here you'll find Angeletti sharing the pain of loneliness, the intensity of that lonely ache is painfully expressed through the depth and grit of her sultry vocals, along with some poignant guitar solos by Buchanan. "Nowhere To Run", is an originally penned southern rock style ballad with Angeletti singing about a broken heart with such sincerity you begin feeling the pain literally pouring from every verse. The background vocals and guitar solos only add to the emotion. A personal favorite, "Feels Like Rain", is slower paced soft rock ballad with a just hint of R & B, as Angeletti delivers an extremely soulful and moving performance, effectively showcasing the overall theme by vocally accenting both the highs and lows of the experience.

Bittersweet's final track is the Joplin classic, "Piece Of My Heart", an appropriate selection by Angeletti as a personal tribute, honoring the legendary Janis Joplin who's spirit and unforgettable performance style were a continual source of inspiration. I was guilty of assuming she would cover this popular classic with the same amount of intensity found on the opening track. Instead, she maintained the strength and staying power behind this hit song, while poignantly emulating her personal admiration and respect. The sheer emotion and soulful, sultry texture heard during Angeletti's vocal performance, might just tug a little on those heart strings. After listening to Bittersweet, I'm sure you'll agree Angeletti's greatest, most valuable instrument is her amazing voice. She knows just how to stir the soul when singing the blues and knows just how to tear the roof off when it comes to rock and roll. Bittersweet is an excellent recording, a true showcase of this singer/songwriters amazing talent, a CD you'll listen to again and again.

Anyone who's ever expressed an interest in experiencing what this singer/songwriter has to offer, I strongly encourage them to attend one of her live performances, cause she'll blow you away. Not only does she have the vocal chops, she knows just how to deliver them, just her stage presence and vocal delivery is well worth the price of admission. I had the good fortune to see Susan Angeletti perform on stage for the very first time, when she opened for B.B. King at the Calvin Theater. I was so impressed with her definitive stage presence, she immediately took command the moment she stepped on stage, firmly holding this sell-out, standing room only crowds full attention, right from the very first note. Everyone kept jumping to their feet with every song in her set. After finishing her final number, the entire theater just seemed to explode, the entire crowd stood there yelling and cheering, as if unwilling to let her go.

After a short break, B.B. King appeared on stage and commented to the crowd how impressed he was with his talented opening act. Susan Angeletti is the "real deal", "the complete package", her live performances are something you experience and something you won't soon forget. She'll make her way across the room, reaching out to everyone in the audience, giving them absolutely everything she's got with every fiber of her being. She gives you nothing but pure heart and soul, and you begin feeling the emotion and meaning etched behind the music itself, a rare gift indeed. This newcomer continues turning heads and has well established herself throughout the music community as one powerful performer. Her latest release is definitely sending a message, telling everyone, "Susan Angeletti is here to stay!"

She has a brand new CD just released called, Live In Concert: 99 & a 1/2 Won't Do! (Oar Fin Records (USA) 2005). This new release contains seven tracks highlighting songs from several of her live performances, including cuts from her performance at the Calvin Theater with B.B. King. If you haven't had the opportunity to experience this amazing singer/songwriter in person, I highly recommend getting yourself a copy of this live recording, available now at Susan Angeletti's website or her label's website.--Pamela L. Dow in western Massachusetts

(24 July 2005) Imogen Heap has released what happens to be my favorite album so far this year--Speak for Yourself (Megaphonic Records (UK) 2005). As the frontwoman for electro-pop duo Frou Frou--in conjunction with programmer and producer Guy Sigsworth, who also worked with Bjork, Madonna and Seal--Imogen won over fans and critics with her distinctive vocal style. While her voice is often compared to vocalists Sarah McLachlan, Dido, and Jem, Imogen has a particular vocal range and beauty that is all her own.

The first single from Frou Frou's debut album Details (review) was the retro-gem "Breathe In." Although discriminating listeners became instantly obssessed with Frou Frou's glorious sound, it was not until the song "Let Go" was used in ad spots for Zach Braff's film Garden State that people took real notice. Eventually, "Let Go" was featured on the Garden State soundtrack, and the soundtrack itself garnered a Grammy award. The creative team behind the film Shrek 2 were sufficiently impressed with Frou Frou that Imogen and Guy were asked to contribute to that film's soundtrack. In response, the dynamic duo recorded a brilliant cover of the 80s apocalyptic classic "Holding Out for a Hero" by Bonnie Tyler.

Although Imogen and Guy have not officially abandoned their joint music project, both decided to take some time off from Frou Frou to work on side projects. Imogen went to work writing and recording Speak for Yourself on her own computer in her small apartment studio. Frou Frou fans waited patiently to see what would emerge. Before teaming up for the Frou Frou project, Imogen had released a solo album in 1998 entitled I Megaphone. A more tempermental (though meritorious) affair by far, I Megaphone steered closer in style to Alanis Morrissette and Tori Amos. Would Imogen return to her more aggressive and moody roots, or build upon the more accessible and warm sound created by Frou Frou?

Happily, the answer is that Imogen has created an album that retains Frou Frou's upbeat vibe, but showcases a somewhat more intense and personal quality as well. In any case, Speak for Yourself is a near-flawless collection of thirteen phenomenal tracks. From the crazy sine-wave/chime synth intro of the jaunty opener "Headlock," it becomes apparent that Imogen has outdone herself. With exultating percussion and driving synth orchestration, "Headlock" is pure summer euphoria. Imogen layers her fabulous voice in shimmering harmonies as the song propels listeners on an energetic wave.

"Goodnight and Go," which was featured on the television show, The O.C. is equally enjoyable. Here, Imogen smartly utilizes the talents of her friend, guitarist and singer Jeff Beck,to the fullest. With a wicked break-beat and Jeff's rifting, Imogen sings tongue-in-cheekily about spying on a love interest. The clever chorus lyrics "Why'd ya have to be so cute? It's impossible to ignore you. Must you make me laugh so much? It's bad enough we get along so well" perfectly fit the breezy, sweet instrumentation. Its particularly engaging to hear Imogen pull her Sinead O'Connor-like passagio wails throughout.

Another superb track is "Loose Ends." Hard synths and broken drum kicks are accentuated by Imogen's meditation on disolving a relationship. Again, Imogen uses her vocal range and angelic/throaty singing to perfect effect. The goose-bump-inducing epic "Hide and Seek" will remain with you long after the song ends. This track, in particular, shines a great light on Imogen's undisputed talent as a singer and songwriter. There is something tremendously moving and heartrending about this hymn-like acappela/vocal-treated wonder. Already a favorite on iTunes--and featured on The O.C.--"Hide and Seek" has struck a deep chord with listeners. Imogen uses a vocal/pedal affect on her voice creating a disembodied, but strangely comforting effect. The arresting chord changes and ebb-and-flow style of the song truly invest the song with an originality and luminosity that is rare in music.

"Clear the Area" shares some similarities with Frou Frou's "Hear me Out." In whimsical fashion, the song begins with a forlorn wind effect and minor chord piano. This mood is shaken by the injection of a trip-hoppy beat, guitars and Imogen's vocal refrains.

"The Walk" is probably the highlight on the album. Songs just don't get more perfect than this. With urgent, near-whispered quietude, Imogen creates a sense of desperate ruination of a relationship. But, ever-original, Ms. Heap suddenly about-faces with a ripping drumbeat, orchestral pizzicato drops and synth strikes. Hearing her vaulting voice sing "It's not meant to be like this ... it's not what I planned at all ... I don't want to feel like this" Imogen instantly recreates the feelings of conflict and loss associated with dying love. Look for the incredible piano and vocal work during the last minute of the album.

"The Moment I Said It" also deserves mention for its sublime rumination on loneliness. Both ethereal and poignant, Imogen's piano work create's a cinematic, visionary setting for her pleading voice.

Possibly the best compliment I can make is to say that Speak for Yourself is as good an album (if not better) than Frou Frou's Details. Given the fact that I thought Details was the the best album of 2002, this is indeed high praise. With the release of Speak for Yourself, Imogen has proven that she has become a master at her craft. Perfectly balancing introspection and gregariousness, intimacy and accessibility, joy and melancholy, Imogen has created a true pop classic.--Justin Elswick in Provo, Utah

(30 July 2005) Asia Gold (Geffen (USA) 000452102, 2005) is a newly released two CD set. It is by no means the usual type of compilation since the set includes the band's entire output from 1982-1990 on the Geffen label. It has been digitally remastered and includes new liner notes with rare photos. The material is presented in chronological order for maximum listening pleasure. Asia was formed in 1981 and was the first super group of its kind. Steve Howe (Yes) handled guitar and background Vocals. John Wetton (King Crimson, Roxy Music) assumed the role of lead vocalist and bass. Geoff Downes (Yes, Buggles) handled Keyboards and background vocals and Carl Palmer (ELP) took the role of drummer.

Asia's self-titled LP released in 1982 exploded on to the music scene with two top forty hits. "Heat of The Moment" and "Only Time Will Tell" drew single attention while the LP spent nine weeks at number one on the American album charts. "Heat of The Moment," with Steve Howe's unforgettable power chord intro, infectious melody and John Wetton's throaty voice, was a smash. "Only Time Will Tell" with Downes' opening synth line, Howe's guitar interplay and again its infectious chorus was a perfectly crafted pop gem. Credit must also go to Mike Stone who produced the album. Stone's previous credits include Journey, Queen and Foreigner. His production was nothing short of spectacular multitracking Wetton's voice which produced perfect layered harmonies and helped shaped the Asia sound which was instantly recognizable. Other highlights include "Soul Survivor," a fan favorite with some Yes like qualities prominently featuring Steve Howe's guitar virtuosity.

While Asia's sound was more pop than progressive several tracks from the album had a strong progressive sound to them. "Time Again," with its a unique time signature and with Downes' distinct use of piano coupled with a blistering guitar solo during the middle break, made the track one of the strongest cuts on the album. "Wildest Dreams" showcases Palmer's superlative drumming and Howe's guitar chops which leaned the track towards the progressive side and showed that Asia could handle pop and progressive rock flawlessly. Other highlights include "Without You" and the closing track "Here Comes the Feeling," another catchy song showcasing some of Howe's best guitar work. The entire debut album from start to finish is a masterpiece.

The b side, "Ride Easy," follows the album and is an excellent track on par with everything from the debut album. Downes' opening harpsichord line flows into a powerful melodic track with excellent guitar flourishes from Howe and a haunting middle section once again featuring Downes stellar use of the harpsichord.

Asia's second album titled Alpha (1983), while still a very strong album, was a slight departure from the debut album. Steve Howe had no writing contributions and his guitar parts, while still excellent, are not as prominently featured as they were on the debut album. The lead off single "Don’t Cry" is a very catchy upbeat melodic piece and hit number ten while spending thirteen weeks on the charts. "The Smile Has Left Your Eyes," a beautifully executed and teary eyed power ballad, combined Geoff's melodic synth lines with John's emotional vocals and made for a fan favorite.

"The Heat Goes On," probably the best track from the album, is a soaring piece from the quiet piano intro to the slow buildup that leads to Howe's meticulous guitar riff. A full out rocker with a strong verse and a very catchy chorus, leading up to one of the best Hammond organ solos on record and then back to the quiet piano intro, building up again to the exploding ending. "Eye To Eye" features Howe's superlative guitar work alongside a very catchy and unique melody. Parts of the song sound like they would fit in perfectly as background music to a James Bond film. "True Colors" and "Midnight Sun," both stellar tracks featuring strong melodies, include excellent synth/guitar interplay from Downes and Howe respectively and some of Wetton's finest vocal work.

"Open Your Eyes" closes out the album and is nothing short of spectacular. The song opens quietly using a vocoder to set the mood and then builds from there into a full blown rocker and then back to the soft opening again for the middle section this time building layer upon layer until the song explodes into a full blown jam. The b side, "Daylight," follows with Downes' use of a solo church organ sound to open this very catchy upbeat song which features excellent keyboard work from Downes and strong guitar interplay from Howe. Wetton's voice is in excellent form and the overdubbing technique during the chorus is heavenly. "Lyin' To Yourself," another b side, is a strong melodic track which really show cases Wetton's vocals and again the overdubbing effects are out standing.

The third album Astra (1985) saw the departure of Steve Howe. Mandy Meyer (Krokus) was recruited to play guitar on the album and provided more of a hard rock guitar sound. The first song on the album "Go" set the stage for what was to follow. Downes' opening church organ sound followed by layer upon layer of synths and Meyer's guitar parts along with Wetton's full on vocals made this track a fan favorite and probably the strongest track on the album. Another highlight of the album "Hard on Me" features some of Downes' best synth playing to date as well as wonderful drumming from Carl Palmer who co-wrote the track. This track may be the catchiest track on the album.

"Rock And Roll Dream" starts of slow and builds to a climax at the end with excellent use of the Royal Philharmonic Orchestra providing a soaring end to this outstanding song. "Too Late" is another gem that features more great keyboard work from Downes. In the middle break the song gets very quiet. With Wetton's vocal atop, the solo keyboard part that builds to Meyer's guitar solo is truly outstanding and a highlight of the album. "After The War" closes out the album and is one of the finest Asia tracks. Gorgeous acoustic piano with superb vocals from Wetton building to a frenzy of layer upon layer on synths and then back to just piano and vocals then ending the track with a full out explosion, a perfect ending to a great album.

Then and Now from 1990 is a collection of six tracks from the previous three albums and four new songs which are also included in this set. "Am I In Love?" with its soft melodic sound was more AOR then the previous albums. However the song suited Wetton's voice perfectly and is one of the best songs from the collection. "Days Like These" is straight rock and roll and to this day is a fan favorite with its catchy chorus making great use of multitracking Wetton's voice and closes out the set perfectly.

Newly remastered sound by Eric Labson at Universal Mastering adds clarity, depth and excellent separation that was missing from the mid 80s individual CD releases. Vocals are clear and crisp. Guitar, bass and drums shimmer with sonic perfection and keyboards sparkle. Informative liner notes and great photos round out this excellent collection. This set is not only a good value, but is a must have for both hardcore fans and casual buyers and will therefore be a welcome addition to any fan of great music.--Scott Bassin in New York

(31 July 2005) Delerium and Frontline Assembly cofounder Rhys Fulber has prepared a second solo-project under the Conjure One moniker. The album, entitled Extraordinary Ways is the follow up to 2002's widely successful self-titled debut, Conjure One (review). Whilst Conjure One was a cinematic, Middle-eastern tinged masterpiece, Extraordinary Ways finds Rhys and company with feet a bit more firmly planted on the ground with more straightforward a familiar song structures and instrumentation.

Enthusiasts of the first album, however, need not fear. Extraordinary Ways still reflects Rhys' penchant for epic-laden productions that are spine-tingling, transporting pieces of electronic heaven. Three singers from the first album--Chemda Kalili, Poe ("Jane"), and Joanna Stevens (Solar Twin)--return for vocal duties. In addition, up-and-coming trance-diva Tiff Lacey (Lost Witness, ATB, and Paul Oakenfold) is featured on "Face the Music." Most intriguing is Rhys Fulber's debut as a lead vocalist on a remake of the Buzzcocks' song "I Believe." Ashwin Sood and Sean Ashby (Sarah McLachlan), Leah Randi (Pink and ex-Abandoned Pools) and London-based composer Chris Elliott are also featured as instrumentalists or arrangers on the album.

Jane's three tracks, "Endless Dream," "One Word" and "Extraordinary Ways" are all breathtaking in their individual ways, and form a sort of trilogy that provides the backbone of the entire album. "Endless Dream" is an immediate attention-grabber. Sharing some similarities with "Center of the Sun" from the first Conjure One album, "Endless Dream" quickly orients the album in the direction of dream-world etherealism. The ghostly piano and Jane's sibilant whispers create a sense mystery. Of course, the chorus reaches near-perfection as guitars and orchestral strings combine in grand fashion, bedding Jane's razor sharp voice in a wall of sound.

Listeners may be suprised at the first minute of "One Word." A bouncing Erasure-esque synth bubbles while a bass pulse and sweet spanish-styled guitar rift back Jane's almost gentle voice. Those who know Jane's former work as a solo artist will likely wonder at the carefree mood; but, "One Word" suddenly shifts directions at the one minute mark. As the song moves into minor chord territory, one realizes the brilliant emotional tension created by the transition from major to minor. The best part of the song occurs at the 2:35 mark as the song modulates again and Jane sings in register that causes her voice to absolutely explode. A full listen to "One Word" proves it to be one of the best tracks on the album.

Extraordinary Ways is anthemic, direct, and glorious. Both musically majestic and lyrically potent, the track has a strange melancholy quality that is juxtaposed with a hopeful message. Jane's affirming and ever-driving voice carries the track as guitars soar against a relentless beat. Tiff Lacey's track "Face the Music" is a pleasant-enough, energizing track perfect for a Friday night drive to the club. No doubt, Tiff Lacey is a talented singer. This track could provide Conjure One with a radio hit.

Joanna Stevens, the statuesque vocal wonder of electronica duo, Solar Twins, gives an impassioned and dazzling performance on the supernal "Dying Light." Accompanied by gossamer piano, aquatic synth noises and an expansive backbeat, Joanna Stevens vocalizes as if she's offering an ancient prayer to a sleeping god. Easily on par with singers like Azam Ali (Vas, Niyaz) and Ofra Haza, Ms. Stevens once again makes us lament that there hasn't been a follow up album for the Solar Twins.

Chemda's lyrical track, "Forever Lost" with its postmodern, futuristic sound is a sure winner. As always, Rhys knows his "hooks," and "Forever Lost" perfectly taps that aural sweet spot. Strumming acoustic guitars lend a fresh, organic sound that plays perfectly with the electronic elements that sustain the song.

Extraordinary Ways also features three largely ambient, instrumental pieces: Pilgrimage, Beyond Being, and Into the Escape. All three are intriguing in their own right, combining undulating synth waves with flutes, occasional ethnic vocals (perhaps featuring Chemda on "Into the Escape") and soft guitar swaths. Fans of Enigma or Mythos will find much to appreciate here.

Finally, "I Believe" is a somewhat anomalous track featuring Rhys on vocals. On its own, the song is actually quite likeable. Calling to mind the 80's classic "Video Killed the Radio Star," the track bounces along quite nicely as Rhys filtered voice chimes over the backbeat. Although not the strongest track, it is good to see Mr. Fulber change up his vibe and experiment with his sound. Extraordinary Ways is the perfect album as the season transitions fromSummer to Fall--part warm and electric, part mournful and contemplative, Rhys' music again takes listeners on fascinating journey.--Justin Elswick in Provo, Utah and Russ Elliot in New York

(03 September 2005) A duo from San Francisco, Alcyone is an electronic dance music act that has established itself with distinctive and innovative explorations into deep/tech house, trance, breaks, dub and ambient electronica. Their debut album, The Stars Are Real (System Recordings (USA) SYS1060-2) explores these various dance subgenres in nine exciting tracks. The sound is infectious and the listener can't help but move to the beat.

The Alcyone crew is composed of producer/keyboardist Alex Newman and vocalist/composer Suzanne Sterling. Both have a wealth of experience to this project from their studio and stage work as producer and lead vocalist of the electronic dance act Medicine Drum. They have also toured extensively in the USA as well as internationally.

Utilizing different sounds, each composition explores ambient, breaks, house, and mellow vocals to woo their audience. Suzanne Sterling's vocals in the first track, "Drift," are showcased in this delightful beginning to the CD. "Warm Fuzzy" continues with the contagious fervor, while "Black Arrow Dub" is much more peaceful and tranquil.

Alcyone incorporates elements of classic electronic music into this electrifying music. Their interpretations and creations stimulate the urge to dance and one can also just feel comfortable to sit back and listen. "Brighter" delves into deep house, which highlights the beat. Percussionist Jason "Drumfire" grooves with the Brazilian beat in "Pan Position." He is also a virtuoso with congas, bongos, timbales and djembes and describes himself as a "drum animal!"

A darker sound is found in "The Dunes" while "Reflections" changes tone to a softer, gentler sound. The tribal sounds of "Neptune" entice the listener and then incorporates ambient breaks. The final composition, "Starfields," combines trance and house to complete this dance feast.

Alcyone has become a popular choice with clubbers, festival-goers, and all-night party people, and led to peak-time performances at Earthdance, Harmony Festival, Burning Man's "Sol System," Solfest, Anon Salon's "Sea of Dreams," San Francisco "Decompression" (Suzanne photo) and many more events.

Their infectious music is stellar with lush electronic dance and chill tracks that come alive with the interpretive journey taken by Alex and Suzanne. Their compelling musicianship invites you to party along in their sonic dimension. The mix-up of deep chunky grooves, multi-layered synth textures, fiery percussion, and passionate, soaring vocals make Alcyone a standout.--Audrey Elliot in New York

(21 August 2005) Season's End are a Gothic Metal band from the Hampshire area of southeast England. Fronted primarily by Becki Clark's vocals, the lineup is completed by David Stanton (guitar, voice), Dave Smith (keyboards) and Paul White (drums). Tom Nicholls provides bass, and Daryl Kellie plays a second guitar. The band has now solidified into a permanent unit, and all six members will play on future recorded output. The band's sound is similar to Edenbridge (review) although Becki's vocal work is less theatrical than Sabine's.

We first reviewed their debut album album The Failing Light, released in a self-financed edition, in June 2004. In the meantime the band have signed to independent record label 1 Records. Though there has been no rerecording on the material first committed to tape in 2003, the label have brought in Adi Winman to remix the existing material. As a result, the album has also been re mastered. The excellent news is that our main problems with the original product, firstly that the vocals are too low in the mix, and secondly that the drum sound was poor, have both been corrected in this new version. The remix has also given a warmer sheen to the overall sound quality. This new version also arrives in a smart cardboard case, and includes a well-produced video for album highlight "Ghost in my Emotion."

The rest of the package remains as impressive as it did a year ago. Though clearly produced with a goth / metal audience in mind, there is enough here to interest progressive metal fans, with each of the six tracks on the album well over five minutes long. Lyrically, the band are impressive, weaving dark tales of lost and obsessive love. It is also gratifying to hear such natural vocals on a metal album. Becki sings in a warm, almost classical soprano, while David, who shares lead vocal duties, has an unforced, natural sounding voice. Their vocals combine beautifully throughout the album, often to spine-tingling effect. We were also intrigued by the use of instrumentation. Keyboards are very prominent throughout, and the guitars are never overdone; the metallic, machine-gun moments are used sparingly and thus provide genuine drama. Significantly, though there is plenty of melodic lead guitar throughout the album, there are few traditional "solos."

"Touch" opens with haunting strings, before launching into its metallic verse, with Becki accompanying her lead vocal with some soaring backing work. The mid section of the song is delightfully subtle, with some Steve Hackett style guitar, and whispered vocal, before a hugely dramatic ending. "Ghost in Your Emotion" is a standout track, an intense lead vocal from David giving way to Becki's second voice, and a crunching guitar riff, before the voices combine superbly on the second verse, and again on the wonderful chorus. The song finishes on a slow, sinister note. "One Sadness" begins with a terrific cascading piano riff, which gives way to guitar, before launching into something of a progressive metal tour de force, with both voices again combining superbly.

An orchestral keyboard interlude introduces the wonderful ballad "Innocence," with its lovely piano riff, and angelic, multi-tracked female voices. "Nothing After All" moves things up tempo again, Becki's brooding lead vocal on the verse against some throbbing bass combining with some aggressive singing from David on the chorus, followed by a vicious twin guitar and twin bass drum section. Album closer "Celestia" starts with a brooding, almost medieval sounding section, before opening out into another progressive metal workout, with David almost grunting at one point.

Having now seen Seasons End live a couple of times in the past year – and with their appearance on the main stage at this years Bloodstock festival eagerly awaited – it is clear that the band have moved on slightly from the music of this nonetheless excellent debut, recorded nearly 2 years ago and a couple of the songs now feel a little overlong. However it is also apparent that Britain at last has a talent worthy of comparison with the continental greats of female-fronted Gothic rock, and with proper worldwide distribution now available to them, they should soon start making the inroads that market. They certainly deserve it.--Stephen Lambe in Cheltenham, England

(31 July 2005) Only a handful of times do we get a CD that has a style all its own. After hearing Austin, Texas native Patricia Vonne's sophomore CD, Guitars & Castanets (CoraZong (USA) CUSA 2000, 2005), she will easily be added to our short list. In addition to promoting and supporting her latest release Guitars & Castanets, Patricia can also be seen as the character Zorro Girl in the blockbuster movie Sin City.

Patricia Vonne began making waves with her hit "Traeme Paz" from the blockbuster movie Once Upon a Time in Mexico not too long ago. While the hit single may be what initially caught the attention of a worldwide audience, it will undoubtedly be this infectious sophomore album Guitars & Castanets that will cement her name with music lovers across the board.

While the album is a blend of Latin fire, Americana, and Rock & Roll soul, it maintains a strong sense of integrity and musicianship throughout. The album is as comfortable in its movie like soundscapes as it is challenging the dance floor. Patricia Vonne is part Tex-Mex spitfire, part sultry Latin lover, and wholly an artist worth checking out. We caught up with Patricia in this in-depth interview.

While this style is surely more predominate in the southern border states, it's completely fresh and unique to people from different regions. Patricia is like a bilingual female Chuck Berry with a whole lot of Tex-Mex fire in her belly. The CD touches on down and dirty rock and roll, Americana, flamenco, country, and folk, all the while keeping a consistent groove led by Vonne’s powerful no nonsense voice. If any of the handful of fans of the brilliantly underrated band Hoi Polloi are reading this--Vonne's voice is very comparable to that of Jenny Gullen.

The album opens with the almost eerie "Joe's Gone Riding." The song almost evokes feelings of a modern day cowboy movie. Picture yourself walking across the desert at high noon as tumbleweeds roll in front of you. "Rebel Bride" and "Lonesome Rider" continue Patricia’' cowgirl ways wh'le introducing a distinctly rockier sound. Although the only song the band truly throws caution to the wind on is the album’s official ending track, "Sax Maniac," with its heavy sax soloing and fifties rock flare. The all out Flamenco styling of "Guitarras Y Castanuelas" is equally as impressive musically and brings with it a healthy dose of the magic feet making you want to dance!

While this is certainly a rock and roll CD at heart, its elements like the rebel love exhibited in "Blood on The Tracks" and the slow sway of "Fiesta Sangria" that establish Patricia as a great songwriter as well performer. While every song on the CD has its own spark that will appeal to a wide variety of fans, these two songs in particular bring the CD back down to earth and ground it in an easily relatable way, making it more personal and less movie like for the listener.

Guitar & Castanets is a wonderful album with a nearly universal appeal. It's country sans the twang, it's rock and roll sans the fuzz, it's Americana and folk sans the boring delivery, it's passionate and emotional and fun. Patricia Vonne's brilliant melding of her music and lyrics create an absolutely enthralling CD that is good well beyond the first spin.--Mark Fisher in West Virginia

(31 July 2005) Visions of Atlantis is a young Austrian progressive metal band riding the wave of symphonic material with soaring female vocals. With both male and female singers, this band has quickly carved a name for themselves with metal fans all over the world. While the band's sound is definitely reminiscent of Edenbridge, Evanescence and Nightwish, they have managed to blend in some surprising elements that help to make their sound unique.

Visions of Atlantis album Cast Away (Napalm Records (USA) NPR152, 2004) is a collection of nine tracks and a bonus track. The band's label is also home to Atrocity, Leave's Eyes, Draconian and Darkwell. Cast Away has been receiving rave reviews. We had the chance to catch up with vocalist Nicole Bogner in this interview to find out more about the band and their new album.--Mark Fisher in West Virginia

Like Nightwish, Visions of Atlantis plays a melodic version of romantic symphonic metal. Most of the songs are medium tempo, but they range from mellow ballads like "Winternight" all the way to bombastic, like "Realm of Fantasy." The band include a range of material between these extremes as well.

Critically speaking, the album is rather brief, coming in at barely forty minutes. We were left longing for more. Unlike Nightwish, Visions of Atlantis' vocals a mix male singer Mario Plank with the female vocalist Nicole Bogner. The two contribute to every song, except the ballad "Winternight" that Nicole sings alone. With the blend of male and female vocalsVisions of Atlantis are perhaps more comparable to Lacuna Coil or Evanescence--although their sound is definitely Nightwish.

Nicole Bogner is a great young vocalist with significant promise, but she has not yet reached the heights of Nightwish's Tarja Turunen, Epica's Simone Simons or Sharon den Adel of Within Temptation. She has a young soprano voice, not unlike Turunen during her early days, but Nicole still struggles to hit some of the higher notes. Mario Plank's parts are sung rather than grunted or screamed. A plus in this style of music.

The album's standouts are "Send Me a Light," "Lost" and "State of Suspense." "Send me a Light" is a variable paced number with a catchy melody. It starts with Nicole singing the verses and Plank sing/talking the choruses. "Lost" is a symphonic number which is very accessible. Plank leads with Nicole singing a prominent but secondary part. The lyrically strong material is supported by a radio friendly melody. There is a supporting video for the song.

"State of Suspense" starts a little out of character with a electronic beginning but quickly goes back to the symphonic feel. A fairly extravagant song beginning with Plank's vocals, he is surpassed by Nicole's strong vocals. Another catchy song with a few hooks as well.

Clearly if the band had matured to the stage of Nightwish, Cast Away would be an even more incredible album. Not that Visions of Atlantis could take the place of Nightwish or Within Temptation for that matter, but this band shows incredible promise. Let's see how they do with their next album.