(28 December 2007). Formed in 2004, Manga are a rapidly emerging five-member rock band from Israel. Their rocking live performances, online music selection and two well-produced music videos have contributed to growing popularity in-country, primarily with Hebrew-speaking audiences. The band's first track in English "My Secret Truth" was translated from their forthcoming debut album's title track "Vacuum" and was selected for the American release Israel Unleashed (JMG (USA), JMG-18070-2, 2007). Manga are certain to break through and achieve notariety outside their homeland.

The people of Israel are renowned for blending the best of what the world has into their own superb offerings. Manga has certainly done so with their own varied style of modern rock music. They capitalize on the current trend of hard rock arrangements backing stunning female vocal work. Manga say they "mix several genres of rock, such as punk rock, metal grunge and electronic elements, combining what appears to be sometimes, an aggressive playback accompanied by soft melodic vocal line."

Fronted by lead vocalist Yael Akron, Manga's lineup also includes Tal Vaisman (guitars, vocals), Ms Chen Teibloom (bass), Alon Kaplan (keyboards) and Mr Sharon Petrover (drums). The music for Vacuum was written by Tal Vaisman, Yael Akron and Heinrich Zaddler. Tal arranged the music and produced the album. As our review below notes, Yael's voice is wide ranging, crystalline, and obviously well-trained; she has the sheer power to soar without layering additional vocals above the band's guitar-based rock arrangements. Yael's stunning vocal talent can be compared to Leah Pinnavaia of Buffalo, NY's Cosmic Stepping Stones.

Our review copy of Manga's forthcoming debut album Vacuum has twelve well-produced and varied rock tracks including both the Hebrew and English versions of the album's title track. Yael told us, "Vacuum in Hebrew is also used to describe a void--mental and spiritual, as well as chemical-physical." The title track "Vacuum" is an album standout and one that--although Manga have gone a solid step above and beyond both vocally and instrumentally--will draw obvious and very favorable comparisons to Evanescence.

The Hebrew track names and lyrical content in eleven of the tracks should not deter open-minded enthusiasts. One only has to remember that Lacuna Coil gained significant ground with Cristina Scabbia singing in Italian initially and still do so part time today. Tarja Turunen sang Nightwish's initial material in Suomi (Finnish) and just released a new album in her native tongue. Adiemus sold millions of albums with lyrics in a phonetic non-language that long-time enthusiasts sing along with to this very day.

Manga's lead singer, Yael Akron, told us, "We are considering translating some more tracks to English and wonder what, out of our material, might create interest among American labels or in the American market. As we fail to be objective here, we are really curious to hear opinions about our music." Manga have provided four streaming tracks that are either from the forthcoming album or are earlier versions of the album's tracks at their MySpace. Three tracks are available at the band's own website.

In comparison to the earlier version of "Hasipur" (The Almost Ending Story) available online, the rhythm section in the choruses on the album were re-worked and the original trumpet solo was "brutally" omitted from the final version. Yael told us, "we were afraid after a year's work it [the MySpace version] no longer reflected the band's sound. Tough call." Although different, the final version of "Hasipur" is certainly another album standout. The chorus has an incredible hook. See the music video at MySpace and YouTube.

"Hae'r" (The Awake) is the rousing radio-friendly vocally-rich opening rocker on our review copy of the album and another standout. The extremely well-produced music video illustrates Manga's dynamic high-energy onstage performance and can be viewed online at MySpace and YouTube.

Manga also matured the guitar-laden torch ballad "Ulay Hapaam" (Maybe This Time) in a new arrangement for the album. Called "an experimental adventure when we just started out" by the band's singer, Yael's crystalline vocals soar above the instrumental accompaniment in the album version. The acoustic ballad "Hamasach Hak'chalchal" (The Blue Screen) is a lovely song. Vocal harmonies, additional guitars and keyboard washes add texture beneath Yael's stunning lead as intensity builds in the song's concluding third. The band's acoustic and lighter passages permit the players' individual talents to delicately emerge and contrast significantly from the band's full-on sound offerred in many of the others.

Lovely vocal harmonies and accentuating guitar passages grace crisply delivered lead vocals on the gentle radio friendly rock song, "Eizo Tmimut" (What Innocence). We especially appreciated Yael's vocalise in the song's mid-section. Crystal clear lead vocals in the verses adjoin with rich instrumental arrangements and thick harmonies in the choruses of "Harozenet" (The Countess). "Ha'ar She'over" (A Light That Passes) is a second, but more rhythmic, installment of this very memorable style. Tal's guitar solo in the song's midsection echoing the melody is outstanding.

In "Rakevet Shedim" (A Ghost Ride), Manga's unique arrangement of middle eastern strings, heavy metal guitar, Yael's lead vocal and Tal's vocal harmony works especially well. The dramatic contrasts between the song's passages are especially well produced. Listen for the closing sound effect.

Tal sings lead on the band's punkier sounding track "Im Ein Lach Z'man" (If You Can't Spare The Time). Yael adds vocal harmonies in the background and in one brief solo. Accompanied by rhythmic guitar and especially crisp percussion, he also sings lead in the rock ballad "Lo Rotzeh" (I Don't Want To; as in the way three-year olds do, while shrugging their shoulders). Yael's harmonies, bold keyboard washes and rocking guitars and a dramatic tempo change two thirds of the way through add to the excitement of the number. In additon to those tracks fronted by Yael, these two songs continue to illustrate Manga's artistic virtuousity both as individual players and as a coherent group.

As 2007 comes to a close, Manga is in discussion with several labels about the release of Vacuum. In the meantime, visitors can sample the band's treasures online worldwide. See the band perform on stage in Tel Aviv. We hope that 2008 brings this band the additional notariety they deserve.

(28 December 2007) Paris-born singer-songwriter Natascha Sohl announced herself to the world in 2004 when she released her debut offering Strange Fascination (Granite Music (UK), 5 036098 003888, 2003). A promising album of addictive pop-rock that garnered positive reviews and saw Natascha embark on a string of live performances, including a performance of lead single "Are You Ready" at the 20th Anniversary Celebration of Music Radio and a handful of acoustic performances in New York during the summer of the same year. Other notable achievements post-Strange Fascination include performing for Children In Need, and singing the UK National Anthem 'a capella' in Wembley Arena. She's been kept busy, and now, after finding time to return to the studio and re-focus, she presents us with a second full-length album entitled: Dirty Little Word. Several years have passed since her debut saw light, and this is the album Natascha hopes will see her build upon a solid start and make use of the experience gained through the gift of such past diverse live performances and opportunities.

The premise is much like that of Strange Fascination (Granite Music (UK), 2007). Thirteen tracks are wrapped in a rich, full production that feels more polished and impacting than the slightly raw edge that was both a strength and weakness on Natascha's debut. The songs have that little more fight and energy to them, helped by Natascha's vocals that feel more whole, her delivery more confident and adventurous.

"Naked" opens with warm guitar and swaying vocals before a mid-paced verse lets Natascha's softer vocal style shine. The chorus is where we see her at her best as a feisty, energetic delivery bursts this song to life, you sense she really means it as she cries: "I can't have it and I can't hold it back" with determination. A hook-filled number and a great way to launch you into the album. Title track "Dirty Little Word" is similarly filled with an edgy individuality as Natascha deals with the 'other side' of love, crisp distorted guitar driving a stadium-filling chorus as she soars: "Love is just a dirty little word". Simplistic instrumentation of steady drums and pacing bass allows the vocals to take prominence in a straight-out pop anthem.

"Beauty In The Silence" introduces itself with acoustic pluckings and soft vocal-work, leading to a catchy, melodicious chorus which again sees Natascha shine as she effortlessly rises above the simple drums and guitar, singing of the strength gained from leaving her past behind and finding solace in the gift of silence: "Cause there is beauty in the silence, I'm feeling so much better now".

The album highlight comes in the eighth song,"Fade." A moving tale of a day just like any other that turned into something much more after the delivery of some tragic news. Natascha's fragile vocals tell the tale, hovering amongst delicate guitar melodies and acoustic strumming before a touching chorus breaks through the melancholy, one as memorable as it is emotional which sees Natascha promise to herself: "I will carry you inside, like a flame that will not die, with a love that will not fade" It's a song fittingly chosen to feature in US hit teen drama series Newport Harbour, exposure which can only enhance her emerging profile.

Subtle keyboards enhance an equally emotional chorus in following song "Yesterday's Rain" with closer "Afterglow" bringing the album to a delicate close as haunting strings and acoustic guitar build to a middle-eastern sounding chorus with vocal hums from Natascha mixing with swirling melodies and fading tabla beats. Listeners will especially admire the production quality of "I'm Not Listening" and orchestral arrangement of "If I Was A Boy".

Dirty Little Word has seen Natascha Sohl rise in confidence as she delivers an album formed through both the musical and life experience she has no doubt gained over the past few years since her debut release Strange Fascination. Lyrically, she tackles topics real to her and delivers them with vocals full of ability and that were destined for the pop-rock anthems they fill in this latest album. A strong production and easy-on-the-ears instrumentation allows Natascha to take centre stage and it's a challenge she certainly gives her all towards.

Natascha's song writing largely stays inside the tried and tested formula, yet the memorability of each individual song is stronger than on her debut as Dirty Little Word presents a matured, accomplished sound that should appeal to many. Order the limited edition of this album at CDBaby. It seems Natascha Sohl looks set to deservedly grow in popularity and exposure, hoping to share with the world the music that means so much to her, while connecting with as many as is possible along the way.--Jim Hall in Derby, England and Russ Elliot in New York

(26 December 2007) Iain Jennings' 2005 Breathing Space album (review) was happily received by Mostly Autumn enthusiasts despite disappointment that the keyboard player had left the band. The nine-track collection of keyboard-rich numbers veered away from the Mostly Autumn sound. The project included contributions from Olivia Sparnenn (vocals), Liam Davison (guitars), Andrew Jennings (drums) and Bryan Josh (guitars). Jennings continued to develop material while Olivia continued to sing backing vocals for Heather Findlay at Mostly Autumn.

The Breathing Space lineup has evolved around Jennings (keyboard and synthesizer) and Sparnenn (vocals) with the welcome addition of Mark Rowen (guitar), Paul Teasdale (bass), Ben Jennings (keyboards and percussion) and Barry Cassells (drums and percussion). The band's live work over the last two years has expanded their audience across and outside the United Kingdom. The band's new album Coming Up For Air (Breathing Space (UK) BSO701CD, 2007) has 10-tracks of song-based progressive rock certain to delight the most critical listener.

Olivia Spermann's well-trained crystalline voice is clearly as at home with the Breathing Space as it would be gracing a West End production. Writes Heather Findlay, "From a very early age Olivia knew that she wanted to be a singer. She has been lucky enough to be surrounded by music for as long as she can remember, her father being an accomplished drummer being in various bands and her uncle is also a vocalist. Her first live performances began when she was the tender age of just thirteen and has since continued to captivate audiences with her stunning voice. The age of thirteen also opened the door to Olivia’s debut studio performances. At fifteen she went on to join an already established well-respected pop/rock band from York singing both original material and an array of vocally demanding tracks from the likes of Heart and Guns and Roses."

After a period of intense French and German studies at college Olivia decided to dedicate even more time to her voice, song writing and playing the guitar and so began working with various new musicians and songwriters in broadening her own skills therein. On an international scale, Olivia worked with Danish songsmith, Soeren Itenov whose group successfully charted in Denmark. Upon her return to the UK, she based herself in the south of England for some months collaborating and refining songs with a writer who has worked with artists such as Bonnie Rait and the Eagles. Olivia joined Breathing Space in time for the recording of the self-titled album, but has really found her voice in the arrangements of Coming Up For Air.

Coming Up For Air is a significant step forward for Breathing Space. The album is a cohesive collection of well-produced tracks ranging between upbeat rockers and soft ballads. The album is vocally rich, Olivia singing solo or self-harmonizing across her vast range and delivery tremendous power to the tunes. Well arranged instrumentals never swamp the vocal work although there are some sections where an extra bit of vocal in the final mix would have been appreciated. Guitar and keyboard solos echo choruses but never overwhelm or bore the listener. Tracks flow nicely from one to another building to crescendos and gently returning to heartfelt ballads.

Many listeners will like the West End-sounding edge that some of the songs on the album deliver. For example, the opening and title track begins with just a soaring voice atop piano before opening into a rocking and memorable chorus. Olivia's voice and Iain's keys work especially well together. We admired the way that Jennings bookended the album with a return to this theme in the closing number "Turn Of The Tide." Others will appreciate the classic rock arrangements that harken back to 70s rock tunes.

While Olivia's voice is a common thread linking the tracks together, the album's diversity is sustained with gentle yet evocative ballads such as "On The Blue Horizon, the everso gentle "Rain Song" and acoustic guitar-backed almost-country sound of "Don't Turn A Blind Eye." Backing vocals add great texture to soft arrangements and Olivia's lead. Jennings' keyboards contribute progressive influences to the tracks, perhaps most notable in the standout and upbeat rocker "Time Tells All The Unknown," a track that must be tremendous to see the band perform on stage. Similarly lively is "The Senses" whose guitar lines are vivid in the song's arrangements.

Olivia's vocals continue to delight in "Head Above The Water" a mid-tempo rock song laced with guitars, swirling keyboards and even a touch of vocal effects. "Searching For My Shadow" is a highly accessible album standout. Olivia's evocatively delivered vocal soar well above the keyboard arrangement build as the song progresses through its three discrete passages. We loved the vocalise sung against the guitar solo midsection. The lyrical conclusion is delightful. The album closes with the sweetly sung "Turn Of The Tide," the opposing more instrumental and rhythmic bookend to the opening track.

Breathing Space have clearly broken through with their new album Coming Up For Air. It offers production consistency and maturity above the band's debut but a diversity of sound that will greatly expand the band's listener base. We look forward to hearing and seeing a lot more from Breathing Space.

(26 December 2007) Tarja Turunen. A Finnish singer whose operatic vocal work captured the hearts of legions of fans during her time as vocalist for renowned symphonic metal act, Nightwish. After the band released their acclaimed fifth album, the bombastic Once in 2004, difficulties arose between Tarja and the four other members, tensions grew and in 2005 an open letter was handed to Tarja composed by songwriter/keyboardist Toumas Holopainen after the band's 'End Of An Era' performance at the Hartwall Arena. A letter stating that it would be for the best for the band, and Tarja, if Nightwish continued on without her.

With 2007's My Winter Storm Tarja Turunen presents her first full-length solo release, as she hopes to cast off the shackles of a controversial and highly-publicised end to her time with Nightwish and move forward, producing an album just over an hour in length, containing an impressive 18 songs that make for a diverse, adventurous insight into the response, reaction and ambitions of Tarja following her venture into the challenging world of a solo career.

The mood and atmosphere of the album is extremely dark, brooding and certainly strays away from the aggressive bombast of her former band Nightwish's sweeping sound, as Tarja's vocals are filled with longing and plenty of real emotion, putting in a performance that sees her experimenting with her voice. A voice that seems to have matured and grown in confidence over time, since her contribution to Nightwish's Once.

The tinkle of keyboards and gradually rising string-work opens the album, before first single "I Walk Alone" introduces the album fully. A swaying, delicately-paced song revolving around simplistic drum and guitar work that creates an almost waltz-like vibe, the chorus letting Tarja flex her vocals as she mournfully sings of the lonely path in going it alone. It's a memorable song, though the production can't help but feel a little flat, which causes the song to lose some of its essential magic.

Haunting instrumentation sees an engulfing blend of gothic choirs, chugging guitar work and the subtle strings of a cello present in the driving "Lost Northern Star". Tarja hovers over experimental atmospherics before the song increases in pace, the second verse bringing the steady bass work to prominence before the choirs return for a chilling chorus. Supposedly cited as one of the 'heavier' songs on the album, there is a lacking bite, hard-hitting impact that feels lost in the mid-paced feel the song holds. It is this steady, almost restrained pace that becomes a continuing weakness of the album, despite the adventurous instrumentation which can be found.

Ballad "The Reign" however, is without doubt the highlight of the album. A breathtaking composition that was inspired by the majestic sounds found in film scores. Tarja's utterly heart-wrenching vocals drift inside stirring strings, waves of keyboard, the faint plucking of acoustic guitar and sounds of tribal drumming in a moving display of music, conjuring imagery of blissful oceans and a mood of serene tranquillity. "Boy And The Ghost" sees a return to the chugging guitar work and piano splashings found in "Lost Northern Star" in one of the weaker tracks from the album. It offers nothing of the excitement or energy you would expect in its openings, an all-too-familiar verse-chorus structure lacks a cutting edge despite Tarja's solid vocals. The bridge suddenly produces a powerful mix of swirling strings and booming choir-work, yet this inspired passage can't save the whole song from an unavoidable flatness.

The one-two of "Sing For Me" and "Oasis" present the best of Turunen. "Sing For Me" containing some interesting vocal melodies, backed by piano before building to a dramatic chorus, the strings complimenting Tarja's vocal strains perfectly, whereas "Oasis" is a brief instrumental piece, beautiful piano work, soft vocal hushes and rich flute allowing for a moving listening experience.

My Winter Storm is an album filled with an abundance of ideas and ambition. It sees Tarja wanting to find her own voice, forge her own path and let loose the creativity perhaps she was restricted from holding whilst in Nightwish. Vocally, she has never been better as we are treated to a voice as matured and assured as it has ever been. Musically, the experimentation is there, yet the album produces a certain hit and miss feel throughout. The song-structures vary between inventive, moving and engaging to those heard so often before, and produced with more impact and energy than what exists here. A mid-paced feel rests within a lot of the songs on offer, that whilst allow Tarja the chance to impress, fail to create a real lasting impression, or memorability. The production balances between inspired and disappointing, as certain songs sometimes crave for that extra crunch, particularly in the rhythm section, whereas other songs, such as "The Reign", thrive on a wonderfully balanced mix.

A hugely anticipated release such as this will receive as many lovers as it will haters, and it is certainly a challenge to review an album of such ambition. One that is certainly not perfect, nor what many may have expected or even hoped for. Still, My Winter Storm proves to be a bold attempt from an individual who took a chance, failing to withdraw to the shadows after a difficult time in her life and instead pushed forwards, hoping to remove any past restraints and stepping back out into the world of music. Today available only as an import or"new and used" at the marketplace for American customers.Walking alone, perhaps, as she has always wanted to.--Jim Hall in Derby, England

(30 December 2007) As 2007 comes to a close, Camille Miller has returned with her third solo album. Readers will likely recall Camille's vocals in the stunning track "Lost" that she performed on the Balligomingo album Beneath The Surface (2002). The artist's prior solo recordings were She Knows (2001) and Carnivon Street (2004).

Somewhere Near The Truth (Zerospacemusic (Canada) ZMCD-001, 2007) is her latest offering and is a ten-track collection of singer songwriter pop-rock oriented tracks. Camille has surpassed all expectations in the growth and musical maturity demonstrated on this stunning new album. A variety of singer songwriter tracks spanning the range from up beat rock and pop to soft ballads continue to illustrate Camilles virtuousity. In addition to her superb lead vocal work, listeners will be especially attracted to the well-produced arrangements.

Camille provides lead and background vocals and acoustic guitar parts to the album. The album was arranged, mixed and produced by Geraldo Dominelli. Other players included Nick Haggar (bass, electric and acoustic guitar), Geraldo Dominelli (electric guitars, keyboards, percussion and backing vocals), Jack Guppy (drums, good vibes) and Sandra Volodoff-Dominelli (background vocals). Pending their server availability several of the songs from the new album are available on Camille's MySpace website. Additional photos can also be found there.

Listeners will be drawn into to the album immediately with the opening mid tempo number "The Real You." Listen to the Camille's clear voice evocatively surf atop light but rich instrumentation in this multilayered ballad. "Tear Us Apart is a minor step away from the Balligomingo work although electronics are replaced by rhthmic percussion and guitar arrangements. Camille's powerful lead pushes the lyrical message through the soft rock arrangement.

In contrast, the track "Spin The Bottle" is a radio friendly verse-chorus number with stunning vocal work and arrangements. The guitar-laden chorus has a highly a memorable "hook." The wow-pedtal guitar solo is especially well placed in the track.

Clearly demonstrating her ability to rock and rouse an audience, Camille delivers the stunning and dynamically performed standout track "I'll Be Good." Another guitar solo crisply articulates the chorus melody.

Camille chose to include a range of highly varied styles on her new solo album. Such is the case in the upbeat and pulsating 'new wave' "So Frustrated." Layers of vocal work effectively add power in the chorus but Camille illustrates the power of her own in the lead sung in the verses. She turns down the tempo in the gentle torch ballad "Believe" but Camille's vocals powerfuly sing above the light electric guitar and rhythm section arrangement to evocatively deliver the lyric. Listen for the singer's strength in the sustained notes used to emphasize the message.

Camille's vocal virtuousity is perhaps most clearly demonstrated in "Tea and Sandwiches," where vocals have been mixed way up, far above the instrumentals. Her voice soars above the percussive arrangement. A shimmering electric guitar part perfectly accompanies and accentuates the pop-oriented track "Somewhere Near The Truth." Layers of vocals add to the overall almost country style accessibility of this mid-tempo number. Another tremendous guitar solo is performed midway to echo the song's melody.

Another album standout is the rocking track "Repair the Damage." A song of distinct contrasts, Camille's power punches through in the verse and is supported by great harmonies, catchy melody and lush arrangements in dynamically arranged chorus. The album concludes with the rhythmic torch song "Carry You." Listeners will be drawn to the vocal effects selected for the evocatively delivered verse and the wide ranging harmonies in the chorus. We'd love to hear extended 'in-concert' versions of these two tracks.

While her albums don't come along each year, Camille Miller has indeed released another album gem this year and one that is certain to draw additional attention by audiences worldwide. She has an outstanding voice that is matched in Somewhere Near The Truth by excellent songwriting, variety of material and a supporting team of instrumentalists that deliver the whole deal. Perhaps with the second Balligomingo album in the works, we will hear even more from her in 2008!--Audrey Elliot in New York

(03 February 2008) The latest installment from Blackmore's Night--a band centered on Richie Blackmore (Rainbow, Deep Purple) and his wife and stunning vocalist Candice Night--is entitled Paris Moon (SPV/Steamhammer (USA/Germany) SPV 98610 DVD+CD, 2007). The product includes a 20-track DVD of the band's live performance in Paris and an 11-track CD with selections from the DVD plus two bonus tracks.

The tracklist from the live show spans the band's entire repertoire dating back to their 1997 debut album and running through to current day. Videography is as stunning as the three digital audio streams in 5.1 dolby digital, 5.1 dts and 2.0 dolby stereo. Viewers and listeners alike are treated not only to the great songs from the band's earlier recordings, but also to exclusive solos by each of the players. Direction and production are equally superb in that the players are illustrated at their best. Close up shots of the lovely Candice Night are stunning. The band is dressed in their typical Renaissance regalia. Lighting perfectly suits the atmosphere of the concert. The Paris audience seriously engages in the gig as can be seen in the video footage.

As we go to press, we are informed that Candice Night will be making her feature film debut in House of Eternity, produced by New York City’s Fires at Midnight Films. Queensrÿche’s Geoff Tate will co-star in the film. For more information, visit the film's website.

Fires at Midnight Films has officially announced the start of preproduction on the supernatural thriller House of Eternity. The story revolves around the mysterious disappearance of Danielle Sykes and the desperate search that ensues amid the deep North Carolina woods. The search party, led by her husband, Jeremy, quickly discovers they are in no ordinary woods, but a terrifying haunting ground. And even as Jeremy desperately fights his way against impossible odds towards her, Danielle is locked in a mortal struggle to save her own soul.

Queensrÿche frontman Geoff Tate makes his long-awaited acting debut as Alder Grayson, the film’s antagonist, husband to Emily Grayson, portrayed by Candice Night. The movie will feature new music by Candice Night and Blackmore's Night. Fires at Midnight Films, LLC is a New York based independent production company formed in 2007 by J. Andrew Colletti and Jonathan Williams. House of Eternity marks the company’s first feature film production. Visit the production company's website.

While Blackmore's Night tours rather extensively, not all enthusiasts will have an opportunity to see their live show. The DVD, like their earlier DVDs provides a glimpse into their live show, and one that can be watched at home at one's own pace, over and over. The DVD/CD set is accompanied by a lovely booklet full of stunning photographs and complete lyrics for all of the musical selections on the DVD and CD. SPV have done a superb job in the packaging making this set a great gift for a current Blackmore's Night fan or yourself.

The CD is as well-produced as the DVD although our staff thought that more songs could have been included. The songs are as engaging on the CD as they are on the DVD. Listen to Candice tease them to participate at times altering lyrics to increase their musical arousal. The label kindly included two bonus tracks. These include a studio version of "The Village Lanterne" from the band's last album and the radio edit of "All Because of You" originally recorded on the Fires at Midnight album.

Blackmore's Night continue to build their repertoire, audience and musical depth at the conclusion of their tenth year performing together. And somehow Richy Blackmore and Candice Night show no signs of aging. Their latest DVD+CD release is a treasure to be enjoyed by all.

(03 February 2008) Shauna Burns' new album is entitled The Moon and the Fire Circle (Red Rock Music (USA) RRM7003, 2008). It follows the Nevada-base artist's highly acclaimed debut album Every Thought (2005) and equally well received EP Desert Tunes (2006). Shauna's new fourteen-track collection takes stylistic diversion from the artist's earlier recordings. Packaged even more extravagantly than Desert Tunes, the trifold digi-pak includes a well-produced booklet with lovely photos of the artist and lyrics for all of the songs.

Listeners will immediately identify growth in Shauna's material in the instrumental arrangements. No longer does she sing exclusively alone atop piano, although the songs "Failed You" and "Out" are much in this style. The recording quality is so accurate in these songs that careful listeners will hear the pedals of the piano.

Additional strings, electric guitar, bass and percussion round out the tunes. Listeners will note layered vocal harmonies on the new record. And Shauna's singing is more expressive, lilting gently continuing to draw allusions to Celtic artists. The extended notes in her vocal lines are most reminiscent of Rachel Jones of Karnataka. This change in style is dramatic enough to cause those familiar with Shauna's earlier work to stand up and take notice. But it works.

The Moon and the Fire Circle is comprised of different song styles that range from heartfelt piano accompanied ballads to more richly arranged upbeat and pop numbers. Production quality continues to be excellent although a number of the tracks may have more reverb than necessary for Shauna's ethereal vocal textures. Powerful songwriting, enchanting piano, vocal and strong percussion are delicately mixed with flavorful guitar, harp and cello to create a perfect sound.

The album opens with the dramatic track "Bloom," which so perfectly illustrates the richness of this album's instrumental arrangements. Songs build and contrast until reaching the crescendo in album standout "Around You" is a testament to Shauna's solid songwriting and the production quality of this new project. We were not only impressed with the arrangement but the rich vocal harmonies and the tremendous hook evident in this fine track. The video available at the artist's website is equally stunning.

The album doesn't drift far from singer songwriter territory and has an excellent running time of 59 minutes that offers listeners an extended experience with the artist's work. The album will certainly appeal to fans of Tori Amos, Kate Bush and Sarah McLachlan. But the arrangements and vocal excursions on this album will draw in fans of Loreena McKennitt even moreso, for example in the stunning ballads, "The Carribean Sea" and "Magic."

Listeners will hear tremendous vocal harmonies in "Comet" and the lush string- and powerful guitar-based arrangements beneath the soaring vocal lines in "Chamber." The rocking chorus of "Chamber" is especially well structured effectively joining the piano and guitar parts with layers of vocal work. The delicate yet percussive piano in "Starfish" shows even further growth in Shauna's playing and songwriting.

Shauna Burns is certain to expand her audience with The Moon and the Fire Circle. The individual tracks can be streamed at Shauna's website. This stunning collection is a thoughtful deviation from her prior work that demonstrates artistic growth and attention to details that will bring her new fans worldwide.

(30 December 2007) Odin Dragonfly is an acoustic female-fronted spin-off project by Heather Findlay and Angela Goldthorpe from Britain's Mostly Autumn. While the artists have chosen to rework a couple of Mostly Autumn melodies for the album, primarily their own new work is featured on the twelve track collection Offerings (Odin Dragonfly (UK), ODCD001, 2007). The duo have toured the UK extensively both prior to and subsequent to the album's release. The album thoroughly demonstrates the artists' talent with a range of uniquely styled and arranged tracks.

Offerings was recorded in January 2007 by Chris Johnson at Nautical, York and was mixed and mastered in July 2007 by John Spence and Odin Dragonfly at Fairview, Willerby. Odin Dragonfly is Angela Gordon (vocals, flute, piano) and Heather Findlay (vocals, guitar, penny whistle, percussion). The booklet was arranged by our colleague photographer Chris Walkden. The album was released in August 2007. While the music is the main attraction, that the album was completed during this tumultuous time for the artists is nothing short of remarkable.

While some will hear strong references to and melodies common with Mostly Autumn in this collection of light acoustically backed tracks, the album is very much Heather's and Angela's own project. Gone thankfully are the heavy guitar riffs, full-on solos and extended progressive stylings. Listeners are going to delight with delicate acoustic guitar, flute and piano-backed arrangements. The artist's solo and harmony singing is spot on, in key, with not a note out of place. Clearly the result of a smaller and feminine song writing team has paid dividends in the result.

While the album's twelve tracks are certain to delight a broad range of audiences to include Mostly Autumn enthusiasts and listeners that are first hearing Heather and Angela here for the first time, there are album standouts. The melody of "Yellow Time" is tremendous and performed by the ladies with style and pinache the song deserves. The combination of piano and acoustic guitar perfectly support Angela's lead vocal in "Round & Round" while Heather's harmonies add a special texture to the chorus passages within the track.

"Witches Promise" is a tremendous harmony vocal folk tune that is sprinkled with acoustic guitar, piano and flute breaks that contribute to a rich arrangement and the overall appeal of the song. Listeners will immediately recognize the memory of "How I Feel Today," sung evocatively by Heather Findlay and supported by a lovely flute part played by Angela Goldthorpe. The vocal build to crescendo in the chorus is especially well performed.

The album's ballads highlight the individual artist's singing and songwriting. Heather tees the album off with "Web," a heartfelt song sung atop piano. Harmony vocals in the choruses contribute great texture and to the memorability of the opening track. She returns with "Magpie," with another well-known melody sung atop acoustic guitar and light flute arrangement. "Given Time" and "Waiting For The Snow" are two tracks that reveal Angela Goldthorpe's often hidden lead vocal talent.

The rich tonal quality and power in Heather's voice jumps off the album in "Magnolia Half-Moon" and "Forsaken Love." A light ballad, the track demonstrates the singer's artistic growth. Mostly Autumn enthusiasts will be especially enthralled with the acoustic version of the rousing "Caught In A Fold." Led by Heather, the vocal harmonies and acoustic arrangements are superb. We especially enjoyed Angela's extended flute solos.

Drama is continuous both in the music industry and every day life. Therefore it is near impossible to predict who will continue to or collaborate with other artists next. Odin Dragonfly have garnered significant success in their break from Mostly Autumn and are certain to delight enthusiasts with this album of individually styled acoustic tracks. As Heather and Angela move forward into 2008 we wish them both continued success!

(26 January 2008) Pennsylvania native Lisa Bouchelle released her album Paint Your Dreams (Wet Duck/Cement Shoes Records (USA), WD 2269, 2007) in April 2007 to much acclaim. She's performed various types of music over the years and has an interest in many different genres as well as other aspects of the music business.

A Musical Discoveries featured artist, Lisa told us in 2005, "I cut my teeth on bluegrass and country music, believe it or not. I moved on to performing top 40 pop in a band I formed called Wild Horse. I still go through phases where I like to dabble in the old classics like singing Gershwin with a piano player. I've done studio sessions with both rock and R&B artists. I think all of these elements have helped to shape my style."

Her style has been compared to Sheryl Crow, Jewel, Jason Mraz, and KT Tunstall, amongst others. She's already made a name for herself performing with esteemed artists such as James LaBrie of Dream Theater and sharing the stage with Jon Bon Jovi, Bruce Springsteen, Bryan Adams, Kansas, Rob Thomas, Cyndi Lauper and Nancy Sinatra.

In addition to Lisa Bouchelle performing vocals and acoustic guitar, credits go to Gary U.S. Bonds (vocals); Stephen DeAcutis, Jason Cowden (acoustic guitar); Obie O'Brien, Bobby Bandiera (electric guitar); Southside Johnny (harp); Micah Sherman (violin); Sunset Gardener (accordion); Tom Reock (piano); Bobby Lynch (keyboards); Stephen DeActus, Hal B. Selzer (bass guitar); Shawn Pelton, Lance Hyland Stark (drums); and Steve Dejka (steel pan).

Paint Your Dreams was finished at Jon Bon Jovi's home studio. The CD includes contributions from musicians such as Shawn Pelton (his credits include Saturday Night Live, Sheryl Crow, Michelle Branch, etc.) and Bobby Bandiera (credits include Bon Jovi, Graham Parker, Cyndi Lauper, etc.), and guest vocals from Southside Johnny and Gary US Bonds. The album's first single, "Insane," hit the Top 40 Indie Chart at Number 29, and has received airtime across the country. This same track also reached #1 on the New Music Weekly Radio Play Independent Music Chart, and the Top 20 on the RMQB Hot 100 Radio Play Chart. The album itself reached #4 on the College charts.

Lisa's powerful ability as a vocalist is evident throughout this captivating album. She has unique vocal expression and phrasing that makes her vocals a true standout. Her range is quite extensive which becomes a perfect platform for her powerhouse vocals. Two favorite tracks on this album are "Overrated" and "Insane."

The tender and passionate "A Kiss Is Worth 1,000 Words" is certainly an exceptional track, along with the entrancing guitar instrumentals. The excitement is kicked up a notch on "Along For The Ride." The catchy beat has a breezy feel, intertwined with Lisa's stylistic virtuosity. Her singing has a theatrical flair that enables her to tackle the many different styles of music that highlight her amazing vocals. Her striking and technically precise "The Way You Look At Me" brings her stunning and soaring vocal work to the forefront. She concludes with the incredible toe tappin' and rockin' "Bebe Blues.

Each track on Paint Your Dreams showcases Lisa Bouchelle's amazing talent through its lyrics, vocals and musical composition. Her passion and execution of the music is exciting, and the richness of her beautiful singing is captivating. There is a lushness of quality to this album that you just want to listen to again and again. A stunning album!--Audrey Elliot in New York

(26 January 2007) Multi-talented Canadian-born musical artist Marcomé (pronounced Marcomay) has re-released her second album, River of Soul (Marco Productions / Prao Publishing (Canada) PRAOCD02, 2007). The album is a mélange of new world beat, latin, African, middle-far-eastern, jazz, African and Arabic rhythms combined with spirited, lovingly executed, enchanting, vocal stylings. Marcomé carefully fuses different world music influences with jazz style and classical vocals creating a new world music genre. She has an intriguing wordless language that heightens the imagery of a place filled with spirituality, imagination, sensitivity and a sense of dream-like wonder.

In addition to being a keyboardist, programmer and sound engineer as well as a proficient percussionist, Marcomé produces, arranges and engineers her musical work. After completing her post-graduate studies in commerce and communications, she worked in theatre, in both music composition and sound creation. She then entered into the music industry. This background is the source of both her musical inspiration and artistic sense, and her industry collaborations include work with such artists as Diana Krall, Cecilia Bartoli, Le Cirque du Soleil, Branford Marsalis, Sir George Martin, Tom Waits, Daniel Lanois, Pat Metheny and Yes.

There is a purity and wonderful clarity in Marcomé's exquisite vocals. The amalgamation of varied sounds creates an ethereal feel to her creations. Her debut album, Seven Seas, was released in 1995. She began writing new compositions for River of Soul album in 1998 for this 2007 release. Marcomé has once again partnered with Michel Robidoux, who also adds his exquisite guitar playing, enhancing certain tracks with colorful warmth and impeccable taste. Michel Dupire’s sophisticated percussion also adds a distinctive touch to Marcomé’s sound. Lastly, Marcomé also had the pleasure of adding Martin Lord Ferguson to the team. Martin produced and arranged Cirque du Soleil’s “KÀ” (2005).

Marcomé is a vocal stylist with a pure and strong voice. By layering her vocal tracks and by understanding the subtle use of space, reverb and time delay, she has been able to create an ethereal voice - an instrument in itself. Marcomé also creates her own languages by using various poetic devices. From this she gets a new and fresh vocal and musical sound. Since her first album, she has matured and evolved both emotionally and spiritually.

Marcomé's sublime vocals are showcased in this cavalcade of sound ecstasy. The journey begins with "Dawn's Spirit," bringing an exotic, dreamy quality to mind. The imagery of the sun rising is beautifully captured in the wonderful music. Marcomé's music has a similar intensity and aura as that of Enya. "River of Life" evokes a flow of energy and emotions. She says, "Come and run in the river, Let the waters rejoice in your life," and this song is certainly emotionally upbeat.

There is an alluring and mysterious sound to "Arabica." She speaks of Scheherazade and one can imagine being surrounded by the sandy desert, with tent flaps waving in the breeze. The Middle Eastern tones are perfectly captured, whisking you away to an exotic destination. She changes pace with her examination of darkness, pain, fear and solitude in "Locked Inside." Marcomé's luxuriant tones help to depict that strenth of character comes from working through the emotional pains.

One of the standout tracks on this album is called "World is Singing." The African influences create an earthiness of this uplifting song. Marcomé depicts a musical lushness telling everyone to raise their voice and join the chorus in unity as the world needs voices. The ethereal "Meteora" employs the wonderful poetic imaginitive language in a flowing, esoteric style. She carries through with alluring imagery in the vivid "Tupitera." It's back to Africa for the hypnotically percussive "Terra Africana."

"Learning to Fly" has a wonderful harmonic feel as you're advised to pick yourself up, dust yourself off and get off the ground, dancin' the night away. "Elated" has a soothing and relaxing melody with a very sumptuous feel. The final track is "Nostrie Tiempo" with its soaring and exquisite vocals. This moving song represents a celebration of spirit, freeing the body, freeing the spirit, allowing one to move in the circle of the sacred ritual of the River of Soul. The sound mesmerizes and Marcomé's magnificent vocalese is full of fascination and charisma.

The depth of quality in River of Soul is exceptional. Marcomé presents her craft expertly and enthralls the listener from stem to stern. She does not fail in capturing the sublime in this brilliant musical tapestry. One experiences an intimate journey that personifies the majestic spirit of life.--Audrey Elliot in New York

(03 February 2008) During the Glitter and Charmbracelet eras, a comeback from Mariah Carey seemed impossible to some. Her popularity, her quality of material, and even her voice appeared to be degrading at a painfully rapid rate. Even an avid fan of the songbird, would begin to think that she was on her way out of the music business. In early 2005, "It's Like That" was released, and although it was a nice track and the fans enjoyed it, it still wasn't making any big moves on the charts to make anyone think this new upcoming album would perform any differently than the past two. Then, out of nowhere came the mega-hit, "We Belong Together," and the rest was history. The Emancipation of Mimi went on to be certified six times platinum by the RIAA, making it the best selling album of 2005. At the 2006 Grammy Awards, it was named the best contemporary R&B album of the year. The album also gave Carey two more #1 singles to boast. This tour, which is her most successful one yet, topped it all off.

And so Mariah Carey's new double DVD entitled The Adventures of Mimi (Stonewinner LLC (USA), 0-9793794-0-7, 2007) has been released to celebrate the tour. This 2xDVD set with audio in dolby 5.1, dts 5.1 and dolby digital 2.0 audio formats does an excellent job of capturing the magic of her live performance. The set is nice, as is the lighting. The concert was recorded in HD and is in surround sound, but our editors would've liked to have seen more full shots of the stage with everything going on at once a few times throughout the presentation. The background vocalists are superb and they really do an amazing job. The dancers seemed to be quite talented, but at most times, the choreography was a little lame and unexciting. But many don't really look to the dancers to provide the thrills during a concert: most eyes are on the star of the show. That she is scantily clothed throughout the show also provides visual candy for the male viewer.

Throughout the show, Mariah proves that she is back and here to stay. The voice, which some critics claimed was withering away to a mere whimper, is just as strong and bold as her early days. The high notes are still there, as is her soulful belting. And she really is singing live! She has astounding charisma and energy, and to top it all off, she looks better than ever. Some of the hip-hop styled numbers could have been left behind.

The setlist is challenging. Mariah has been active in the music business for almost 20 years. She has had many hit singles and also many great album tracks that have become fan favorites. It has songs for all the new fans that she gained with this new album, but it is also faithful to the fans that have been there since day one. Most of her studio albums are represented with at least one song. All of the songs are for the most part performed in their entirety. She also slipped in pieces of some of her remixes into the performances. In fact, she sang part of "Dream Lover" over the instrumental of Biggie's "Juicy." The powerful performance of "Fly Like A Bird" was worth the price of this set alone.

Aside from the concert, this set has special features. The first disc has a behind-the-scenes feature, which are fun to watch at least once. It also contains a jukebox feature that allows you to arrange and play your own setlist. The second disc has a tour documentary, with interviews from all parties involved, speaking on the setlist, set design, dancers, etc. Some will find this interesting because it takes an incredible amount of work to put a tour of this magnitude together, and it's nice to hear Mariah speak about it, although she had no time for an interview to accompany this review.

The concert's songs are included in karaoke form to permit sing along. Last, a Spike-Lee directed short, "Lovers and Haters," is included. It's Mariah's way of responding to--and laughing at--all the rumors that haters have created about her over the years. This tour documents an amazing performer whohas once again returned to her prime. Overall, this is a great, entertaining, and worthwhile DVD set. If you are a Mariah Carey fan, then this set is for you.

(21 January 2007) Forming in 2002, Dutch four-piece Nemesea toured heavily with symphonic metal act After Forever for a year, this attracting attention from label Ebony Tears, with whom they released their debut album Mana at the close of 2004. Tours in the Netherlands and Belgium followed in 2005 before the time came for the band to begin recording follow-up album: 2007's In Control (SellaBand (Holland) 8717853390128, 2007). Discussions with major labels hinted promise of Nemesea signing a deal and setting to work on said album, yet a twist emerged when the band announced they would be joining Dutch crowdsourcing website Sellaband. A project with an aim of giving power to the fans, who contribute towards the financial funding of the band as they invest, through their personal belief in a band's abilities, such contributions that eventually allow the band a producer, studio and A&R to promote their own album.

Nemesea stormed past their own personal target, raising over 50, 000$ and through such incredible support from their fan base, were able to release In Control in June of 2007. An album difficult to pigeonhole inside one easily achieved genre or label. It's an album carried by the voice of band founder Manda Ophius, whose vocals have a drifting, immersive effect when entwined with the dark trance pulses, fiercely distorted guitar and driving rhythm section that form the sound of In Control. Manda isn't afraid to break out into a more forceful, aggressive vocal style when the music rises in intensity, look to the explosive choruses for examples of such an increase in her vocal 'dominance'. The ten songs on the album are short, sharp bursts that heavily feature electronic elements and thrive on hook-laden, anthemic choruses, in an album that, despite holding an experimental edge, is accessible and easy to grasp upon first listen.

Haunting waves of electronics build towards surging trance and gritty guitar riffs in opener "No More". One of the heavier tracks on the album, it sees Manda's despairing yet determined vocals at their most edgy, as she blares above the chaotic, hard-hitting instrumentation, screaming: "You won't let me go. Right now you should know, I'm no longer yours" in a memorable chorus. Simplistic in structure, it's a solid introduction and ideal indicator as to what's in store in the remainder of the album. The following title track "In Control" is a slightly weaker effort than the previous "No More", relying on the same dance-like keyboards hovering in the background as Manda delivers distorted vocal whispers that soon launch into a soaring chorus, before "Home" picks thing up with one of the stronger tracks on the album. Engulfing electronics coat softly sung vocals in darkness, keyboards echoing in the distance as Manda takes centre stage with a haunting, powerful performance.

"The Way I feel" breaks away from the electronic-infused rock for a moment, presenting a delicate, moving ballad featuring a duet between Manda and guest Cubworld. [Who also gained success through Sellaband] Cubworlds breathy, world-weary vocals provide the perfect contrast to Manda's serene delivery, his weakened strains duel with Manda's emotive acceptance as the two dance within one another's melodies, the subtle notes of a piano and strum of an acoustic the only initial company as you picture these two torn-apart lovers pleading for the other to understand how they feel. A definite album highlight. The punchy "Lost Inside" sees a return to the aggressive style of before. Warped keyboards, vocal effects and a bridge that flashes between the most trance-like moment on the album to its heaviest all feature in an interesting, yet slightly 'familiar' in structure track. "Like The Air" easily locks into a steady groove, Manda making this song her own as her vocals rise higher until a brief guitar solo breaks things up nicely, whilst closer "Never" opens with zapping beats and chugging guitars, shuffling drums holding together fast-paced verses, again featuring an energetic, hook-laden chorus.

Did Nemesea feel pressure to deliver to the fans who gave them such a chance as the one Sellaband provided? Most certainly, but with In Control they weren't afraid to experiment. Moving away from the symphonic metal palette they produced on debut album Mana, In Control incorporates a blend of electronic keyboard work and rock/metal instrumentation, as rippling waves of trance merge with the crash of drums and distortion of electric guitar in an intriguing mix. As a whole, the ambitious Dutch outfit manage to pull their ideas off successfully as their music, despite aiming for innovation, thrives largely on its simplistic song structures and catchy choruses, delivered with skill by the talented Manda. It's an album extremely easy to get into and despite some tracks being admittedly stronger than others, In Control is without doubt an enjoyable listen. Additionally, the chance to see these songs in a live environment would be one not to turn down.--Jim Hall in Derby, England