LANA LANE: Winter Sessions CD
It's a new studio album - on the theme of winter. It's gorgeous, too. It's the "sitting around an open fire on Christmas eve with the ones you love, watching the snow fall and the lights shimmer in the tree" album. That said, we're not talking "sugar" or "schmaltz" here but a set of original songs and choice covers that are strong, solid, languid and give you a warm glow from start to finish. With Lane's wonderful voice and Norlander's oh-so-strong keys/synths/bass/guitars instrumentation and arrangements, plus "the usual suspects" on guitars, stick, drums and flute/sax, there isn't a less than engaging track on the entire album, the soaring, magical qualities of a stirring song like the eight minute 'Spirit Of The Gypsy' not only leaving you feeling great but wondering why on earth this lady is not a world-wide phenomenal success, as guitars, synths, rhythm section, vocals and sax provide an almost Pink Floyd-style sound and pace, only here a lot deeper, stronger and more powerful. Track three is a cover of the old Procol Harum track 'A Whiter Shade Of Pale', a song I have to admit that I've always hated, largely because of that awful lyrical content, but, in the hands of Lana's vocal and Norlander's faithfully close reconstruction, right down to the organ line, I can take it, which probably says more about me than them, although it is quality stuff - they should put it out as a single - it might be the one thing to get them noticed over here - knowing my luck (sorry, guys - just a joke!!). But I digress. 'December Moon' is a strong, flowing slice of chorus-laden magic with her multi-tracked vocal sounding just heavenly over this strong-sounding prog-rock arrangement as yet another song sounds both soaring and sensuous, one of the best on an album stuffed with highlights. By contrast, 'I'll Be Seeing You', apparently a cover of an old song I'd never heard of let alone heard, is pure slow-moving winter bliss with a languid vocal as gentle percussion, organ backdrop and smooth sax provide a smoky backing that is just so spot on, it will warm the cockles of your heart on a cold winter's day. With a mix of power and passion, we are taken on a journey through some fantastic songs up to track nine, a prog-rock cover of the Mamas & Papas sixties classic 'California Dreamin', with a neat flute solo and spine-tingling harmony vocals as Lana's lead vocal just melts your heart on what is the strongest rendition of the song that I've heard, and when the sax comes in towards the end, the effect is more than magical. 'Winter Song' is a ballad, a powerful ballad that features a fantastically mellow synth solo in the middle, some great vocals and harmonies over a strong, slowly flowing rhythm section with piano providing the lead melodic undercurrent - just sublime. The album ends on a celebratory note as the strident instrumental of 'Terminus Pro Tempore' allows the band to shine as the track fades and leaves you wanting to play the album all over again. Another triumph from the Lane-Norlander axis!!
MAN IN SPACE: For Medicinal Use Only CD
Ah yes, real space-rock - just what I like to hear. This is the second album from the trio and it is so much better than the first, and that was pretty good. With mainman Jan Geerts on guitars, synths and vocal, aided by real bassist and real drummer, this is a real space trip, so that it begins with scorching space-rock of the instrumental and vocal varieties before moving into an altogether more robotic type of track with lurching electronic drum rhythms and phased vocals as synths swoop all around and the bass pounds. The seven minute instrumental, 'Dance of the 3-legged snake' starts with synths, phased effects and rumbling bass depths as percussion enters, a guitar lead arises and the sound of traveling over Moroccan deserts is conveyed as the track gradually builds, adding more layers and Gong-like chanting to the four minute point when all of a sudden, this scorching lead guitar emerges, only to fall back, then rise up reinvented as the drums really start to take hold, the guitar solo spirals and the track surges into a slice of space-rock magic - quite superb. 'Vortex Valentino' is a song that you could so easily imagined as having come off an album such as 'Quark Strangeness & Charm' with a structure that is that era Hawkwind and a vocal that you can almost hear Calvert delivering, another smoking gem of a track. 'Disobeying The Galaxy' is a mix of seventies-styled space-rock with a phased vocal refrain (as opposed to a "real" song) as the whole thing just launches into orbit in a blaze of guitars, drums, bass and synths, as classic a space-rock sound as you'll hear and just immense. The four minute 'Le Peuple Du Soleil' is a more laid-back, synths-dominated instrumental, the sort of thing that Simon House does so well, but without a violin in this case. The near eight minute 'Borg' is another sizzling slice of epic space-rock that really hits the spot as that classic structure and sound unfolds to perfection. 'Bombdreaming' really reminds you of the classic 'Capt Lockheed' track 'Ejection', so much so that at several points along the way, you could sing that song and it would fit on top like a glove, so similar is the pace, sound and structure, particularly the rhythm section - sensational stuff. With two equally fine sounding instrumentals to end the CD, this is a massive step forward on all levels for this fine, fine band. With a production that is first rate, plus songs and playing to match, this is one smoking gun of a CD and one I would recommend most highly.
NEGATIVE REACTION: Endofyorerror CD
Not a brand new studio album but a revamped remaster of this album from 1996, together with bonus material from the following year, and it's a wild ride through some crushingly heavy riffs, guitars, bass and drums, with some of THE most wicked electric guitar riffing going on, sounding low down and dirty to perfection. The vocalist charges in the distance giving it all he's got as he hollers out in the distance while the band cruise effortlessly through sludge city and slo-riff nirvana, occasionally erupting and going even further into their musical dwarf star. - Stunning stuff and a guaranteed winner for all stoner rockl fans.
ERIK NORLANDER: Threshold - Special Edition Remaster DBLCD
The full 72 minute CD complete with a bonus 30+ minute CD of previously unreleased tracks, makes up this welcome reissue. Even on the main CD there are 18 minutes of music that are present for the first time, so it's more than worth your while for that alone. However, musically, we're talking a prog-rock synths/keys fan's dream album - as Norlander on a veritable arsenal of the things, accompanied by Don Schiff on bass and Greg Ellis on drums, proceed to out-do the likes of Emerson, Wakeman, Banks and the like, with a searing set of synths-dominated instrumentals that are just so tight and flowing, it's untrue. Tracks between 3 and 11 minutes long showcase the extraordinarily talent of the keyboard master and composer, with some scorching solos, lots of layers from moogs, choirs, mellotrons, string synths, synths, and organ, all driven along by a rhythm section that work in complete harmony with the main man, the whole thing topped off with a production that is first rate. With melody firmly in evidence, the trio just fly through some cracking compositions. There's an extensive booklet detailing individual tracks, together with sleeve-notes by none other than Keith Emerson, and it's safe to say that if an instrumental brand of ELP is something you've only ever dreamt about, then this is the reality, and then some. The keys/synth work throughout is worthy of the greats of the seventies, only here sounding far more layered, deeper, vibrant and organic than the music from those days, although it's decidedly in that musical context. Whether you're into ELP, Wakeman, UK, or the like, this is essential listening for all prog-rock synth/keys fans. Oh yes, the bonus disc is equally fine and features even more scorching tracks, so you simply can't go wrong with this one.
NOTHING TO DECLARE: Stuck On Repeat CDEP
A title that is so apt, for it is exactly what you will be doing once you hear this for the first time. The band have released two CDEP's to date - the first a rather tentative step into the world, the second a confident statement to announce that here we really did have a band to watch - a strong album of good songs and playing throughout. Now, for their third EP, they've broken through the barrier and come screaming into the wider arena with a vengeance - this is now a band that is on fire and ready to take hold - if they don't get a major label contract on the grounds of this release, then the majors really do suck! Every track on this CD is wondrous - no, more than that - every track is utter genius. The first 30 seconds of the opening track, 'Echoes In The Air', just roar into life- there's no build-up, no introduction - the band just launch into action with this blitz of guitars, bass and drums providing a stunning opening that will stop you dead in your tracks and leave you jaw-dropped - and when the vocals come in, sounding so perfect for the hail of rock riffing that is all around you, the effect is jaw-dropping. The song just steams, sizzles and soars throughout 3 and a half incredible minutes of steaming rock heaven, the band firing on all cylinders and taking off to parts of you that you never knew existed - just incredible. If that wasn't enough, track 2, 'Forgive Me' is even better - but it's not rocking riffing - no, this is the sound of real songwriting genius - a song unfolds that, right down to the sound, the instrumentation, the vocals and the harmonies, is pure Pearl Jam-meets-Wallflowers, two of the finest groups on the planet, and this track is worthy of, and could almost BE either of them, as acoustic and electric guitars play the melodies, the rhythm section rolls along and those so-emotive vocals just soar into the night sky, on an arrangement and production that is to die for. Pure bliss. The near 6 minute 'No Man' follows the path of the previous track, only here it starts off more like Wallflowers/Pearl Jam, then this massive guitar storm surges in and the piece just takes off, leaving you open-mouthed in amazement at the fact that anything could sound this good. Then, as it peaks, it drops back tot eh wondrous vocal, the glorious harmonies, the sound of electric and acoustic guitars and rhythms rolling away, before the next peak is climbed and the band fly ever higher on a blazing path of emotive vocals, soaring lead guitars and an endless horizon arrangement that goes on forever in all directions, the sound of rock solid rhythms driving the track forward as it just gets better and better. To say it's incredible doesn't even begin to do this justice - I can't believe I'm hearing something this good in a band that isn't a world-wide phenomenon. Finally, the 5 minute 'One More Time Around' that ends as things began with this huge-sounding meaty mix of rhythmic solidity and grungy guitar riffing, as the assault drops back to reveal the strong and soaring vocal, the endless miles of guitars, as the song then suddenly erupts and just goes supernova, climbing higher and higher in a burning shower of guitars, bass, drums and vocals, an effect that Pearl Jam would have killed to obtain. Then it's back and forth between strength and power as the song progresses to its fiery end. Produced, played, arranged, sung and written to a degree that is way beyond what most bands aspire to, let alone achieve, this has to be one of the top five rock CD's of 2004 when the reckoning is in - utter genius.
NOTHING 2 DECLARE: As We Are CDEP
Another year, a second EP. My main criticism of the first one was the vocals and the overly mournful style, but this is a whole new ball game. For a start, the vocals are a mile better than before with some great harmonies and Americana styled lead vocal, while the feel ranges from melancholy to raging, but this time it all sounds fantastic, working perfectly in the context of the songs. Then, of course, the songs themselves, a whole lot more mature and well arranged than before, with a good deal of variation, some exciting dynamics and some great guitar work throughout. From subdued to scorching the instrumental backing just catches fire while the rhythm section sound fresh and crisp, solid and strong. In a track like 'Ranvier' there's a decided air of bluesy seventies Led Zep creeping in on its six minute voyage, while the spirit of Zep's 'Ramble On' is there to the opening of 'Cycle' and assorted sections along the way. The opener, 'Perfidious Man' is a stormer with some sizzling guitar work, while the closer, 'Amber', is equally powerful with some mighty bass work, solid drums, echoed vocal and surging sea of riffing, again for me, the feel of vintage Zeppelin as much implied as felt. Overall, you wouldn't think it's the same band and this is one stunning EP - this review is about a year late - lord knows how we missed it, but thank the lord we've found it - a gem and no mistake.
ORODRUIN: Claw Tower CD
Well, out of all of the current crop of doom bands, this lost are the ones least like Black Sabbath, in that they play the right moves without conforming to the obvious riffs yet still manage to come out pretty intense for all that. Across a sea of original new material and high quality demos, this is a band on fire, but not over-the-top, with an altogether more "melodic" brand of doom, although the opening two 7 minute tracks bear all the hallmarks of the crushing density that is the hallmark of these style bands. Overall, though, and unsually for me, I felt there was something missing - normally, I'd be the first to say "the more original the better", but here, I'm just not sure. Maybe another play is required - watch this space.
PYRAMIDS OF SNAFU: Alternative Present CDEP
Four tracks and nearly half an hour of music from a new UK psych septet that numbers among their ranks Stu:Art Barton (Anomie) on synths, keyboards and additional guitar, Mick Slattery on lead guitar and Terry Ollis on drums, not forgetting Melissa Joseph on bass, Chris Barnett on violin, Colin Wilson on vocals, lead and rhythm guitar plus Jaki Windmill on djembe and backing vocals. With tracks ranging from over five to seven and a half minutes long, we get a neat set of compositions that mix the songs with stretches of instrumental space. Musically, we're talking a mix of mainly High Tide and Magic Mushroom Band, with odd hints of Hawkwind and Floyd. Not as ragingly heavy as you might think, this is more controlled dynamics, with some of the instrumental work sounding more akin to the less high-powered sections of an album such as 'Hall Of The Mountain Grill' as anything. Throughout, the main lead work comes from the violin and guitars, with the synths and keyboards taking more of a background and "filling-the gaps" role, while the rhythm section is strong and strident, the feel decidedly seventies, psychedelic and even more decidedly High Tide, albeit with a slightly less adrenaline-fuelled guitar ride. Wilson's vocals are on the subdued side of things, but go with the music, although it has to be said that one or two flat notes did make me wince a tad. It's punchy stuff nevertheless, with the seven minute instrumental 'Free Energy' really taking off as the violin, guitars and rhythm section fly along superbly, a good full sound to it all as you'd expect from so many, but well produced too, it has to be said, but, for my money, the best track on the EP, with some scorching lead guitar and violin duelling along the way. Overall, a promising start, would have liked to have seen a bit of mulit-tracking on the vocals to make it totally perfect, but this will do more than nicely as a starter - roll on the main course.
RAMESSES/NEGATIVE REACTION: Split CD-EP CDEP
It's twenty seven minutes of the most blistering, slowly churning stoner rock that I've heard and is absolutely glorious stuff. The first two tracks belong to Negative Reaction with some of the finest, best produced stoner doom I've heard in ages, the sound of the sludge guitars, riffs and rhythms, actually produced to perfection, just takes hold, the guitars spewing over everything in sight as the percussion and bass hammer out the rhythms. Slow, dirty and downright heavy, this is what this style is all about. However, Ramesses, ex-members of Electric Wuizard, go one further, with a huge huge arena of fuzz guitars, modern Metallica-sounding drums (only slower), grungy riffs, thunderous bass and intense songs delivered with strength as the barely heard lyrics are part of a vocal that rises to be heard above the monstrous guitar-soaked doom metal heaven. Overall, a killer and well worth your attention.
REVEREND BIZARRE: Slice Of Doom CD
75 minutes of demos, previously unreleased tracks, the ubiquitous St Vitus cover and an album that lives up to its name - bizarre! The opening instrumental actually has them playing the theme to "Dr Who", stoner-doom style, so you know already that this is going to be an interesting experience to say the least. The 10 minute 'In The Rectory Of The Bizarre Reverend' is classic grade-A early Sabbath in all but the pitch of the vocalist, but then there's only ever going to be one Ozzy. Anyway, you won't be surprised to find that the spirit and sound of very early seventies Sabbath is what pervades this album and takes hold pretty well throughout, on tracks long and short, with some scorching guitar riffs, searing solos and slow to driving rhythms. More varied than you'd think from the beginning, it's a really strong album, and if this is the sound of their demos, because the quality is excellent throughout, then the real thing is going to be a total killer - can't wait!!
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