Welcome to the first regularly updated CD review section I've done in ages, outside of the Scottish and selected English (& Australian) independent music scenes.
This section, however, is devoted to bands who are signed to labels, and outside of the Scottish music scene.
Basically, the thinking behind this bit, although inevitably it's my own humble opinion, is that if someone's produced a CD that is so stonkingly good in its field that no fan of that style of music should be able to live without it, then it's reviewed here - all styles, all artists - all thing considered - but only the best included. Now, read on......

PAULA KNIGHT – Wonder CD
Paula Knight is a guitarist, keyboards player, singer and composer from Dundee and “Wonder” is her debut album, professionally recorded, manufactured and remixed. The album contains ten memorable tracks which conjure influences somewhere between Alanis Morissette, Kate Bush and Rush. Essentially it's a hybrid of AOR, prog rock and great songwriting, with Paula's impressive high-register vocal soaring over the solid instrumentation. The opener, “Forbidden” is propelled by a blast of drumming with an undercurrent of sizzling guitars, bass pounding at the heart of things, while a brief but surging guitar break puts the icing on the cake. The song is led by its chorus, a multi-tracked hook that swirls around your head while the lead vocal is both strong and pure. After this comes “Can't Sleep Tonight”, every bit the rock ballad only way more radio friendly than most, starting with just the soft vocal and chiming guitar, then the band comes in as the song climbs to an impressive height, the gorgeous feel of the song enhanced by dynamic and increasing intensity from the rhythm section, the chiming guitar giving way to a red hot lead as the song takes off in gloriously mid-paced fashion, another chorus refusing to let go as the strength, purity and passion of Paula's vocal shines through. The title track surges into life with sublime multi-tracked wordless harmonies over the lurching beats as the lead vocal propels the song over solid bass and crunching drums, as it then moves to the multi-tracked chorus, the song twisting and turning through these elements with it all gelling in your head and making you want to hear it over and over again, as classic and long-lasting enjoyment as serious listening rock-pop goes, a sort of UK answer to a more commercial Rush and one solid gem of a song. A squall of electric guitar introduces “Something New” as the lurching drums and twanging bass feature, above which the soaring vocal tells another story and leads, once again, into a memorable chorus where combined lead and multi-tracked vocals provide the unforgettable enjoyment. The lyrics, as throughout, are personal and worthy listening, while the arrangement is propelled by some surging electric guitar riffing, superb multi-tracked vocals and a depth that is solid and direct. “Messin About” rocks like a demon as a sea of driving drumming, solid bass, surging guitar riffs propel a high-flying vocal as the soft-rock surge really takes hold on a song that dives from verse to chorus with precision, intensity and purpose, the song so full sounding, the lyrics superb and the delivery from Paula's vocal, once again leading the way with strength and delicious purity. As the song takes a twist, decelerates, a biting, bluesy guitar solo is heard on top before it all suddenly erupts and drives to the roaring finale. “Leave My Mind” starts with lush synths and languid, passionate vocal as the strummed acoustic guitar, chiming electric guitar and slowly moving rhythm section herald the arrival of a most gorgeous ballad where the vocal climbs, intones heartfelt lyrics, multi-tracked for maximum effect, the absence of any distinct chorus made up for by a song that's so strong, so full of depth, delicacy and strength, that it virtually brings a tear to the eye and a lump to the throat, her guitar playing just exquisite, her vocal so emotional, and a stunning soft-rock ballad that should be up there with the best there is around. “Why Do You Stay?” starts with cascading acoustic guitar chords before the electric guitar fires up, the band roar in and another multi-tracked vocal this time sets the scene with the chorus at the beginning as it leads into the main vocal before then scorching ahead towards the chorus, the swinging to and fro between intense lead vocal on the verses and the huge-sounding choruses that take off to breathtaking and memorable effect with another, this time Pink Floyd-esque burst of brief guitar lead, adding to the effect as the song surges ahead in driving fashion. “Seven Skies” charges into action with a memorable guitar riff and solid rhythm playing as the song itself heads off down the highway in dramatic and dynamic fashion, that swirling guitar riff sticking in your head as the purposeful multi-tracked vocals provide the extra lifeblood to a great song. There's a dual lead guitar break in the middle as the chorus takes hold and the stunning song just surges ahead with Paula's vocal sounding like she really means business. “Mr Broken Hearted” begins with staccato bass, cymbal splashes and strummed acoustic guitar as that flowing vocal mixes high register with smouldering intensity as the rhythm bounces along, drums break through then the familiar surge of guitar riffing propels the song as a background of wordless harmonies gives way to a Rush-like synth backdrop, the lurching rhythms under the vocal which flies and dives to emotional effect, the choruses turning left and right as the song just takes off, lands and takes off once more, the bass work from Don Graham particularly noteworthy on this track, although his playing and that of drummer Harvey Chamberlain have been absolutely exemplary throughout. The album ends with Paula's long-standing live favourite, the rousing rocker that is “Lady Of Rage” with a surging, swirling guitar riff that is just so on fire, and a vocal that drives forward with an arrangement that not only sticks in the head but the sort of song that you'll just want to play and play, the presence of an absolutely stunning guitar break simply the magical icing on the cake of a seriously strong hot rocking slice of progressive rock-pop of the highest order, the song's hook digging in and refusing to let go – a fantastic closing song, bringing to an end one of the best CD albums of astoundingly commercial rock with a progressive edge, that there is around today and heralding the arrival of Paula Knight as a major player on the scene.

NATIONAL HEAD BAND – Albert 1 CD
I once owned this when it first came out and I'd not heard it for 35 years or so till this dropped through the door. Now I'm sitting here scratching my head wondering why – I'd not heard it for so long, that is!! Because, while it's not going to blow your socks off, as a document of the sort of songsmithery that was going around in the early seventies – the sort of thing you'd hear by the shovel-load on Bob Harris' Sounds Of The Seventies broadcasts – it's absolutely delightful. In here you'll hear elements of John Lennon (“Lead Me Back”), Supertramp-Heads, Hands & Feet (“Too Much Country Water”), Quiver-Supertramp (“Got No Time”), Lindisfarne (“You”), later Home (“Try To Reach You”) - and so on.... I think you get the picture here. While, in terms of the arrangements and styles, it sounds decidedly “of its time”, the brand new sonic makeover that it's had courtesy of the musical window cleaner extraordinaire that is Mark Powell, makes it a sound of the seventies that doesn't make you wince but fills your heart with warmth – and you can't argue with that.

NOSOUND: Sol 29 (Remastered + Bonus Tracks) CD
The near seven minute opener, In The White Air’, with its languid rhythms, gorgeous piano chords, richly textured synth flows and slightly accented Steve Wilson-eqque vocals, all make you think of a guitar-less Porcupine Tree, although even this is remedied just after the five minute point, as a wicked, deeply buried, fuzz guitar lead emerges to complete an already wondrous musical picture. The four minute ‘Wearing Lies On Your Lips’ really IS the ghost of late nineties Porcies with a song that, once again languid, has all the atmosphere and glorious harmonies/textures of any vintage Porcies ballad – just sublime. A brief, near three minute, keyboard instrumental heralds the arrival of the near ten minute ‘The Moment She Knew’, an instrumental that you can’t help thinking sounds like any number of extended between-lyrics instrumental excursions from Porcupine Tree mixed with a more eloquent keyboard presence, but the whole feel and mood of the music is pure Porcies from start to finish as the mighty composition flows into your life with expression and emotion. A two minute atmospheric instrumental leads into the six minute song ‘Overloaded’ – starting with synth undercurrents, tasty acoustic guitars and those superb nlanguid Floyd/Porciesstyle vocals as the sound of mellotrons adds a glorious touch before the rhythm section begins and a simply superb song unfolds its magic. The six minute ‘Broken Parts’ is similar only here the addition of a soaring electrifying lead guitar puts the icing on an already substantial cake and produces a song that is utter bliss. The near ten minute ‘Idle End’ which, although slightly slower, bears all the hallmarks of classic ballad-style Porcies, right down to the hushed, harmony vocals, although a faint trace of accent in there, working just a treat. The guitars chime, the synths are warm and enveloping, the mood heartfelt, the track slowly building and exotic, as the bass and drums come in and provide slow drive and simple rigidity. The sound billows out as the song continues, all quite beautiful and then it all takes off to wondrous effect, synths-led initially and then this incredible guitar solo just flies out of nowhere and takes your breath away for over a minute before the guitar allies with the re-emerging synths and wonderfully restrained rhythm section to slide in magical fashion through the instrumental finale. The near six minute Hope For The Future’ is another song, again languid, revolving around oceans of string synths and chiming acoustic guitars as the hushed vocals carry the lyrics, as it emerges, reveals and fades. The first of the bonus tracks is “The Red Song”, a slowly flowing instrumental that wanders along on slo-mo waves of organ, string synths, piano, mellotron and drums as the whole thing mixes beauty and strength in one symphonic iceberg of towering proportions. The comes “The World Is Outside”, starting with cosmic organ/synht of great depth before a shimmering guitar figure enters and one of those half-spoken laconic vocals begins, sounding so much like Steve Wilson you'd be forgiven for thinking it was him!! Add to this an undercurrent of mellotrons, deep bass and a genarally uplifting arrangement, to which are added gentle piano chords, strummed acoustic guitar and shimmering layers of synths, and you have something that is totally spellbinding. The last track, “Sol 29”, is a ten minute instrumental that starts off with atmospheric space synth flows, before adding synth choirs, string synths and deep rivers of bass, and it’s this canvas of sound that flows and builds then fades. So, overall, essential listening to a synth fan who likes Porcupine Tree or a Porcupine Tree fan who likes synth music – but, however you put it, it’s a remarkable, consistent, self-assured, confident, quality and totally enjoyable, long-term, debut album, now sounding mightier, stronger and more exquisite than ever before thanks to the best makeover this side of Italian prog.

SENSES FAIL – Life Is Not A Waiting Room CD
The peak for emo has passed – much of what passes as emo is now repetitive and formulaic – bereft of the freshness that made it so strong in the first place. This is described as “post-hardcore” - which tells you about as much about the music as saying it sounds like a cabbage. So, I'll tell you exactly what this is – sensational!! Now, I'll REALLY tell you what it is...........
The album opens with a song – a real song – no rock, no hardcore, no screaming – instead a brooding sea of strummed chords from the guitar, deep bass, echoed drums and a vocal that weaves between solo and harmonised, relating a lyric that's already quite personal as the steam of guitar riffery escapes to give the song an added strength as the vocals become more impassioned, the song remaining the same – studied and hypnotic. Then – blatttttttttttttt!!!!!!!!!!!!! - the band erupts into the scattergun stormforce riffing that is “Lungs Like Gallows” where the rhythm section fires up and drives to hell while the guitar riffs like a demon and the vocals are a mix of hollered verses and multi-tracked harmonised choruses, the whole thing continuing the personal flow of meaningful lyrics delivered with an electrifying anger that could like up London, actually managing to lead into a whirlpool of lead guitar breaks to give the song added character – it's like the true progression of this style of music into something altogether more mature but something that's not lost any of the firepower that made it so addictive in the first place. “Garden State” is given a similar treatment only here the vocals stay “sung” as a strident slice of immaculately delivered hardcore pop is provided with a string of searing guitar leads and riffs over a rampaging rhythm section, while the vocals, again solo and multi-tracked, continue to keep you hooked with lyrics that really are something to think about. The single, “Family Tradition”, opens with a giant guitar riff as a tidal wave of guitar is accompanied by dramatic drumming and solid bass undercurrents as the angst-ridden vocals provide a verse that leads into a hugely expansive chorus that's almost football stadium friendly and can't help making you sway along to its strength. The whole thing is crunchy, solid, deep, immense and, for hardcore emo, really quite commercial. “Wolves At The Door” is another rampage while “Hair Of The Dog” is more intricately arranged with a greater variation and a welcome break from the intensity although still seriously strong stuff, as the song starts in a more isolated fashio9n before building to a massive chorus and then dropping back down to the verses, still with the song being given that impassioned vocal performance which characterises the whole album. With a further 6 tracks on the album, all of equal quality and enjoyment, this is the sound of a genre taking the next evolutionary step into a higher lifeform – consider yourself lucky to be able to witness it – and grab a copy of this album right now!

SIZEN – What Do You See CD
Ah yes – now this is rock – real rock – good old heavy metal. But what really separates it from the rest is that it manages to mix contemporary metal with emo-laced infectious hooks with Classic Rock to such a perfect degree that it's one of those rare things - an album that, the moment you start to play it, you can't stop until the final notes of the last track have finally disappeared into the ether. There are elements of everything from Thin Lizzy to Rage Against The Machine, Metallica to Megadeth, all performed with an intensity and a passion that really keeps you hooked throughout. Even better is that the arrangements, songwriting and production are just first rate, meaning that what you are hearing is crisp, crunchy, driving, rocking and everything that loud rock created with clarity and care, should be. The vocals are superb - strong, soaring, and stunning - performed with an intensity of emotion that really sucks you in on songs that are just so solid, you could do serious damage to a juggernaut if you drove it into them. The guitar work is searing and on fire – thick riffing to scorching soloing – while the rhythm section just thunder, using drama and dynamics as much as all-out attack. Over 9 incendiary tracks, this is a modern metal album that is already at the top of its tree and should be heard by any rock fan who wants to headbang for a solid 50 minutes of life-changing enjoyment.

Continued....

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