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......

ADRENALINE – Castrum Delores CD
Although the band's promotional blurb avoids the issue, just take it from me that this is brutal death metal, and have done with it. The vocals throughout are a mix of roar, holler, shout, scream, throat-strangling, blood-curdling intensity and, occasionally, glimpses of something more “sung” moving into view before being cut down in their prime by the beastmaster on the lead vocals. Thirteen tracks of headcrushing density explode into life with, it has to be said, some absolutely stunning metal guitar riffing and leads, and you can't deny the fantastic production job that's gone on here. Even the drums sound solid and crunchy, the bass a kick to the privates and an overall sound that will have your head exploding if subjected to it for long enough. The arrangements of the songs have good structure, “While You Sleep” being an excellent example and one that really works with dynamics, a red hot guitar break and a general air of brutality in metal that's somehow got you hooked. But, by and large, this is all about the whole experience, and the more you get into it, the odd part is that, from a guy who's not really into this extreme side of the fence, the more you get out of it, so much so that, by half way through, I was not only still playing the thing, but actually finding myself enjoying it, too. To get ahead in this field of rock, you have to have something special about you – this lot have got that special something – even though I've no clue as to what exactly it is.

COLOUR HAZE – All CD
It took me three months to get to play this CD – it then took me one week to play it four times in a row – it then took me over one month where the thing took over my life and I played it every two days.
Just forget all the previous albums – this is the real deal. This is where the band finally produce something that's as rooted in the seventies and as fresh sounding as it is today. The seventies part is a mix of “Dark Star” styled Grateful Dead blended with early Agitation Free and Popol Vuh. The modern side is the songwriting dynamics without the metallic weight of a band such as Kings X plus the shoegazing atmospherics of a band such as Air Formation. You put all this together in the melting pot that is this absolutely brilliant new album and you have a mix of songs, instrumentals, flowing atmospheres and a warm glow at its heart, that simply cannot fail to move you. The vocals are the sort of languid King's X style with mantra-ish harmonies of such laid back qualities, they're practically horizontal. The guitar work throughout is timeless, hypnotic, languid and mesmerising, but with a strength that sinks its hooks in and refuses to let go, so that you get the excitement of seventies innovation mixed with the passion and sonic delight of modern arrangements. From Garcia styled solo guitar as on “Zabriskie Point” to “Laila” styled Agitation Free excursions through the few song excerpts and beyond, this is an album that you just have to listen to in one sitting, and indeed, after a couple of plays, wouldn't dream of doing anything else, As I said, stunning!

CROCELL – The God We Drowned CD
Death metal with “Danish” running all the way through it as a quintet from that fair nation unleash this monster of an album on an unsuspecting public, an album that rampages its unstoppable path through your head with a deathly delight that dances on your grave while making sure you're pushed into it. It's fast, with punishing riffs, surging guitars, rolling, thundering, crunching drums, throbbing bass undercurrents and topped with a vocal that sounds like the honey monster on caffeine, as the 11 songs chart a vicious but fair course to your head, the determination to kick you in the teeth countered only by the way they provide you with a scorching musical backdrop while they do it. It's brutal, it's hard, it's heavy and it's molten death metal that explodes from start to finish. The words “finesse”, “passion” and “ dynamics” are unknown in this band's realm – prepare to be slaughtered.

DEEEXPUS – Half Way Home CD
Over the past few years, several bands have made attempts on bringing the hallmarks of Classic Prog-Rock up to date – Porcupine Tree, who refused to be labelled “prog”, OSI, who went too much out on a limb for some, Spocks Beard, a great idea overdone, and so on. So, it is with great pleasure that I introduce you to Deexpus – the band who've got it right on the money!
The first thing you have to say is that the albums should be stickered “Warning: Excellent Vocalist At Work”, for, in the case of Mr Tony Wright (who does the lead vocals, backing vocals, harmony vocals), the songs work from start to finish because he sings them so strongly. Then, you have the music – all the elements of what makes prog-rock so great, only updated with strength and depth, but outstanding in its emotive qualities. Synths, guitars, organ, bass, drums and an arrangement and production that's simply awesome. But, in the end, it's the songs themselves which hold your attention throughout – huge sounding works of works of flowing intricacy with warmth, dynamics and cohesion but with the word “familiarity” running through it.
The opening track, “Greed”, at seven and a half minutes, sets the scene – with shimmering guitars and solid rhythms, the track marches right into view as a Steven Wilson-styled phased vocal comes into view, the song gradually building from what's already a strong base, only then for the chorus to emerge as the keys add depth to the arrangement, drops back to the verse structure, not trying to be clever, instead using traditional song structure for maximum effect, as the whole thing drives purposefully onwards on waves of deep keys, seventies sounding synths and then a searing electric guitar break that;s totally in keeping with the flavour of the piece, as it all moves on to the song's finale – and as solid an attention-grabbing an opening track as you'll find. The six minute “Pointless Child” is even better – this time slower but no less rhythmically strong, it smoothly flows on waves of keys and synth backdrops, as the emotive vocals convey a song in tried and trusted fashion, a bit Wetton here, a bit Neal Morse there, as the guitars gather strength from behind, cymbals crash, the combined instruments build and the song, together with glorious backing harmonies, drifts into a spacious and gorgeous, almost Yes-like, mid-section, before the song returns and the structure is maintained. What is so great about this band is that they don't try to be clever or complex with their songs – they have lots of layers, lots of dynamics and a big sound, but they keep things the way you want them – a good song being a good song, and that's the bottom line. Another guitar break bursts into life as the song seems to last longer than its six minutes would suggest, in a good way, and flows to a strong finish line.
“Pttee” at twelve minutes, starts like a kind of dark, menacing version of Pink Floyd's “Time”, but as guitar fx come and go, you just know that there's going to be one strong wind of contemporary prog-rock blowing through from the distance – and sure enough, with one burst of guitar chording, in it arrives, as the momentum is now firmly in classic Spocks Beard camp, the vocals finally providing the strong icing on the cake as the song lurches into life with layers of rich and biting guitars provide the main melodic and textural focus, only for the tension to be dissipated as the vocals climb, the guitars drop back, the song briefly changes shape, and then it veers between the two as you realise they've created a hook-as-chorus in a wholly original way, something to be enjoyed and admired. But the guitars refuse to be contained and, with the addition of a soaring lead guitar on top, plus deep keys below, the whole thing rises up but refuses to rock out, instead preferring to maintain its prog status and keep things layered and solid, the lengthy instrumental break owing as much to OSI and Porcupine Tree as to Steve Hackett or Lone Star, and simply superb, before the final part of the song is delivered with a mix of wide open electro-acoustic spaces and huge sounding prog-rock heaven, simply magnificent.
The seven and a half minute “One Day” gives the chance for they keys to shine through a bit more as it opens with lilting piano leads over strong crunchy drumming, deep bass, flowing organ and a dream-like lead vocal that's so emotive and has an aura surrounding it that immediately endears itself to you, as the mid-paced song, slowly winds its way into your consciousness, the piano juxtaposed with distant shimmering guitar figures, as you feel and hear the song start to climb. Gradually, orchestral sounding synth rivers enter, the bass briefly gets noticed, and the slowly driving anthem just sounds fantastic, everything that a real prog-rock ballad should be but rarely achieves. Then, just to show you that they can change direction without losing sight of the song, a stronger lurching rhythm heralds the vocal going lightly phased as the momentum continues, the guitars finally emerge and a glorious lead break plays its part to perfection. The song accelerates, the vocals start to fly, the lyrics absolutely fantastic (as the whole album, I hasten to add) and the song veers between the anthemic vocals and higher flying instrumental crescendos of storming magnificence as the guitar cuts loose above the rippling, flowing keys and the, now driving, drumming and bass. Finally a huge wordless chorus spreads over the proceedings before, with a ripple of piano, it dies. “One Day” is just a minute and a half long and is simply a gorgeous piano-led instrumental, heralding the arrival of the six and a half minute “Seven Nights”, and here we really do go back to the seventies, but with a complete makeover that makes the lush harmonies, flowing organ work, high-flying choruses, strong lead vocals and expansive instrumentation, sound as much Porcupine Tree as “Relayer”-era Yes, the song's hook sinking into your head and heart and refusing to let go. Then, just to ensure that you know they can rock out, they accelerate things very suddenly and become more Lone Star than anything, with a synth break that adds to the backdrop of rhythm guitars and solid, driving rhythm section, before layers are added and the song just takes off like a rocket, in a flare of prog-rock brilliance, with another superb sounding electric guitar break providing the final piece of the jigsaw puzzle to perfection, the song's hook finally returning on top of all this strength, and you can't help but be totally enthralled and taken in by this huge sounding work of genius.
If you thought it's all been good so far, there's a final track, prog fans – and it's over seventeen minutes long!! Yes, this band can compose an epic, too, and they put into it everything that you've heard them do so well so far. In their hands, “Half Way Home”, the title track, is nothing short of amazing. All the ingredients that you could want in a stirring, strident, driving, dynamic and absolutely impassioned song-based epic slice of contemporary sounding, seventies-derived, prog, is here – strong vocals, huge choruses, uplifting harmonies, organ, synths, guitars, piano, bass, drums, guitars that surge, guitars that shimmer, guitars that shine, guitars that bite - keys that flow, synths that fill the heavens, rhythms that thunder and give tensile backing to the slower passages, but above all, an arrangement that holds your attention from start to finish as you enjoy and positively drool over one of the finest prog-rock epic tracks there's been in ages.
Overall – well, I've said it all – faultless in every way and does what it says on the tin - “prog” and “rock” in perfect harmony.

DISTANCE TO A FAULT – The Fate Of Momentum CD
This really is what you'd call “Classic Rock” in terms of its stylistic content, yet in terms of its sound, production, arrangements and execution, it's been provided with a contemporary coat of many colours that keeps it both fresh sounding and yet in its genre. In many ways, it's straight ahead heavy rock anthems which feature a towering, soaring 80's AOR-esque vocals in the vein of something like Nightranger or Bonfire with furiously rocking riffs and guitar leads that give it an almost nu-millennium mix of Saxon and Thin Lizzy. But it's been given a kick of great density and intensity to make it stand shoulder to shoulder alongside modern bands such as Brigade and FFAF. The songs are strong, and as I said, pretty well anthemic throughout the album, as the huge sounding arrangements are horizon-stretching in sound, strength and distance – to a fault, indeed!! It's a “feel good” album and one that seriously rocks but has an appeal as wide as seventies and eighties metal to nu-metal and even to the more commercial, solid and strong end of the hardcore/emo market. For once, it's delivery of a fine, tight and massive set of quality songs, superb guitar interplay, muscular rhythms and charged rhythms, really is all things to all people and works a treat – quality stuff that sounds positively epic.

(THE) GLIMMER ROOM – Home Without The Journey CD
I have to admit that, since leaving my review post at CD Services Mail Order back in 2006, I have joined the throngs who look at electronic music from the outside. By that, I mean that I have listened to a load of electronic music since and not exactly been turned on by most of what I've heard, or, to be more accurate, found most of what I've heard, is in a style that's been done better, done before or done to death – sometimes all three. So, I've found now that the litmus test is to get an electronic music CD, put it on, and see how long it takes me to get my finger onto the “fast forward” button.
In this case, the finger never saw any action!!
For this is absolutely superb – faultless, in fact. There are three tracks – forget how long each is as it's immaterial – and the way it's been composed, played and arranged is a delight. In the opening ten minutes alone, you'll hear atmosphere, melody, rhythm, shimmering heat, crispness, warmth and depth as an array of synths and electronic percussives simply flow through a composition that sounds so natural, so relaxed and yet so focused. Although in a sonic manner, this shares nothing with early-mid seventies Tangerine Dream, on a structural and arranging basis, this has exactly what made that band so legendary, and that is the fact that at no time does any part of the track stand still – there's always movement going on, as instruments, layers, melodies and rhythms come and go throughout. But another quality that it exudes is emotion, feel and atmosphere as the music just pours from the speakers in such a way as to make you absolutely riveted to what you are hearing, a stream of electronic music so seemingly effortless, so timeless and yet so naturally flowing, that you are simply under its spell from start to finish. If you want influences, you really have to look no further than a guy who's absorbed 35 years of the giants of synthesizer music and come out with something that is so musically satisfying, it's going to be a veritable crime that it's not going to be spoken about in the same breath as those past giants, for this is electronic, synth and keyboard music that ranks with the best there is. From sublime piano, through huge choral splendours, languid rhythms to solid undercurrents, swathes of synthesized depths and textures, melodies that are instant and yet never cheesy or cliched, sequences that sound as though they've always been there rather than having been created in some studio somewhere – all of these and more go to make this opening title track a thing of beauty and wonder.
“Carbon Statues” that follows, with its mix of choral synths, languid rivers of deep, rich textures, emotive samples and twinkling stars of rhythms, is simply blissful, absolutely gorgeous and as hypnotic and warm as synth music gets, verging on pastoral but with substance and design.
Finally, “Cool Blue And The Plough” starts off shimmering, providing us almost with a nod back to the early seventies way of textural communication, as organ, shifting cymbals, sparkling sequenced slo-mo rhythms and deep, eerie atmospheres, all combine to produce another flowing slice of heaven, above which rises a sharply focused, crystalline synth rhythm that echoes sequencers of old, as melody lines are drawn and sparse textures seem to appear and coalesce, here the richness almost in the background as the sequencers take over in a subtle manner, eventually the scenery changing to one of choral beauty, electro-percussive subtlety and deep, gorgeous synthesized warmth, the rhythmic portion of the track somehow chunky without being obtrusive, the main focus without overbearing as it all comes together with love and emotion at its heart, a thing of wonder, a thing of joy. So it travels – towards an end you hope will never come, and a beginning that is you simply turning back and playing it all once more – a combined action that you will experience many times to come as you get to know and love one of the most beautifully composed and played synth music albums I've heard in aeons.

HELLGRIND – Religious Persecution CD
I would imagine – although I'm no expert – that a thrash metal trio is not exactly a common thing among the thrash scene these days. Now I don't know if that means that the band are more focused in terms of their ideas and input or what, but the fact that there aren't too many cooks doing this recipe, means that this is one thunderously fine album. For a start, it's not all rifle-fire drums, and speed-of-light delivery – mostly this, but not all. The vocals are sung, albeit with a voice that sounds seriously dark and dense, but it's powerful as hell and you can hear the lyrics throughout. Meanwhile, the arrangements whip between thrash, power metal and traditional Classic Rock. The band will set up a rampaging juggernaut of a song then, and not always, but often enough to matter, take it down an avenue you hadn't expected, and the times that they don't do this but just come up with a pure lightspeed nuclear slice of thrash, makes the rest of it sound even stronger. The guitarist is allowed plenty of space for lead breaks and soaring solos, which also makes it a whole lot more addictive when it comes to being able to enjoy something this heavy, this intense and this incendiary. Yes, it is overwhelming – after all, that's the purpose of thrash, isn't it – but there's more to it than just that. The acceptable face of home-listening thrash metal.

QUINTESSENCE – Indweller CD
A telling part of the excellent sleeve notes to the CD booklet refers to this band as being “praised and derided in equal measure” at the time – in this case, late 1972. It's easy to see why they were derided but there's also the argument that you can't criticise what you don't believe – for this album of soft, flowing, mostly languid and quite soporific electro-acoustic songs, is built firmly around a sea of tightly held spiritual beliefs and enlightenement that a band are trying to convey in songs that they hope will be of such satisfying pleasure that they move you both on a lyrical and musical level. That they achieve the atmosphere throughout most of the songs to put you in that state of blissful nirvana is arguably decently done – the thing being as to whether you actually want to be in that state in the first place, song or no song. In many ways, Nick Drake managed to attain this state without being obviously religious, while early seventies folkies from the UK rarely sounded so deep and spiritual with so light a musical touch. So, you have eleven songs, sung well, sung in electro-acoustic cosmic splendour, given a lightness of touch that makes them quite spellbinding and lyrically interesting regardless of your beliefs. Easy to deride, hard to praise, but if you listen closely with two ears and an open mind, there's a heart of gold beating away and if you're a fan of early-mid seventies folk mixed with Jade Warrior styled flute, this should surprise you as an album you never thought you'd like in a zillion years but which gradually grows on you in ways you never expected.

(THE) RAMPTON RELEASE DATE – Relax, You're Nearly Dead CD
When the first three tracks from an unknown band's debut album turn out to be the bastardised intro to a '60's cabaret TV programme, a slice of roaring punk rock and something that's a mix of rapping punk and weird punk shit, you know you're in for a head bender of an album. It wouldn't be so bad, but then they go into “Hell Is Self Made” with a song that's got instrumental hooks, riffs, rhythms, depths and sizzling guitar textures, with a vocal that's kind of hollered as the mix of fury riffing, staccato rhythms, scorching energy and high-register vocals, all weave their hypnotising way into your head like nothing else you've heard. It's strong, strident, crazed and punky with a decidedly metallic edge. In many ways, the story of the album, what ensues is by and large punk, only performed with precision and attention to detail, with thickly riffing, angular, twisted and scything guitars, roaring rhythms with pounding upfront bass and topped with vocals that sound a mix of angst-ridden, gargled, gulped and throaty holler, and a seriously acquired taste. Thirteen tracks into which to sink newly carved fangs and see if this will engulf or drown, and more similarities with the band Electric Six than you can shake a stick at.

SEVERAL UNION – A Look In The Mirror CD
Italian band who sing in English and in many ways, it's a bit like a hardcore answer to Pearl Jam, particularly if you take a track like “Mirror” which has got a distinctly Vedder-sounding vocal and a decidedly Pearl Jam arrangement and sense of angst, all in all, no bad thing, and a thoroughly great track. What does delight about this album is that the band take a heavy metal route rather than a hardcore or screamo routes, so that you get songs that are sung well with passion, power, strength and emotion, ignited by a forest fire of riffing guitars and searing lead guitars, all propelled by this rock solid rhythm section. The songs themselves are as rich, deep, biting, lyrically complex and commanding, plus every bit as anthemic and uplifting as many a song that came out of the classic Pearl Jam stable. But there is an extra dimension as the vocals and arrangements also nod towards the direction of bands such as Linkin Park, Puddle of Mudd and similar, but the fact that the 2 worlds co-exist to such a satisfying extent, is a testament to the writing, arranging and playing skills that this metal band exude from every pore. It's big, it's heavy, strong, forceful rocket-fuelled and it really is clever. Storm-force metal at its modern finest with a nod to the past.

SHIELD OF STEEL – Communion CD
Hello – for today's lecture on “seventies rock”, we feature a band who's actually just recorded a new album in 2008. Remarkably, it illustrates our point to perfection. You know last time we spoke about the need to open your album with a track that really sets the tone for what follows – well, this band are following that ethos to perfection. The opening track, “All I Need Is You”, starts quietly enough with acoustic guitar, whispered rhythm section and Steve Winwood-esque vocals as it gradually builds a head of steam and climbs into this towering electric guitar break that occupies the middle of a track which takes off, circles overhead, shows you what it's made of then comes in to land – a sort of mix of Wishbone Ash and Traffic only with no keys or horns – just that eloquently played stirring guitar. That they then “boogie” their way back home comes as no surprise as a rollocking instrumental allows the guitarist to show what he's capable of, and, OK, so this idea was done to death in the seventies, it's almost like welcoming back an old friend you loved dearly many years ago, but one you wouldn't want to stay the night. The album is actually quite powerful for its kind, with plenty of fuel in the tank to keep the guitar sky-high and mesmerising, while the vocals are of the Winwood-Moore variety but could have done with more harmonies, and the rhythm section rock away merrily, while the songs, instrumental breaks and structures are decidedly of a seventies variety. As a mix of songs and instrumentals that showcase the talents of electric guitarist Gavin Coulson, it's a solid and engaging album if this era is your thing to this day. OK, so Gary Moore did it all thirty years ago on his first two solo albums, but that was thirty years ago and he's not done it since, all of which makes this a more than welcome treat on the ears. Rarely have cobwebs been dusted off so well.

Continued....

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