Category: Reviews

A simply beautiful second release from Texan progressive rock/ambient/fusion and soundscape artists Spoke of Shadows. More of what their first release had, but a bit more expanded, the band is primarily two members (Mark Cook, famous for his work with Herd of Instinct, Hands, and Liquid Sound Company, on Warr guitar, fretless bass, guitars, keyboards, & programming, and Bill Bachman from Neal Morse, who is a first class drum author & educator, on drums/percussion). This release includes Bob Fisher / flute (2,3,8), Michael Harris (Vitalij Kuprij) / guitar solo (4), Mike McGary / synth (6), and Shannon Wickline / piano (6). A very nice collection of musicians.

From the promo sheet “Soul Redemption is a harmonious blend of modern adult rock and traditional world music” one might be a bit misled. The harmonious modern adult rock is exact but the traditional world music is limited to latin and Italian pop and folk. The other surprise for some might be the fact of this not having a single stitch of progressive rock style, seeing that Peter Gabriel’s old rhythm section (Jerry Marotta – drums/percussion and Tony Levin – bass) are on it throughout. Flav Martin wrote all the songs and Jerry produced the album. Also backing up the duo are their long time friends Peter Primamore (piano), Thor Jensen (guitar), Marc Shulman (guitar), and Gary Schreiner (harmonica/accordion).

A very high level live recording on a limited edition CD (200 only for sale at bandcamp MoonJune store), by four piece jazz fusion outfit led by Serbian born composer and guitarist Dusan Jevtovic. From the early minutes there is a crisp clear no hurried sound, which allows time to be used with great advantage.

It may surprise many people who listen to this recording but it was all improvised. Yes, both musicians simply sat down, played each instrument, responding, listening closely to each other and themselves, the tones, textures, phrasing, timbre and atmosphere, and thus the music was created. Of course many years of experience performing this way is the success of such an outcome. The compositions are a million miles from piddling, pretending or amateurish hodgepodge.

The fourth release by inventive Swiss instrumental outfit sees a great addition with producer, composer and guitarist extraordinaire David Torn. For those who do not know, the band’s name stands for SONic ARchitecture. There are a small number of bands/artists using tritones as a base for their compositions and all of them sound very different from each other. Sonar master Stephan Thelen (guitar) made the decision to use tritones from his previous experience which allowed him to play otherwise impossible parts.

A warm plentiful collection of songs that bring a solemn face, tears, a smile, a touch of heart, a contact with your soul, and/or an embrace with emotions you may have lost touch with. This is a lovely album that makes you feel at home and comfortable, peaceful, and fully satisfied. The debut release from ex-Stackridge members Andrew Davis (guitar, ukulele, vocals) and Clare Lindley (violin, guitar, ukulele, vocals) and added musician Brian Mullan (cello, vocals), puts  the listener at ease with both original tunes and striking cover tunes.

As the title and the band’s name implies, the music within is Orchestra Exotica’s version of the Exotica genre, which was defined by Martin Denny back in the 1957. That music was a fantasy mix of South Pacific and the Orient. Later composers (like Les Baxter) brought in influences from Oceania, Hawaii, The Andes, and even Africa. The music on this Orchestra Exotica is all that but modern day listeners may be more apt to describe it as Caribbean space age jazz with a lounge music quality. The whole idea for the album came from the original children’s play written by Bruno Vansina titled ‘MaiTé, het meisje en de vogel’ (translated ‘Mai’Tie, the girl and the bird’- as the bonus disc of this package). Pierre Vervloesem, the master interpreter he is, took these pieces and did a bit of revamping, but not to the extent of defacing them.

Louisa has spent two decades making magical music on independent labels such as Prikosnovenie. She decided to start her own label and control her very innovative musical vision, and ‘Elderbrook’ showcases some compositions spreading across the years 1981 through 2017. With no less than 28 musicians helping out, the Silo String Quartet, and sounds from Australian birds, and various samples, Louisa performs on mandolin, sansula, ocarina, chimes, elephant bells, Tingsha, dragon-scale curtain, rainsticks, lead and backing vocals. A prized list of guest vocalists also appear, including Priscilla Hernandez (who also has some very dreamy solos).

Having heard everything Robin Taylor has released (I personally own all his physical output),  I was curious to what Robin might have done to the songs of yore. I was confused back in 2015 when he released what he called a ‘compilation’ titled ‘Across The Universe’, and I misunderstood what he actually did. He took previous songs he was not totally happy with, and remade them with his new band. This was like a new release, and now he has done the same thing again with even more tunes he wanted to improve. This time it is like an entirely new set of compositions, and an absolute thrill.

Nile On Wax is a smart Belgian trio who play a adventurous, atmospheric instrumental music in a somewhat dark, brooding, reflective progressive hybrid of celestial chamber rock and world music. Not far from the more eastern flavored sounds of Dead Can Dance (without the vocals) and a more spacious and esoteric Roleki (without the keyboards).