This is a popular prog metal album featuring the late Mike Baker on vocals.
Shadow Gallery – Tyrany (1998) ***** out of *****
Reviewed on Prog-Net by Steve Fulham
“If you like extremely melodic music with a heavy edge, you´ve gotit here! This is one of the best albums i´ve ever heard along with Queensrÿche´s “”Operation Mindcrime”". This is music to the service of melody, great vocal harmonies, you´ll find smooth parts mixed with heavier ones with crunchy guitars in others. Some guests are feeding the beauty of it all. James Labrie sings a tiny part in one song and the great voice of D.C. Cooper from “”Royal Hunt”" can be heard on the wonderful “”New WorldOrder”". And if that wasn´t enough, this album ends with the splendid ballad that is “”Christmas day”". The music will remind you of Queensrÿche, Kansas at times and even Styx. People, you owe it to yourself to checkthis one out. This is the kind of album that won´t push you to the limit with complexity but it certainly will leave you floating somewhere in heaven.”
Shadow Gallery – Tyrany (1998) **** out of *****
Reviewed on Prog-Net by Hogarth
If there was ever a band that COMPLETELY ripped off the sound of other artists, it´s Shadow Gallery. Tyranny sounds like the love child of Queensryche and Dream Theater. Regardless, in this vein, it´s excellent. Sounding like an “Operation: Mindcrime” told from the view of a Weapons Engineer (with AOL references and more), it´s an acceptable “they´re all outto get you” conspiracy album with a very important message: “The Best Things In Life are Free.” Well, not always, boys, as this CD cost me $11.99. But if you´re a fan of melodic prog metal, I think you´ll find moments on Tyranny that are mostly memorable, even if sounding like someone else´s material. A tight, tight band that will continue to please ears for years.
Balloon Astronomy – Balloon Astronomy (2012) – ***** out of ***** Review by Chris Dixon
Every once in a while, a debut album storms on to the scene like a force of nature, demanding the listener to take notice of its daring uniqueness and unrivaled chops. Balloon Astronomy is not that album. It arrives more like a summer afternoon, where the hustle of life is forgotten just for a while. The self-titled debut from San Diego’s Balloon Astronomy is a rare treasure that needs to be heard, but could easily get lost in the shuffle amid the short attention span of the Internet age.
Balloon Astronomy is a collaboration of long-time friends Jim Ledger (Vocals, bass, and guitars) and Glenn Little (Keyboards, flutes) with an impressive list of guests including Nick D’Virgilio, Jason Smith, Mike Keneally, and Max Werner. A wide variety of influences are on display, including mid-era Genesis, Jethro Tull, and Kevin Gilbert. It also brings to mind elements of Big Big Train, echolyn, and It Bites. Comparisons only begin to tell the story, though. What sets Balloon Astronomy apart is the sincerity, heart, and maturity present in the songwriting. The band describes the broad theme as Home: as a place; a state of mind; a community; a source of comfort, strength, pain, and motivation. Somehow, they manage to capture wistful reflection without cynical bitterness, and positivity without overwrought sentimentality.
The band’s surprising maturity is also present in the arrangements and the sublime instrumentation. The brief opener sets the tone with a gentle piano intro. Prog songs often rush for the next note, but “Crows in the Field” and a few other short instrumentals aren’t afraid to breathe, and use the space to great effect. “Even Odds” picks up the pace, and would be right at home on a 1990s Tony Banks album like Still or Strictly Inc. A decent track, but the album gets stronger as it wanders into the more subtle territory that follows. In fact, the best material comes from the second half, like the powerful “Eagle”, irresistibly quirky “Sigmoid Fletcher”, and “One Summer”, which captures the feel of the whole album in one song.
It is very difficult to pinpoint the elements that make Balloon Astronomy’s debut so brilliant. A review on Amazon describes it as “strength with gentleness”. Though melancholy at times, it is ultimately uplifting in a way that is too rare in progressive rock today. Like those lazy summer afternoons, Balloon Astronomy’s debut should be slowly savored.
Mahavishnu Orchestra – The Inner Mounting Flame (1971) ****
Reviewed on Prog-Net by Paul Bellocq
I was introduced to Mahavishnu back in 1973 when Birds Of Fire was a new release. Being blown away, I immediately got this debut album, as The Noonward Race caught my attention with it´s break neck speed. Once I got this album however, I found that I hardly played it because of the slow songs interspersed. All I liked were the four fast songs, Meeting Of The Spirits, The Noonward Race, Vital Transformation, and The Dance Of The Maya. To someone who wanted to know what MO sounded like, I always told them that if one tries to dance to any of their fast songs, then surely they would break a lot of bones in their body. With some of the speed music released these days, this old MO would probably sound tame. But if one were to take these four songs, along with 5 cuts from the followup Birds Of Fire (title track, Miles Beyond, Hope, Resolution, and One Word), then that would truly be a 5-star CD. Back then, this music was not even called fusion. We simply referred to John McLaughlin as one who took one too many psychedelic trips and used his double-barreled guitar for religious expression with his guru (No, I am not kidding). Regardless of the inspiration, this was an instrumental music lover´s dream, especially since only brainy guys seemed to like it. I have yet to meet one woman who likes them, as they seem to rate right up there with late King Crimson in their books (MO can be quite nerve-wracking if not in the right mood). As for a detailed description of the music, there is really no point in me repeating what the other two excellent reviews have already stated. I just don´t like the slow stuff as much as they do.
Mahavishnu Orchestra – The Inner Mounting Flame (1971) *****
Reviewed on Prog-Net by Fred
The first Mahavishnu Orchestra album is their greatest achievement. The line-up consists of John McLaughlin, Jan Hammer, Billy Cobham, RickLaird and Mark Goodman on Guitar, Keys, Drums, Bass and Violin,respectively. From the beginning the listener is swept away in what I feelis the most outstanding track: “Meeting of the Spirits,” which is really arepeating structure, which keeps changing instrumentation as well as melodyuntil it seems totally different. “Dawn” is a quite soothing piece untilit explodes in an odd-time-sig riff that has one constantly asking,”where´s 1?” The album doesn´t let up. “The Noonward Race” smokes, “ALotus on Irish Streams” relaxes, and “Vital Transformation” . . .transforms! Much like the first track, but different, proving that thefirst one wasn´t a freak occurrence. Then we get to “The Dance of Maya.”20/16 anyone? Blues in 20/16 anyone?!?! Whew! After that track let´srelax with “I Know You Know” before exploding with furious pace in “Awakening.” Sit back, let out your breath, it´s over. Now, start the CD from thebeginning again! Highly recommended. I hear a new issue of the CD will bereleased soon.
Mahavishnu Orchestra – The Inner Mounting Flame (1971) ****
Reviewed on Prog-Net by Eric Porter
Remastered version of their classic first release, this one seems more raw than “Visions…” but just as powerful. The team of McLaughlin and Goodman are volatile one minute, delicate and restrained the next. Charging out of the gate with “Meeting of the Spirits” everyone gets a little time to show their stuff. “Noonward Race” becomes a shred fest, and then the tables are turned with the acoustic “A Lotus of Irish Streams”. It sounds to me as if Robert Fripp gave this CD a few spins, taking some licks from McLaughlin and in songs like “Dawn” you can hear where the Dregs picked up some influence. Give me that guitar/violin combo as I seem to never tire of it. This is great stuff that any serious music fan should have represented in their collections.
Mahavishnu Orchestra – The Inner Mounting Flame (1971) ****1/2
Reviewed on Prog-Net by Joe McGlinchey
To quote P. J. Harvey: “Meet Za Monsta.” The debut of one of my favorite bands, led by guitar master John McLaughlin. You best bring your asbestos earphones for this one. Why not a perfect 5 stars? Nit-picking, basically (besides, I know everyone else who reviews this is going to give it 5 stars anyway, so what the hell). The reason is that I believe the actual compositional ability of the M.O., particularly from a prog perspective, got even better and more intriguing on the subsequent albums “Birds of Fire” and “Between Nothingness and Eternity.” The exceptions are of course the untouchable brilliance of “Meeting of the Spirits,” “A Lotus on Irish Streams,” and “Dance of Maya.” That´s not to say anything bad about the remaining tunes, I like ´em all. On the other hand, Inner Mounting Flame is certainly the band at their rawest, most visceral, and least dated-sounding. Remastered! Hallelujah, hallelujah.
Mahavishnu Orchestra – The Inner Mounting Flame (1971) *****
Reviewed on Prog-Net by Guy Berger
Columbia/Legacy has rereleased Mahavishnu´s classic debut, afusion milestone; the electric guitar techniques of Hendrix were fullyapplied to the budding jazz-rock scene. John McLaughlin, fresh from hisstint with Miles Davis, delivers some blistering solos. Billy Cobham,Jerry Goodman, Jan Hammer and Rick Laird offer plenty of their own chops.Jams in breakneck tempos (“Noonward Race”, “Vital Transformation”)alternate with more peaceful and reflective tunes like “A Lotus on IrishStreams”. The sound is extremely raw even on the excellent remaster, butone suspects a slicker production would have sapped the recording´sintensity. This is a must for prog fans, fusion fans, and just aboutanybody who likes hearing electric guitars.
Big Big Train – Far Skies Deep Time (2010) ****
Review by Chris Dixon
Prior to the CD era, most full single albums clocked in at under 50 minutes due to the limitations of the LP record. The CD could hold almost 80 minutes, so albums grew to fill some of that extra space. It was only natural for the EP to follow suit, with many clocking in at longer than most of the Rush back-catalog! Far Skies Deep Time, a 40+ minute EP from Big Big Train, is a follow-up to The Underfall Yard which was a very successful re-birth of the band with David Longdon replacing Sean Filkins on vocals.
The overall feel of the album is very similar to Underfall Yard, which itself is somewhat hard to categorize. It could be described as a slightly more ambitious take on early 1980s Genesis (particularly the Tony Banks material). The vocals sound more serious, even if the lyrics are whimsical (like Fat Billy Shouts Mine, the tale of goalkeeper William ‘Fatty’ Foulke, originally intended for Underfall Yard).
The Wide Open Sea, a moody 17 minute epic about the Belgian singer songwriter Jacques Brel, is an excellent centerpiece for the EP. As a whole, the lush arrangements are masterfully crafted, but they lack some of the signature moments and hooks that separate a masterpiece from a very good alubm. Still, this is a journey well worth taking. If you liked Underfall Yard, Far Skies Deep Time is almost certain to please. Note that the first track, “Master Of Time”, was replaced by “Kingmaker” on the 2011 download issues and on Spotify.
I had the good fortune of seeing Bruford Levin Upper Extremities live at a tiny venue in Baltimore in the late 90s. The album doesn’t capture the unreal complexity of Bruford and Levin’s rhythms or raw energy. It was also interesting seeing a young and much-less-known Chris Botti on trumpet. That show remains a highlight for me.
Bruford Levin Upper Extremities – Bruford Levin Upper Extremities (1999) ****
Reviewed on Prog-Net by Guy Berger
The idea of gathering an avant-garde guitarist, a smooth jazz trumpeter, and one of rock´s most versatile rhythm sections sounds great in theory, and works out well in practice. This CD, featuring Bill Bruford, Tony Levin, David Torn and Chris Botti, is a great piece of unusual, KC-influenced fusion. The opener, “Cerulean Sea”, has Torn setting a very dissonant guitar ostinato for Bruford´s insane counter-rhythms and some wordless vocals by Levin. On the other end of the spectrum, mellower pieces like “A Palace of Pearls (upon a blade of grass)” feature Botti´s laid back style more prominently. Fans of 80s and 90s KC, as well as those intrigued by a rock/cool jazz/avant garde hybrid, will definitely want to check this great album out.
