Prog Rock - A better understanding...

http://www.cracked.com/funny-2359-progressive-rock/

Excellent article!

Demians - Building an Empire

So far this is my favorite release of 2008 and one of the most impacting albums I've heard (this group includes Porcupine Tree's In Absentia; Dream Theater's Images and Words; and Frameshift's Unweaving the Rainbow). Think of Demians as a blend of Riverside, Opeth, Oceansize, and Porcupine Tree. The fact that Nicolas Chapel did all of the music (both writing and playing) by himiself makes this album even more outstanding. Definitely Recommended!

OSI - Blood

Excellent album! Gavin Harrison tears the drum department and Jim Matheos came up with some great heavy riffing, along with Moore's ambient keyboards and dark toned voice. The Bonus edition is a must have since it contains an outstanding heavy track featuring Tim Bowness (No-Man) on vocals. A must have and definitely an album of the year contender! OQ

Transatlantic - The Whirlwind

I am on my third listen and so far it has not disappointed. Classic Transatlantic with the TA trademark sounds. Pete Trewavas' bass lines shine throughout the record and it's probably THE surprise on this record. Roine Stolt guitar solos are great on this record. I wasn't too keen on his previous solo spots on the previous two Transatlantic albums but these ones are quit soulful. Mike's superb drumming along with Trewavas bass make up a wonderful rhythm section on this album. We all know Neal Morse and he doesn't disappoint either. As I have listened to this record several times know, I have come to the conclusion (my opinion) that 3/4 of the title track sounds very Transatlantic-ish. The final 1/4 of The Whirlwind sound more like a Neal Morse solo album with the grand finale in a typical Morse fashion. Disc 2 on the other hand has a more of a TA feel. Spinning is the highlight for me on Disc 2 as well as the Santana Cover "Soul Sacrifice".

Time will tell if this another classic prog gem. This remains so far to me as the 2nd best TA album (being Bridge Across Forever the best).

The bonus DVD will give you a great insight on how the recording process was done for this one. Very interesting insight!

Lalu - Oniric Metal

This is a great prog-metal album. Vivien Lalu shines as the main composer on this one. Joop Wolter's riffs are monstrous. Lemar's voice is amazing on this one as well. This album really blew me away during my first listen: great melodic progressive metal!! Definitely recommended!

Frameshift - An Absence of Empathy

Henning Pauly’s Frameshift project brings us, again, an amazing vocalist: Sebastian Bach (Skid Row, Jekyll and Hyde-Broadway, Solo Artist). An Absence of Empathy brings Pauly and Bach together, with the help of Adam Evers and Matt Cash, who constructed the vocal melodies and lyrics together with Pauly; as well as brother drummer Eddie Marvin; and ProgRock Records President Shawn Gordon (along with Pauly) provided the storyline of this dark, sad, depressing, but twisted concept. An Absence of Empathy brings us the story of a man who experiences what it is like to commit acts of violence (serial killer, violence in schools, torture, rape, war…), hyped by the media.

The album starts with “An Absence of Empathy – Human Grain Pt 1” which introduces the character and the state of mind surrounding him. It is a fast-paced song, combining a lot of electronic sounds with heavy guitar riffing. Bach’s signature singing is showcased throughout the song. The ending of the song just sets the pace for the rest of the album.

“Just one more” talks about what is going on inside a serial killer’s mind. Bach’s voice shines throughout this track. High notes, low notes, and a raspy voice make this song one of the highlights of the album. The rhythm section is simply amazing on this track. The guitar solo on this track is probably one of the best solos that Pauly has played.

“Miseducation” is the next track. This track is about violence in schools focusing on the teacher. The guitar-double bass drum pattern is amazing. Again, the rhythm section shines throughout this album. A Judas Priest-like chorus is heard throughout the song as well. This is probably the song where Bach’s signature style of singing is most present.

“I Killed You” talks about a murderer lead by impulse. This is a slow-paced song that sometimes sounds like a ballad. The lyrics can be very confusing on this one. The highlight of this song comes when Bach comes in heavy-death metal kind of voice. But then Bach suddenly stops and we hear him, supported by Jody Ashworth on bass vocals, in a-cappella mode. It is a very interesting and intriguing section, but still it does not pull you away. Then an organ-guitar-organ-guitar solo comes in, unison (guitar and organ) follows, and then another a-cappella part comes in (this time with music). The outro for me is the best part of the song. A very soft, gentle melody, accompanied by a beautiful guitar solo ends this amazing track.

The next song is about torture. “This is Gonna Hurt” starts with a techno-metal guitar-drum loop leading into a section that causes the feeling of being crazy. The lyrics on this particular song are a bit intriguing. You can feel the craziness going through this individual’s mind. I think the best part of this song is the feeling that this particular track causes.

Next up is “Push the Button”. This track talks about modern war. It contains a Priest-like chorus, and it showcases Bach’s voice again with his signature style of singing. The highlight for me in this song is the last two minutes of this track. Kind of a Toolish feeling at the end, and back to straight 80’s rock again.

“In An Empty Room” brings in the softer side of Bach’s singing. This track talks about rape, but this time from the victim’s mother's point of view. The chorus of this song is brilliant and the main melody of the song is amazing as well. “In An Empty Room” is one of the best tracks on this album. Banjo makes its presence again throughout the song. Bach’s singing is amazing as well, but again, he dominates with the feeling he puts into the song. The tempo is picked up a bit at the end of the song, leading to an amazing outro featuring Bach screaming, and at the same time in his softer mode.

“Outcast” brings the topic of violence at schools again, but this time talking about shootings occurring at schools. The lyrics on this particular track are written by the shooter in letter form addressing parents, classmates, and teachers. For me “Outcast” musically speaking it did not do anything. The lyrics are very strong and at times make you wonder what is going on in a student’s mind, but as mentioned before, for me it is the weakest track on the album. It sounds like a Spock’s Beard song, but a bit heavier, dominated by an organ sound.

The next song brings us to one of the best intro’s I have ever heard. Horns, and pipes, a very soft female voice, strings, and at the end of this intro Bach’s screams come in accompanied by an amazing heavy guitar riff. The rhythm department again shines through this track, and Bach’s voice is nothing less than phenomenal. Orchestral arrangements dominate this song, along with Pauly’s heavy guitar riffing. Lyrics are sang with an amazing melody throughout this song. A-cappella makes presence again in this song. This section is very strong and it made me feel part of a soldier brigade ready for action. The song’s ending left me wishing for more. “Blade” is probably the best track on the album.

“How Long Can I Resist” talks about rape again; this time the story takes place in the rapist’s mind. The chorus is very catchy, yet it leaves you with a feeling of fear and uncertainty. The guitar solo makes you feel this way as well. Bach’s voice is outstanding, especially on the double bass drum-piano-double bass drum part. The ending of this song just gives you the goosebumps, especially when you hear Bach’s final scream.

“When I Look Into My Eyes” takes aim at torture again. This song leaves you with a sense of fear, and has a feeling of spooky-ness throughout the song. Its catchy melody and lyrics will just stick in your mind. This song itself is another highlight of this album. It takes you right inside that particular state of mind.

Finally, the track “What kind of Animal”, which is the second part of the first track “Human Grain”. This particular song IS the highlight for Bach on this album. This track could be a Peter Gabriel song. This is probably the most touching song of the album, and the ending will not disappoint you. It is beautiful.

Overall, An Absence of Empathy takes you directly into the main character’s mind. Bach’s voice along with Pauly’s playing (guitar, banjo, keyboards, bass), and brother drummer Eddie Marvin make this a very sad, depressing, and twisted adventure. Bach’s voice will not disappoint you. It will only surprise you, and you will hear him in ways you have never heard him sing. Highlights of this album include “Human Grain Pts 1 and 2”; “I Killed You”, “In an Empty Room” and “Blade”. “Unweaving the Rainbow” brought you evolution; “An Absence of Empathy” will bring you fear. This release will not disappoint you. It combines the fresh new sound that Henning Pauly has brought into progressive rock along with one of the best voices in rock today: Sebastian Bach. You will not be disappointed by this release!!

Henning Pauly - Credit Where Credit is Due

There are many situations in a musician’s life that can make him/her disappear of the music world. Such situations can be handled differently by each and one of them. So what happens when Henning Pauly is involved in such type of situation (the Bach fiasco)? He writes an album (along with Matt Cash, Edward Heppenstall, and Jason McSheehy who contributed with the lyrics and vocal melodies) of certain and specific situations that occurred during and after the recording sessions of Frameshift’s An Absence of Empathy and gives them a little twist of his own (musically speaking) and comes up with Credit Where Credit is Due, an album where he says “I had a lot of fun in doing.

Song titles such as “I Like My Video Games”, “Your Mother is a Trucker”, “Copyright Conspiracy”, “Halo” and “German Metalhead” are just some of the songs that make up this album. Highlights of the album include “Halo: (which is my personal favorite even though I have not played Halo the game) include an amazing set of orchestration sections. The lyrics are fantastic and creative. The vocal melody of “Three” is very memorable in the chorus section as well as the classical guitar solo. “Seven” is highlighted by Roos’ vocals. He is an amazing vocalist who can scream like Bach and sing like Geoff Tate. “My Video Games” is a song that is very up tempo and fun to listen. The song title itself tells the story on this cut.

Credit Where Credit is Due is an album that is very different from Frameshift, Chain and Pauly’s both solo efforts Colored Lines and 13 Days but still the Henning signature sound is present all over the album: banjo, electronic sampling in the background, orchestration. You can easily tell (if you are familiar with his material) that it is Henning Pauly behind the instruments. Juan Roos voice stands out on his own. He can sing high and low and can scream without breaking his voice. Overall the album is very enjoyable and will appeal to fans of Nine Inch Nails, Porcupine Tree, and Pain of Salvation. It is something new and it is a refresher.

Chain - ".exe"

I’m writing this outside my apartment, inside my jeep, listening to Chain.exe. Feels awkward when you are typing a review inside a car, but anyways, I guess it is just the anxiety of something you have been waiting for quite a while, and then suddenly, your expectations are surpassed by what you are listening.

Chain.exe is no exception to my thoughts above. Musical genius Henning Pauly and his band mates, Matt Cash, Stephan Kernbach, Christian Becker, and Eddie Marvin along with a long list of special guests (including musician extraordinaire Mike Keneally and vocal legend Michael Sadler from Saga, Jody Asworth from the acclaimed Trans-Siberian Orchestra, along with rising stars Maya Heddi, Victoria Trevithick, and Edward Heppenstall) bring you this progressive metal masterpiece. Top notch production along with high quality musicianship bring this project alive (continued from Chain’s debut album Reconstruct), along with the Cash/Pauly lyricists duo writing memorable lyrics accompanied by wonderful melodies.

Chain.exe starts with the 38 minute long masterpiece Cities. This song alone is worth buying the album. Top notch melodies dominate this song, where not only Cash demonstrates his evolution and matureness as a vocalist, but Sadler and company demonstrate their abilities in singing an acapella, in a wonderful passage. Great drum work by Eddie Marvin and Kernbach (keys) closes the round up musicianship with a top of the line unison solo with Pauly on guitar.

Next up is the track called She looks like you, a wonderful ballad, a love song. A strong soft intro and a heavy follow up complete the song, but never overshadowing or loosing the focus that the lyrics express.

Eama Hut. Probably one of the best riffs I have heard in progressive metal. The balls and chunk in this song is so strong it makes you want to headbang (and its just the beginning of the song!!). The song shifts back and forth from balls and chunk to a “soft” part, then back again to an awesome passage highlighted by the vocals and orchestration, that could easily be described as some modern Trans-Siberian Orchestra. The highlights of the song besides the heavy riff are again Cash’s vocals, and Marvin’s drum. Even though each players’ part are very solid, the elements mentioned above overshadows the other instrumentals. You can hear that the solos are more structured than some other bands’ solos out there. One thing I have not mentioned in this review is the awesome mix of the bass. Crisp and clear, yet not taking away the essence of the bass.

Never Leave the Past Behind starts with an amazing Gregorian-like choir which scared the hell out of me the first time I skimmed over the track. Pauly’s guitar tone can’t get better than this (and all through the album). Another amazing headbanging riff, yet, not leaving the gothic element that was given in the introduction of the song. The song shifts back and forth to heavy and soft, leaving the gothic choir in the background, with a breath taking chorus. Again, Cash demonstrates his ability vocally with the awesome lines he sings. The patches and sounds used by Karnbach fit the song perfectly. Marvin’s double bass parts with the chorus on the background are simply amazing and sent me the chills all over my spine (as I am still sitting outside writing this).

Hot to Cold. A Saga cover song sang by Saga’s front man, Michael Sadler. How weird can that get? Pauly’s guitar playing not only involves heavy riffing and melodic solos, but in this song he also showcases his Classical Spanish guitar techniques. This is my first time I listen to this Saga tune, so I can not judge whether it was done right or wrong. I can only say it made smile by all the happy playing that is going around. This song reminds me of a heavy Spock’s Beard. This is probably the weakest track of the album, it’ good, but not that great as the rest of the album.

Last Chance to See. Last track of the album, clocking in at 10 minutes. Trevithick showcases her singing talent in this track. A beautiful piano accompanied my a wonderful voice. A great song dedicated to someone very special for Pauly. The song then changes to a more pop-rock oriented feeling, starting Mike Keneally in vocals. This is my first time hearing Keneally sing and he does it in great fashion. An amazing solo section pops in, with some beautiful bass lines (done by Christian Becker) that join Pauly’s playing. The song closes with a banjo and piano unison. A beautiful section.

Overall the album is very strong and solid. Probably the strongest in 2004, although there are a couple of long-awaited releases, one of them by Pain of Salvation (Be, Inside Out), which I do not think it will top Chain.exe. As a band, Chain’s sound has evolved a lot comparing it to Reconstruct. Individually, Matt Cash’s vocals sound very different, but very good, and Henning Pauly has developed a signature sound easily identifiable in each his releases. Eddie Marvin’s drum sound is awesome, and he is getting better and better with each release. Christian Becker and Stefan Kernbach are not left behind. Both of them showcase wonderful performances, demonstrating not only the technical side, but also their melodical side as well. Chain is carrying the torch of fresh new progressive metal. A fresh release, very heavy, very technical, not pushing the limits, but conserving the melody, which in this days progressive rock is very lacking.

Henning Pauly - 13 Days

Hey guys, here's my 0.02 mexican pesos...

Henning Pauly is mastermind of probably one of the greatest albums in prog: Frameshift (shoot me, that's how i feel about it). Anyways, he is currently working on two projects: Chain.exe and Babysteps.

What happens when you cant' take it any longer?

Well, ask Henning. He wrote an album in 13 days. Yes, the album was written, recorded, and all the artwork, etc.. was finished in 312 hours.

What was the end product?

Anything but prog. Henning created an album that contained no prog. Anyways, the album consists only in songs written with guitar, bass and drums in mind. No synthesizers, but yes, we have banjo again, and warr guitar in this one.

Anyways, 13 days contains 13 songs, with 11 singers, including Jody Ashworth from Trans Siberian Orchestra, Matt Cash from Chain, and Nik from Frameshift (his last name is to complicated to even copy-paste ), and other special guests.

Standout tracks include I've Had Enough, All I Ever Wanted, the exciting Three, Forever young, the funny track Six (love the ballad part btw), Seven, the fast paced Infrared, the banjo track Nothing is Forever, Waiting for a revolution, and 13 days. This are my favorite tracks of this album...

The other ones, although they are strong songs, they are not my cup of tea...I'll post this cause theres a system shutdwn shit virus going on.

Continuing with my review, while the other songs are strong, they are not my cup of tea. For some reason, I just can't listen to them more than once.

Anyways, this is a cd that's definitely worth getting. I'm a big fan of Henning but I still enjoy some good commercial rock. I think this album could get excellent airplay, but again, it's main purpose was for Henning to Unprog himself a little bit, and that's why I play it too. Sometimes you need to unprog yourself.

Anyways, I like the album. It's a great album, and i really recommend it. It's catchy, has some great choruses (and catchy) and banjo. what else do you want?

Redemption - Snowfall on Judgement Day

This is Redemption's 4th release which brings Nick and company with an amazing set of tunes. The songs are full of memorable melodies and the lyrics are even better than previous efforts. Again, the production is top notch. Even though Ray Alder doesn't reach the high notes as back in the day with Fates Warning, his voice is always full of emotion and this trait translates great with the combination of Nick's lyrics. James LaBrie (Dream Theater) sings a powerful duet with Alder and I loved the voice contrast (LaBrie singing high in the chrous and Alder staying low). This is by far Redemption's best release up to day...Yes, even topping the Fullness of Time (of course, in my opinion). This is my album of the year!