Steve Hackett's debut is very much likely to soothe anyone who has ever been a fan of Genesis. Like Chris Squire's sole solo album, Fish Out Of Water was called ''The lost Yes album'', this one quickly falls under the same comparison for the other progressive giants for the 70s. As many people know, Hackett was a somewhat outspoken force in the band and it only became apparent just how much Hackett brought to the table for the band when he left And Then There Were Three, some might say. Hackett's Genesis buddies just about all show up with the exception of Peter Banks and Peter Gabriel, and while the album definitely does not sound like a Genesis album in its purest form, it certainly has some moments where it comes close. The nice and most surprising thing about the album is just how much energy this album has. Many people may have a problem with Genesis and their lack of 'rocking' moments, but on this album no such thing can be said, even if the serene moments do exist on the album.

The best parts of the album are the ones where Steve really wants to show some flash as a guitar player. The album opens with what's likely the best of these purely ambitious prog rock tracks in the form of Ace Of Wands, which is surprisingly fast, energetic and with enough pure rock power to put a lot of other bands to shame. Like many songs on the album, this one is an instrumental and like most other songs on the album it has a wonderful melody that is bound to get stuck in your head. These melodies are reprised later on in the album, revealing its true nature as a concept album. A Tower Struck Down is not as hard rocking or as fast as the opening tune, but it certainly makes for a great story telling device with the sampled sounds and chantings which make it truly malevolent. This song is bookended by the two-part, brief but calm instrumental Hands Of The Priestess whose mood makes for a surprising contrast to the other songs on the album.

Of course, Steve's compositional prowess also shows through on the album. Star Of Sirius is likely the best example of this, and arguably the best song on the album. Phil Collins makes an appearance on this track on the microphone, but he does so in his dreamy Trick Of The Tail voice, which when mixed with Steve's soundscapes makes for a crazy-good track ripe with melody, symphonic bombast and familiarity thanks to the reprisal of Ace Of Wands. Other songs which follow this kind of structure are also on the album, but both of them are a lot more toned down. The Hermit ends off side one impressively, and on side two The Lovers is voiced gently by Sally Oldfield and makes for a very tranquil track. The album ends with the storm-gathering Shadow Of The Hierophant, a somewhat repetitive song which is simply a build to its peak and then a decline into silence signaling the end of the album. Used more for mood than anything else.

In the end Steve Hackett has created an emotional and technically impressive ride which will thrill fans of his other projects and interest just about everyone else. This album is considered a symphonic classic for a reason, and while not essential is certainly deserving of a strong 4 stars of sirius out of 5. Very much recommended.

by King By-Tor


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The opening number is a great Sabbath song. OK, there is no Ozzy here, but the riff and the guitar solo could have come from the mind of maestro Iommi. Even if there is a popish interlude during Pondhillow's Finest, the band comes back with some doom metal while performing The Spellweaver. Vocals are quite weak and when you analyse the music, the band sounds not as powerful as his model.

Burning Saviours sounds as smooth version of Sabbath. Maybe not bad per se, but rather disturbing. One could have expected some more juice coming out of this band.

They even sound as Tull during the heavy-rock ballad Woodnymph. Peaceful and aerial vocals combined with heavy instrumental parts. Not too bad after all. What's for sure is that you won't fall asleep while Dreaming Of Pastries is being played. Some heavy punkish rhythms with a great Pyykko on the lead guitar. This is maybe cliché, but it is one of my fave.

The remaining songs are just a repetition of what can be heard previously. A Sabbath (the good Trinity)/ Tull combo (Hillside Mansion). The closing Exposed... is another fave of mine. A doomy start and middle part which are pleasantly interchanged with speedy riffs and beat. A very good heavy metal track (but be prepared that this album is more a metal album than a prog one).

This album is not essential of course. It is a fine moment of nostalgia and should be only considered as such. You have been warned that the music can't be considered as highly creative but I enjoyed it when I discovered it though. Three stars.

by ZowieZiggy


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The instrumental (as many tracks from this work) opening and title number is a bombastic glory, an ode to ELP most of the times. It is a gorgeous orgy of keyboards well sustained by a furious guitar work and an excellent backing band. To tell you the truth, I was really charmed while listening to Ciclotimia. Maybe somewhat regressive, but the verve of this band is so huge that I really enjoyed it.

At times, the high technicity of the band can bring it to almost an eclectic territory (El Vacío I). They are maybe searching too many difficulties and sounds as if they were trying to be a keyboard-oriented KC.

The first song with lyrics is Tu Eternidad. Fully neo-prog oriented, it is not my fave of the whole. The voice from Agustín Amaya is soft and pleasant but the whole sound a bit too much borrowed; although the closing guitar from Juan Cruz Sanabria is just excellent.

I also have to say that these rather basic lyrics encountered during Todo Lo Que Pueda Ser are not really on par with their music. Hopefully, there are many instrumental tracks and Fabulas De Un Títere completely erases the average feeling. The guitar is more present during this number. So far, it was really almost a keyboards affair. The wild beat from the closing section is almost inviting us to get up and substantially move. An excellent number and a definite highlight of this album.

Another one is the beautiful and heavier Dislalia. Furious beat again and those mighty keys sounds. Nothing new at this point of the album (it is almost the closing number). It also offers some hectic moments, but this seems to be almost a trade mark for Amagrama.

This debut album is promising. It is a fine combination of neo-symph with a glimpse of eclectic prog. It is not a usual combination, but it works very well. The vocal department is probably a bit weak.

The cover from one of the best Nexus track (on their debut album) is another great moment from this work which offers plenty of those. Seven out of ten, but upgraded to four stars. Arriba Argentina!

by ZowieZiggy


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The music played by Alter Echo is a fine combination of symphonic (even eclectic) and pop rhythms. The opening song (probably the best and more complex) has a definite Gentle Giant feel (without being irritating). But even when a song sounds more straight forward (Stämman), it remains enjoyable.

Of course, there are times during which the shadow of Genesis is passing by (Eremiten). But it's the Genesis from And Then There Were Three. The mood is tranquil and mainly keyboards oriented. A gentle piece of symphonic music in the prog acceptance of the word.

There are some flaws as well on this album. Innan Strax Före for instance. Funky-jazz-prog? I don't know but it does sound very pleasant to say the least. The album enters into a more pop orientation with Axel I Stan and Tänk Om. It is true to say that it is basic prog music, but the vocal harmonies are more than acceptable and the musicianship pretty good.

The band brings us into better territories with Oleg which is again more complex. The jazz feeling is evident and the interplay guitar / keyboards is fine to listen to. This piece is instrumental and highlights the skills of the rhythmic section. Oleg provides a joyful atmosphere and is one of my fave from this work (together with the opening number).

Another technically good GG emulation is Jordbon. It only lacks the high pitched vocals but musically, it is pretty close. Actually, the definition of Alter Echo's music is a mix of a late seventies Genesis combined with an accessible GG.

I have enjoyed this album as a whole (except two/three tracks of which the closing number). This is not a grandiose album of course, but it conveys some tranquillity. One might need this from time to time. Three stars.

by ZowieZiggy


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Yizkor: Music of Memory (Reckless DC Music RMCD 1053, 2008)

Combining musical roots of the cultural and spiritual duality implied by their name, the Connecticut-based Afro-Semitic Experience is one of the more intriguingly inventive bands out there. Their 2005 release Plea For Peace has been a continual source of enjoyment, though its entirely instrumental approach left me wondering what the group might sound like if vocals were added to the mix. The question is resolved with Yizkor: Music of Memory, which features the voice of noted cantor Hazzan Alberto Mizrahi intoning mystically among arrangements that shrewdly blend jazz, African beats and hints of everything from klezmer to bluegrass to classical.

A Yizkor is a type of Jewish memorial service involving specific prayers, and the musical settings which those prayers are placed in (mapped out primarily by bassist David Chevan) give Mizrahi’s almost operatic voice the benefit of dramatic builds, insistent rhythms, quirky mood-setting sounds and, most importantly, enough space to allow his entreating tones to soar straight to heaven.

The entire disc is captivating, a particular standout being the nearly 11-minute “El Maleh Rakhamim (God, Full of Compassion),” on which the give and take between the players and their special guest is particularly felt. After that climactic piece, a pair of crackling instrumentals wrap up the CD, capping a new turn by the Afro-Semitic Experience in fine style. (www.chevan.addr.com)

Buy the CD:

• In North America: Yizkor: Music of Memory

- Oh. My. God. If you haven't seen Broken Social Scene yet this year, do it. ASAP. Seriously. It's well worth the ticket price/gas money/plane ride. In fact, it pays dividends.

- Land of Talk opened. Elizabeth Powell is great, especially on the guitar. That girl can shred like the best of them! If you like the female-fronted-Canadian-indie-rock sound, you have to check them out. I'd suggest listening to "Speak to Me Bones" and "Summer Special" from their delightfully sludgy EP, Applause Cheer Boo Hiss, and "Some Are Lakes" from their latest CD.

- Kudos to my friends Sarah, Krystin, and Gantt for picking the best spot in the house (as in right in front of Whiteman, Canning, and Drew!)

- I don't think I could have asked for a more perfect set list. They kicked things off with "Shampoo Suicide," then played everything from "KC Accidental" to "7/4 (Shoreline)" to "Fire Eye'd Boy" to "Looks Just Like the Sun" to "Churches Under The Stairs" to "Hit the Wall." And that was just the "first half" of the show.

- Next came "Cause=Time," "Love Is New," "Stars and Sons," " Anthems For A Seventeen-Year-Old Girl," "Frightening Lives," "Lover's Spit," "Superconnected," "Major Label Debut," "Been At It So Long," "It's All Gonna Break" And it doesn't end there...

- Most jaw-dropping part of the night: Andrew Whiteman (the Apostle of Hustle himself) playing "National Anthem of Nowhere." Daydreamed about this happening for weeks now...and it actually materialized. And I just told someone today that I would give my right leg to see Apostle of Hustle.

- Another thing that materialized: my weird dreams where Brendan Canning pops up as another face in the crowd. Ran into him on my way to the bathroom. He was standing there, with his cute little winter hat with the earflaps, just like my dream. Anna, I think your whole sleep-stalking theory was right.

- That "set list" up there is incomplete. If you can believe it. Found the complete-ish set list:

1. Late Nineties Bedroom Rock for the Missionaries
2. Shampoo Suicide
3. KC Accidental
4. 7/4 (Shoreline)
5. Fire Eye'd Boy
6. Churches Under the Stairs
7. Hit the Wall
8. Farewell to the Pressure Kids
9. Three Thousand Miles (Hawaii cover)
10. Looks Just Like the Sun
11. The Science Experiment / Mrs. Morris
12. Cause=Time
13. Superconnected
14. (I think this was Been At It so Long. Unless we all dreamed it.)
15. Anthems for a Seventeen Year Old Girl
16. Love is New
17. Frightening Lives
18. National Anthem of Nowhere (Apostle of Hustle cover)
19. Stars and Sons
20. It's All Gonna Break
    

Encore:

1. Lover's Spit
2. instrumental jam
3. Major Label Debut (Fast)

- Okay fine. I really wanted to see "Almost Crimes." But that would have been really indulgent/selfish of me to ask for after tonight..

- I love how Broken Social Scene sounds ridiculously tight and like they're about to fall apart all at the same time.

- Liz Powell filled in for all the female vocals on the BSS tracks. She has me sold in terms of being a full-on BSS female vocalist. "Anthems" was beyond words.

- The Do Make Say Think experiement with the sax was pretty cool. It's far too complicated to explain, so if you're curious, go youtube it.

- Drew's jacket during the Hawaii cover...

- If BSS really needs a personal trainer, my friend Will is willing and able to work for "Ibi Dreams of Pavement (A Better Day)" once a week.

- Drew has an "F" tattooed on his wrist. Ironic that we noticed that when he was playing "Lover's Spit" and asked the crowd to shout out names of exs...

- Canning has the most formidable beard I've ever seen in my life.

- He also has cool shoes. See?

- Got countless music recommendations. I met a guy named Josh from Chattanooga while waiting for the show to start. He says I need to listen to M83 (who I have heard of but never really checked out). Another girl (whose name I didn't catch) suggested I see the Avett Brothers live. And at the end of the night, after a massive group hug, Kevin Drew told the crowd chilling in the parking lot to keep on checking out new music. Not wanting to miss an opportunity, I asked him what he's been listening to. He mentioned The National, Chad VanGaalen, and a little band called The Field that I've never heard of but must check out!

- Ran into a very drunk Whiteman after talking to Drew. Asked him if I could get a picture, he said he would love to, put his arm around me and mumbled something about making eyes at me. I turned to see what he was talking about and his face was about half an inch from mine. He was closing in on me too, so I looked at my friend with the camera and this happened:

Probably one of the greatest/most awkward/hilarious moments of my life. Made even more awkward by the fact that he tried it on two of my other friends. Which leads me to pose the question: If the man that just made you all melty inside by playing several of your favorite songs ten minutes before drunkenly mumbles about making eyes at you and leans in, what the heck are you supposed to do?

Some may think this is an easy answer, but when you're in the situation, it's a tough call.