• Abraxas: Abraxas (1996)
  
  This Polish band shows the usual lineup on vocals, guitars, keyboards, bass and drums. Bits of flute, violin and cello are also heard. Their style, a very melodic symphonic rock, is similar to the one preferred by British bands like Marillion, Pendragon and IQ. The text-based tracks are sung (in Polish) with much expression and drama as they also rely on polished ;-) instrumental work. Vocals and guitars usually exchange melodies on precise and dynamic rhythms while the keyboards provide the symphonic textures. An excellent production which appropriate arrangements and precise performances almost compensate for the use of many cliches.
  
  
  
• After Crying: Megalázottak és megszomorítottak (1992)
  
  This Hungarian band involves four excellent musicians on keyboards, cello, trumpet, drums and percussions. Guests also provide oboe, voices, clarinet and bassoon. The compositions and performances are very classical and rare rock elements are pretty much limited to the use of drums. The use of vocals (in Hungarian) in song, narration or choir often take a religious tone. The keyboards (superb piano) and cello are in fact the dominating forces in this usually quiet and melancholic music. An excellent production but which offers very little to those who prefer a more electric and explosive symphonic rock.
  
  
  After Crying: Föld és ég (1994)
  
  This band from Hungary features six excellent musicians on keyboards, bass/cello, guitar, flute, trumpet, drums and percussions. They also share scattered vocal work (in Hungarian) that includes regular vocals, choir, narration and psalm. The first moments consist in an eloquent tribute to the piano/organ style of K.Emerson. The band then comes back to a more sober style with just as much virtuosity. The compositions and performances show a strong classical approach and often take the format of sonata, concerto or solo piece. An excellent production where classical arrangements dominate even the few "eruptions" of rock rhythms.
  
  
  After Crying: De Profundis (1996)
  
  This fourth release by the Hungarian band remains true to a very classical approach that still dominates the rock elements. The extremely rich instrumentation features keyboards and cello but also includes flute, guitar, trumpet, drums, vocals (in Hungarian), oboe, bassoon, clarinet, etc... Many tracks are in the chamber music format but others, more busy ones, include a more important symphonic delivery. The compositions are original, production is excellent, arrangements are rich, tasteful and performances reflect a strong classical training. The mood is often solemn but will certainly seduce those who enjoy an orchestral sound.
  
  
  After Crying: Elsö évtized (1996)
  
  This two disc compilation documents the career of the Hungarian ensemble. The first disc offers a collection of tracks from their first four releases. It also contains unreleased material. The second disc features live recordings from 1991 (impressive sound quality). They play music recorded on As Overground Music and some more unreleased tracks. Of the 130+ minutes of music contained, we find most of Overground (Hungarian version) and some 30 minutes taken from the other releases. The rest is material that was never released before. This superb production is certainly an excellent occasion to discover After Crying. Consult other titles for a description of the music.
  
  
  
• Albion: Albion (199?)
  
  The Polish band includes the usual five members on vocals, guitars, keyboards, bass and drums. Their style is a melodic, symphonic rock in a shorter (avg: 5 min) song format. The texts (mostly in English) are sung by a pleasant female voice and rely on simple rhythms and the symphonic accompaniment of keyboards who handle the odd melodic line. The music is light, sometimes quiet but more intense parts are usually included to support a guitar solo, inspired by the Hackett/Rothery tradition. Those who enjoy current British bands (Marillion, Pendragon...) will be familiar with the arrangements which, just as simple and predictable, tend not to be as dramatic. A quality production in a light, simple style.
  
  
  
• Algaravia: Breve e interminável (1996)
  
  This Brazilian band features double-guitars, bass, drums and percussions. Occasional keyboards and vocals (in Portuguese) are also heard. The compositions, all written by the guitarists, serve as themes from which developments are often improvised. The important work of the electric guitars show R.Fripp influences and rhythms are rock as well as jazz inspired. The few acoustic and vocal moments have a more folk flavour. In fact, the band often ends up developing a high level of intensity where the heavy sound electric guitars dominates. A quality production with a structure that favours solid instrumental performances.
  
  
  
• Alusa Fallax: In torno alla mia cattiva educazione (1974)
  
  This reissue brings us back to the glorious era of Italian symphonic rock. This group of five involves guitars, keyboards, vocals (in Italian), flute/sax, bass ans drums. Like other Italian bands from that era, the work is shared equally between members, thanks to meticulous arrangements that allow for a variety of sound configurations. We then find delicate acoustic passages on piano, guitar, flute and voice, but also moments that are heavier on rhythms, electric guitar, organ and synths. The performances are solid but sober as they rely more on group delivery. Italian classic fanatics will surely find a hidden jewel where most others will see very little interest.
  
  
  
• Anekdoten: Vemod (1993)
  
  From Sweden, this four piece band uses guitar, bass (Rickenbacker with distortion), drums, cello, mellotrons and vocals (in English) to produce absolutely intense music. Guests also provide bits of piano and brass. The quiet parts are dark and gloomy and the louder ones are dynamic and aggressive; they will knock you flat on your back ! The music, by its tones, arrangements and heavy energy, certainly evokes Red era King Crimson. A real feast for those who appreciate darkness, lots of mellotron and don't mind sonic assaults.
  
  
  
• Änglagård: Hybris (1992)
  
  Superb Swedish band formed by six ingenious young musicians. Though their music is a brilliant tribute to groups from the past, it remains fresh and original thanks to dynamic performances, quality musicianship and clever arrangements. It features double-guitars, keyboards (with mellotron), bass (Rickenbacker), a remarkable drummer, flute and bits of vocals (in Swedish). This succulent symphonic rock, with its unpredictable grooves, is pretty hard to resist. An exceptional disc that deserves all the attention it's getting.
  
  
  Änglagård: Epilog (1994)
  
  After their smashing debut, this Swedish band retaliates with an even more impressive second production. Arrangements of double-guitars, keyboards, bass, drums and flute are still present and complemented by guests on strings. The music picks up where it left with Hybris (1992) but compositions are bolder and more intricate. Their explosive energy remains with even more complex rhythms but perhaps with a more obscure atmosphere. An imposing release that remains challenging with every listen.
  
  
  Änglagård: Buried Alive (1996)
  
  According to the booklet, this is the Swedish group's last performance. The concert was recorded at Progfest '94 and is everything we would expect from the band; nothing more, nothing less. They play all four tracks from Hybris plus three more from Epilog, including the short introduction Prologue. The sound is rich and crisp and the performances are true to the studio versions. In fact, those who expect a lot of surprises may be disappointed. This recording confirms that the live band could deliver all the merchandise.
  
  
  
• Araùjo, Marco Antônio: Silêncio (1994)
  
  This re-edition features the classical guitar work of the Argentinean. It includes the two long tracks from a 1983 release. These two fantasies for guitar, flute and cello offer a classical style, an intimate ambience and a light, often melancholic tone. You will also find three bonus tracks played by a similar lineup, except for the inclusion of brass. Here, the style is slightly more contemporary, jazzier but remains melodic. In summary, this disc doesn't present any rock elements and will most likely be enjoyed by fans of light classical music.
  
  
  
• Arena: Songs from the Lions Cage (1995)
  
  Arena is a typically British project with direct ties to Marillion (ex-drummer) and Pendragon (keyboardist). The band also features vocals (Fish style), guitar (Hackett/Rothery style) and bass. The style, very well executed, is a symphonic rock typical of the "second wave" of British bands from the 80's. A rich production and a powerful sound add to the already dramatic aspect of the compositions. Short instrumental interludes also serve as transitions between longer tracks. Fans of the style won't believe their ears!
  
  
  
• Ars Nova: Tränsi (1994)
  
  These three Japanese ladies form a trio in the purest tradition of ELP. The compositions, all written by the keyboardist, show strong classical influences and are delivered with virtuosity and ferocity. The complicity of the bass and drums, also very intense, only adds to the drama and energy of the performance. The sound will be familiar to ELP fans (Hammond organ and synths) but manages to distinguish itself by the authenticity of the compositions. A high quality production that offers symphonism with heavy sounds and explosive rhythms.
  
  
  
• Ars Nova: Goddess of Darkness (1996)
  
  The Japanese are back with their keyboards, bass and drums lineup. Their music remains comparable to that of ELP. Heavy keyboard sounds are applied to classically influenced compositions with bombastic rhythms. The work of the keyboardist is outstanding by its virtuosity while it relies on the same intensity that animates her bandmates. They make common use of staccato rhythms and the drumming style evokes that of an orchestra percussionist. The themes are usually dark but the intensity insure to this production a very dramatic and explosive presentation.
  
  
  
• Asgard: Arkana (1992)
  
  This Italian production is the band's third and includes vocals (in English), guitars, keyboards, bass, drums and flute. The style is a melodic rock that obviously evokes recent British bands. The tracks are based on strong vocal presence and simple but varied and very dramatic arrangements. Their progressive development features various intensity levels; from rich ballads to a more rock sound that occasionally gets a bit raw. Guitars and solid rhythms set the tone while the keyboards insure the symphonic touch. As suggested by the presentation, themes have a dark mythical flavour which evokes the Middle-Ages.
  
  
  
• Atlas: Blå Vardag (1979)
  
  This Swedish group featured: double-keyboards, guitars, bass and drums. All tracks are instrumental and showcase the excellent melodic work of the keyboards and guitars. The rhythms are also solid and very appropriate. You will then find all the instrumental elements that made the bands from the 70's so famous. Despite the obvious references, the music remains original and accessible, while maintaining a considerable level of complexity. A solid production that proudly represents its era.
  
  
  
• Aufklarung: De la Tempesta...L'oscuro Piacere (1995)
  
  Basically, the Italian band consists of five musicians on double-guitars, keyboards, bass and drums. But their compositions also include text (in English) which insures a format rather typical to contemporary symphonic rock bands from Britain. We then find collaborations on vocals (C.Grosso from Asgard) and flute. The themes are dark, melancholic, with a mediaeval flavour and the arrangements vary from succulent acoustic parts (guitars, flute, mellotron) to livelier rock ones. The rhythms and symphonic touch of the keyboards remain simple but they reach dramatic levels of intensity, particularly during electric guitar solos. Those most familiar with the style will find exemplary performances.
  
  
  
• Ayreon: Into the Electric Castle (1998)
  
  Again in the rock opera format (narrative, characters), the third release by the Dutch project is an ambitious (2CD) production. The versatile producer (guitars, bass, keyboards, music, and concept) accepts solid contributions by many guests on vocals, keyboards, drums and flute. The style is a melodic, symphonic and text-based rock (in English) with plenty of the usual fantasy, drama and cliches. The result manages to stand out, thanks to a powerhouse of energy and impeccable technique. The simplicity of the music, eclipsed by a gigantic and explosive production, favours instant gratification for the listener. Those who enjoy titles like Generation 13 (Saga), Subterranea (I.Q.) or Stardust We Are (Flower Kings) will probably be the first ones to be seduced.
  
  
  
• Luciano Basso: Voci (1978)
  
  Basso is a keyboardist who's music is typical of the Italian symphonic rock tradition. His mastery of the piano, organ, mellotron and harpsichord is complemented by the addition of violin, drums, cello, bass and guitar. Although his highly classical approach reminds one of K.Emerson, arrangements are usually more subtle and rhythms are not as furious. In fact, virtuosity relies here on a lighter and more subtle sound that's very Italian. A quality production, keyboard based compositions ans a sound typical of the place and time. It make you wonder how this classic has gone 15 years without being noticed.
  
  
  
• Blezqi Zatsaz: Rise and Fall of Passional Sanity (1992)
  
  Blezqi Zatsaz is the work of excellent Brazilian keyboardist/composer Fabio Ribeiro and his arsenal of analog and digital keyboards. He is joined by guitarist, bassist and drummer. Symphonic arrangements and classical influences are prominent while the sound ranges from typical symphonic rock to electronic music (J.M.Jarre style). The rich sounds of the keyboards handle most of the melodic and harmonic work while the rest of the band takes care of the rhythm. Easy listening instrumental music that should reach a large audience.
  
  
  
• Thomas Bodin: An Ordinary Night in my Ordinary Life (1996)
  
  This rich production from Sweden features the compositions of the keyboardist from Flower Kings. In fact, all of the band members (guitars, bass, drums and percussions) are present and R.Stolt also produces. The result certainly evokes an instrumental version of the band. The same dynamic and explosive symphonic rock is offered with loads of keyboards (synths, organ, mellotron and piano) and arrangements that usually involve all band members. With the absence of vocals, the music takes an occasional ambient, more experimental turn. A disc which sound will remain familiar to Flower Kings with a bit more restricted reach of compositions and strength of melody.
  
  
  
• Jean Pascal Boffo: Nomades (1994)
  
  Excellent guitarist, this Frenchman plays an electric jazz music with mid-eastern flavoured themes. Drummer (and percussions), saxophone player (soprano) and violinist are added to his solid work on guitars, bass and programming. The neatly crafted exotic melodies are developed progressively, as the intensity of the rhythmic section increases. The rich and dynamic production brings out all the nuances of the performances. Despite showing undeniable energy and becoming quite busy at times, the music has a mellow feel and curiously evokes the demeanour of a camel!
  
  
  
• Boud Deun: Fiction and Several Days (1995)
  
  This American band is formed by four excellent young musicians playing guitar, violin, bass and drums. The style owes more to 70's style fusion than to any other type of rock. Simple production and limited range of sounds give way to the originality and intensity of the compositions. Violin guitar and bass trade complex melodies sustained by varied, just as complex and sometimes furious rhythms. A jazz-rock fusion with a fairly heavy sound, complex arrangements, changing rhythms and plenty of energy that make it very demanding to the listener.
  
  
  Boud Deun: Astronomy Made Easy (1997)
  
  The four Americans are back with their guitar, violin, bass and drums. The style remains that of a very energetic jazz-rock fusion with a crude sound that evokes the 70's. Featured are the complex riffs of the guitar, violin and bass on rhythms just as complex, varied, often furious. The guitarist writes most of the material but spectacular performances are those of an aggressive band where everyone is involved, full steam ahead. The modest but quality production insures a live sound that relies on the high energy of the performances. Original music with influences that range from 70's jazz-rock fusion to current bands like Primus.
  
  
  
• Brand X: Xcommunication (1992)
  
  Indeed, this is the return of Brand X under the economic format of a trio. Goodsall (guitars) and Jones (fretless bass) are back with their distinctive styles and are joined on drums by the very efficient Frank Katz. Also, the addition of synth (midi) guitar partitions tries to compensate for the absence of keyboards. We then find a simplified version of the band's sound and the style remains a pretty heavy jazz-rock fusion with very lively rhythms. For jazz-rock fusion fans, old and new.
  
  
  
• Bubu: Anabelas (1984)
  
  This Argentinean group plays very intricate and original music. The group features violin, flutes, saxophone, vocals, choir, guitar, keyboards and drums. Their music is characterized by the variety and interaction of the instruments. Their mix of smooth and melodic themes with more intense and dissonant ones is very effective. Influences are varied (classical, jazz, rock, folk) but make up quite an interesting blend, thanks to the audacious arrangements of composer Daniel Andreoli. Unconventional music of particular interest to those who like to experiment.
  
  
  
• Caféine: La citadelle (1994)
  
  The French band shows the usual lineup on vocals, guitars, keyboards, bass and drums/percussions. Their style is a melodic, symphonic rock in a format very typical of current British bands. Rich symphonic arrangements, languorous guitar solos and the occasional ballad feel are present but an even balance of performances is achieved through a more important role of keyboards and a very dynamic rhythm section. The progressive development of themes involves calm, lively, vocal (in French) and instrumental parts which are all executed with the same expert precision. A high quality production that deserves its spot next to the 90's version of Marillion and Yes.
  
  
  
• California Guitar Trio: Yamanashi Blues ('92) / Invitation ('94)
  
  This project is a sub-product of Robert Fripp's League of Crafty Guitarists. The guitar trio uses mostly acoustic instruments, except for the occasional addition of electric parts. The tracks generally show superb arrangements where the three interact in a dazzling manner. Three type of tracks are featured showing the respective influences of R.Fripp, '50s groups (Shadows, Ventures) and J.S.Bach. Despite the restricted instrumentation, the sounds are quite varied, show much innovation and are delivered by a production that is just as peculiar.
  
  
  
• Calliope: Citta' di Frontiera (1993)
  
  One of numerous Beppe Crovella productions, this Italian band features voice, guitar, keyboards, bass and drums. The compositions make use of plenty of Italian lyrics, Hammond organ, electric guitar and energetic rhythms. The sounds are rich, varied and mostly electric. This music is faithful to Italian tradition and relies on an energetic approach and an imposing sound. A disc full of excellent guitar and keyboard riffs that give a somewhat heavier tone to the usually more subtle Italian symphonic rock.
  
  
  
• Cast: Endless Signs (1995)
  
  This is the fifth release by this Mexican band who's sound is absolutely British. This vocals, guitar, keyboards, bass and drums lineup produces very melodic rock with fantasy themes. The songs are usually based on the text but instrumental passages are not neglected. You will recognize a formula which has a tradition that goes back to bands like Marillion and Genesis. Nevertheless, the performances are convincing and deserve close attention by fans of the typical British symphonic rock.
  
  
  
• Cathedral: Stained Glass Stories (1978)
  
  This 1991 re-edition preserves the only title released by the American band. The usual five man lineup features vocals, guitars, keyboards, bass and drums and their symphonic rock immediately evokes the British bands of the 70's. In fact, the tones and arrangements are clearly inspired by the classic sounds of Yes and Genesis. You will hear the busy Rickenbacker bass, the changing rhythms accentuated by a bright snare and the complex but subtle work of the guitarist. However, the vocals presence isn't as strong (quantity and quality) while the keyboard work (no solos) consists of generous doses of mellotron and organ. Not unlike the ones by Anglagard, this production presents a very familiar sound where recomposition and performances nevertheless manage to surprise the listener.
  
  
  
• Catweazle: Ars Moriendi (1996)
  
  This new Swedish band of four features vocals (in English), keyboards, guitars, basses and drums. Influences include pop rock as well as others commonly associated with British symphonic rock. The result is a fresh and light melodic rock that we should be hearing on the radio. Text-based, the compositions are simple but performances are solid and arrangements vary from acoustic to electric. What you will find here is easy listening music with a symphonic touch of keyboards and very appropriate solos.
  
  
  
• Ceinwen: Simon Says (1995)
  
  The Swedish band is formed by four members including a singer (in English), a drummer, a guitarist and a fourth one who handles bass, guitars, flute and keyboards. Guests also participate on vocals and keyboards. The style is surely inspired by British bands from the 70's but the arrangements and production betray that era. We then find text-based tracks, long developments (light and heavy) and solid performances. Sadly, the arrangements remain fairly simple as the band favours a thick and heavy sound. The melodies sometimes have trouble getting through the layers of keyboards and the loud rhythm section. Fans of most current British bands will enjoy the familiar sound while others should proceed with caution.
  
  
  
• Celeste: Principe di un giorno (1976)
  
  This release is a real "classic" of Italian symphonic rock. Its particularity is that the attributes are, not virtuosity but beauty, softness and subtlety of the music. Arrangements usually feature acoustic guitar, keyboards, flutes, bass, percussions and vocals. Mellotrons and flutes are used generously with sprinkles of saxophone, violin, xylophone and horn. Despite a very delicate sound, the music holds mysterious powers, definitely celestial.
  
  
  
• Chery Five: Cherry Five (1975)
  
  This unique production by the Italian band is the project of an eventual Goblin keyboardist and guitarist. Singer, bassist and drummer complete the lineup. The style, inspired by Italian and British bands of the era, is a melodic, symphonic and complex rock composed on keyboards (organ, synth, mellotron, piano) and guitar (mostly electric). The tracks usually involve vocals (in English) but their tone seems dull in comparison with the more spectacular instrumental work. In fact, the music relies on energetic performances where melodic phrases (including C.Squire style bass) are superimposed and driven by busy rhythms. This excellent production should please fans of the classic sounds evoked by the time and places in question.
  
  
  
• Citizen Cain: Somewhere but Yesterday (1994)
  
  After a few minutes of listening to this Scottish band, it becomes obvious that they draw their inspiration from the old Genesis of the seventies. The style of the vocalist as well as most of the arrangements clearly evoke the Nursery Cryme - Foxtrot era. In fact, only the use of synthesizers betrays the illusion. The band features vocals and flute, keyboards (lots of organ), guitars, bass and drums. The compositions show surprising bits of originality and the very appropriate production captures the essence of a now legendary sound. Only purists will be able to resist.
  
  
  Citizen Cain: Raising the Stones (1998)
  
  The Scottish band remain true to the style proposed on Somewhere...(1994) but only two members remain (vocalist, keyboardist). They nevertheless preserve a group sound involving vocals, keyboards, bass and drums (programmed?). You will recognize the vocal work inspired by early P.Gabriel and an approach that favours sudden and periodic rhythm changes. The sound is nevertheless altered. The absence of guitar necessitates supplementary keyboard arrangements and a stronger presence on bass. In fact, the abundance of text barely dissimulates a surprisingly rich instrumental content. A production in a style inspired by symphonic rock classics from Britain with a necessarily more synthetic sound.
  
  
  
• Clepsydra: More Grains of Sand (1994)
  
  This Swiss-based band shows the usual five-piece lineup: vocals (English with heavy accent), guitar, keyboards, bass and drums. The style is also very typical of the melodic rock produced by British bands since the 80's (ex: Marillion, Pendragon, I.Q.). Despite a tired old style, they manage to produce a music that pleases instantly. The presence of both singer and guitarist are most noticeable, the keyboards provide a rich symphonic texture and the rhythms are very precise. Simple compositions with expert performances and loads of emotion. A high quality production that compares favourably to its numerous equivalents.
  
  
  
• Cliffhanger: Not to Be or Not to Be (1996)
  
  This production from the Netherlands involves four musicians on keyboards, guitar/vocals, bass and drums. Their style is certainly inspired by British symphonic rock but the texts (in English) are not always present and the music offers many prolonged instrumental parts. In fact, the band features a very active bassist with a peculiar sound (heavy chorus effect). The rhythm section certainly has an important role while the keyboards (synths, mellotron, piano) provide thick symphonic layers and the guitar plays conventional parts. The music is very dramatic and energetic, sounds and arrangements are rich, but the heavy production sometimes lacks definition. Some ambitious music, in a familiar format, but which melodies don't always have the strength to impose themselves.
  
  
  
• Collage: Moonshine (1994)
  
  From Poland, this group plays a melodic rock typical of modern British bands. The usual lineup features vocals (in English), keyboards, guitars, bass and drums. The compositions are text based but instrumental parts and solos are also present. A heavy production and very symphonic arrangements add a touch of drama to the performances. The themes often evoke the melancholic feel of ballads but also rely on inspired work from the drummer. A band to discover for fans of the style.
  
  
  
• Cooperativa del latte: Il risveglio (1998)
  
  The four Italian use vocals, keyboards, guitars, bass, drums and flute to produce a rock that's melodic, symphonic but delicate. The tracks involve a succession of vocal (in Italian) and instrumental parts where you hear acoustic as much as electric guitars, analog keyboard sounds (lots of organ) and dynamic but rarely heavy or explosive rhythms. The band also tends to rely on cohesion since performances are solid but modest. A simple production and sometimes predictable arrangements finally tend to induce the feeling that this recording could have been made during the early 70's. Nevertheless, this record deserves the attention of those who can never get enough of a traditional sound.
  
  
  
• Desequilibrios: Desequilibrios (1993)
  
  This Brazilian band shows the usual lineup including vocals (in Portuguese), keyboards, guitars, bass and drums. The style is a text-based melodic/symphonic rock that evokes numerous British bands but the delivery offers pleasant surprises. The instrumental work is captivating and this is where you find various influences that reach beyond the usual style. The technique of every member is strong and the production is excellent. A disc that deserves a serious listen from most fans.
  
  
  
• Deus Ex Machina: Gladium Caeli ( 90) / same ( 92) / De Republica ( 95) / Diacronie Metronomiche ( 96) / Equilibrismo da Insofferenza ( 98)
  
  The five titles are here presented together because they offer much continuity in terms of composition, arrangements and performances. This Italian band features six members on vocals, guitars, keyboards, violin, bass and drums. Their style is an electrifying mixture of Italian symphonic rock and jazz-rock fusion from the 70's. Nevertheless, their sound is fresh, original and driven by an extremely explosive energy which makes even more spectacular the already impressive technique of each member. Noticeable here is the abundance of text sung in Latin by an uncommonly intense voice. The vocals then share complex and often furious licks with the guitar, keyboard and violin. The rhythm section is also very dynamic and aggressive. A delight for rock fans who appreciate elements of complexity, jazz, ferocity and performance.
  
  All five titles offer excellent opportunities to discover the band. The first one ( 90) can be said to suffer from a more modest production and doesn't display all the cohesion the band would eventually develop. The next one ( 92) will then introduce a slicker production, more cohesion and the arrival of a new drummer. The 95 production is even richer and more explosive. The recording produced in 96 finally showcases the live band and offers an pretty even selection of tracks from the previous three releases. With their most recent ( 98), the band introduces slight changes. Texts are sung in Italian, a brass section is occasionally introduced and keyboard duties are split between two different players.
  
  
  
• Devil Doll: Eliogabalus (1990)
  
  This production proposes a specific combination of elements that characterize the music of the Italian/Yugoslavian project. First, it features a very expressive singer/narrator who delivers the numerous texts (in English) with his tormented, often whispered voice. The musical themes are also quite gloomy, evoking for example the circus, the asylum or hell. While they are very effective, the instrumental arrangements are usually simple and mostly involve keyboards (piano, strings, organ) but also guitar, violin, drums and choir. In fact, the vocals episodes are often accompanied only by piano while the cyclical instrumental parts tend to sound more like your average symphonic rock. Not unlike B-series horror movies, there is something funny about the tragic ambience suggested here.
  
  
  
• D.F.A.: Lavori in corso (1997)
  
  The four Italians use guitars, keyboards, bass and drums to produce a music inspired by rock, jazz and symphonic rock. Two of them also contribute vocals (in Italian) and flute (rare). The compositions involve text but these are scattered around while the band goes into long and complex instrumental developments. Much of the work by guitar and organ (Hammond) evokes a rock from the 70's while the rhythms, precise and lively, suggest more contemporary jazz/rock fusion influences. Some keyboard part are also more typical of the usual symphonic rock. This excellent production offers strong performances, much intensity and interaction in a style that fuses numerous influences.
  
  
  
• Discipline: Unfolded like Staircase (1997)
  
  The American group includes four members on vocals/keyboards/composition, guitars, bass and drums. Their style is a melodic, symphonic, text-based rock like that of many current British bands. We find the same drama, melancholy, simple rhythms and important vocal presence. However, we also find a simpler rock sound with references to classics of the early 70's (King Crimson, VDGG). The guitar taking a heavier, dirtier tone and the analog keyboard sounds (piano, organ, mellotron) insure that retro flavour. The performances are solid but the production favours simplicity over fireworks. A classic sound in a simple, familiar, easy listening format.
  
  
  
• Divae: Determinazione (1995)
  
  This Italian band includes six members on vocals, double-keyboards (analog), guitar, bass and drums. Their style is a pleasant and balanced blend of Italian, British, past and present influences. The tracks also offer equal parts of calm, explosive, vocal (in Italian) and instrumental moments. However, the sounds remain electric and the rhythms dynamic, insuring a definitely rock sound. The performances are also indicative of a compromise between individual expression and group cohesion. The whole package is finally presented with the simplicity and melodic tone preferred by symphonic rock bands of the 80's. A quality production that puts the listener at the crossroads of eras and traditions that define the style.
  
  
  
• Djam Karet: Reflections from the Firepool (1989)
  
  The American band is formed by four members on double-guitars, bass and drums who also share duties on keyboards, percussions and sound effects. Necessarily based on guitar work, the style comes across like a spacey jazz-rock fusion. The tracks usually show a slow but progressive development from hypnotic sequences or rhythms and often culminate in a tasteful electric guitar solo. Despite a format that seems restrictive, the band manages to explore a variety of ambiances through varied arrangements, expert performances and a quality production. The numerous influences should reach many listeners, particularly if they appreciate a touch of improvisation and experimentation.
  
  
  Djam Karet: Burning the Hard City (1991)
  
  These four Californian musicians are very unpredictable. Here, they play a kind of space-fusion that blends elements of psychedelic rock with electric jazz. This four piece band uses guitars, keyboards, bass, drums and sound effects to create very spacey music. But that doesn't translate into relaxation music. The compositions occasionally use heavy riffs and involve some improvisation that brings about long guitar solos. In fact, this disc will appeal primarily to electric guitar fans, even if it also features a very dynamic rhythm section.
  
  
  Djam Karet: Suspension & Displacement (1991)
  
  These four Californian musicians are very unpredictable. Here, the music is very experimental and ambient. This four piece band uses guitars, keyboards, bass, drums and sound effects but the tracks show very slow developments and serve primarily to create atmospheres. As a result, the music has an electronic sound where the use of melodies is limited to slow hypnotic sequences on guitars, keyboards or percussions. An original production with gloomy themes and an intensity that can make you dizzy. Certain scenes may not be suited for some audiences...
  
  
  
• Dogma: Album (1992)
  
  A first production for this Brazilian group of four musicians on guitars, keyboards, bass and drums. M.Viana (violin) guests on one of the tracks which, all instrumental, are played in a very British style dominated by melodies and symphonic arrangements of keyboards. Guitar solos in the Hackett/Rothery style are also present. A rich sounding music where fairly simple compositions show limited inspiration. Nevertheless, a quality production and performances that are true to the usual style make the listening enjoyable.
  
  
  Dogma: Twin Sunrise (1995)
  
  Second production for this Brazilian group of four musicians on guitars, keyboards, bass and drums. Guests contribute vocals (in English) and strings on a few tracks and give another dimension to Dogma's sound. The guitar playing and the arrangements remain very British (Marillion) but the compositions are now more inspired and better crafted. Still very melodic and relying on symphonic keyboard arrangements, the music now incorporates elements that make it more dynamic and less predictable.
  
  
  
• Dr. Folamour: Dr. Folamour (1995)
  
  The music of this guitar-drum duo offers a curious blend of influences but relies on a solid rock basis. The tracks usually feature heavy electric riffs and energetic rhythms but also involve a variety of nuances attributable to various influences. This is achieved by showing versatility and also by including guests on bass, vocals, violin, keyboards and flute. These elements bring a peculiar flavour to the traditional themes (European and North-African) from which the duo liberally inspire themselves to create their explosive and contemporary rock sound. An excellent production, an accessible sound but mostly, monster performances on guitars.
  
  
  
• Dragonfly: Dragonfly (1995)
  
  This re-edition of a 1981 release includes two bonus tracks from the same era. The Swiss band then featured five members on vocals, keyboards, guitars, bass and drums. Their style is a melodic, text-based (in English) rock that was certainly influenced by British rock scene from that era. The performances are energetic and even indulge in a few bursts of virtuosity. In fact, this production proposes a balance between the accessibility of a melodic rock and the intensity of a more technical approach. A package that, because of diversity, should reach many listeners even if, after a first listen, it can leave you a bit confused.
  
  
  
• Drama: Drama (1995)
  
  The music offered by this French band is completely instrumental and involves five musicians on guitars, basses, keyboards, drums and percussions. The compositions are mostly those of the guitarist who, despite a solid performance, barely conceals his lack of inspiration (numerous cliches). With modest implication from the keyboards, it's the dynamic energy of the rhythm section that certainly brings life to the tracks. In absence of originality, the bands relies on precise execution of a familiar symphonic rock, except for the occasionally exotic (African, Latin) flavour of it's rhythms. An quality production, easily accessible, that barely distances itself from the usual standards.
  
  
  
• Dream Theatre: Awake (1994)
  
  This American group offers complex heavy rock where the technique of the musicians make it even more dramatic. The style is inspired by the usual pop rock but also by a more "metal" and more acrobatic style. Compositions are based on the energetic riffs of the electric guitar, bass and drums. The vocals are solid and the keyboards often take on a support role. A dynamic sounding production that can hit hard at times and aggressive performances that are quite spectacular. Deserves the attention of fans of the style but also a warning for the others.
  
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