• Echolyn: Suffocating the Bloom / As the World (1993/1995)
  
  These five American musicians present the usual lineup with vocals, guitars, keyboards, bass and drums. Flutes and strings are used in some of the acoustic parts. The compositions are based on introspective lyrics but never neglect the instrumental aspect of the music. The clever interaction between the voices and the other instruments introduces elements of complexity to this otherwise very accessible music. They actually pull-off an excellent fusion of the best elements from numerous influences.
  
  
  
• Eloy: Planets (1981)
  
  This German band, who's debut dates back to '71, take to the '80s with a soft and melodic symphonic rock. The band includes keyboards, voice/guitars, guitars, bass and drums. The songs are usually text-based (in English) and the rich keyboard arrangements set the tone. The guitars and rhythm section take on a solid but supportive role. The compositions are simple but remain efficient through careful presentation. A slow but energetic symphonic rock (Pink Floyd style) with a spacey flavour.
  
  
  
• Redjy Emond: Sphère (1996)
  
  This Canadian self-production is that of a composer, arranger, programmer and keyboardist. The style is a very symphonic rock that showcases Emond`s classical training. The music is presented in the typical keyboards, bass and drums format that is usually associated with ELP. It features the rich compositions and the expert performances of the keyboardist. The supporting bass and drum tracks are carefully programmed. A quality production that should please those who appreciate keyboard driven symphonic rock.
  
  
  
• England: Garden Shed (1977)
  
  This British band of four uses keyboards, guitars, bass and drums as well as shared harmonic vocal work. Their style, mostly electric, is a symphonic, melodic rock typical of the place and time. The arrangements evoke bits of Genesis, Yes and are presented with the simplicity of Supertramp. However, the band integrates these influences (and many more) in way that still manages to surprise the listener. All tracks involve texts but the instrumental work is never neglected. The expert performances are never excessive since the band relies primarily on cohesion and harmony rather than the power of unison. This release is difficult to avoid if you are a fan of legendary British bands.
  
  
  
• Ensemble Nimbus: Key Figures (1994)
  
  This Swedish band has a peculiar sound. It features guitar/bass, clarinet, drums, keyboards, violin and occasional vocals (in Swedish). Their eclectic style involves, amongst others, elements of rock, jazz, chamber music and traditional music. The guitarist writes all the material witch makes sustained use of the electric guitar, but doesn't reduce the rest of the band to a support role. Quite the opposite, the tracks involve original arrangements of melodies and rhythms where all members make an important contribution. An excellent production that primarily appeals to those who like to experiment.
  
  
  
• Eris Pluvia: Rings of Earthly Light (1991)
  
  This Italian band is based on the work of guitars (often acoustic), flutes and vocals (in English). The lineup also includes keyboards, bass, drums and saxophone. Consequently the compositions are the result of acoustic-folk work (guitars and flute) but also feature symphonic keyboards and developments with a more electric sound. The music has a light, often romantic flavour that is barely betrayed by the richness of the production, the warmth of the arrangements or the precision and efficiency of the rhythms.
  
  
  The Ancient Veil: The Ancient Veil (1995)
  
  This Italian group (see Eris Pluvia) is in fact a guitars/vocals and flutes/saxophones duo. While most tracks are based on the combination of acoustic guitar, various flutes and vocals (in English), the arrangements tend to vary, thanks to the contribution of numerous guests on violins, oboe, clarinet, percussions, bass, choir, piano, etc. As a rule though, the sound remains light, natural and essentially acoustic. The result is a very delicate and melodic music with strong folk, jazz and classical roots. Rock elements are then practically absent.
  
  
  
• Errata Corrige: Mappamondo (1991)
  
  This Italian production contains two different parts. The first one (30 min) contains pieces written in '75 but arranged and produced in '91. These, despite fairly conservative rhythms, remain representative of Italian symphonic rock from the past. The band of four offers a tasteful mix of guitars, keyboards, vocals (in Italian), bass and drums with nice touches of oboe, cello and flute. The second part (20 min) contains simple pop songs recorded in '77 with a jazzy touch of sax. This disc is of little interest except for Italian symphonic rock fanatics who already own all the classics. They can expect light symphonic rock which sound is not completely authentic.
  
  
  
• Europa String Choir: The Starving Moon (1995)
  
  This rich production from Discipline records offers a series of pieces for guitars and violin in the format of short sonatas. The trio performs a kind of chamber music a la R.Fripp. The result is a curious but delicate mix of classical music and more contemporary styles. The sounds are essentially acoustic but sometimes show a more electronic, more symphonic texture. Fans of the style will recognize Fripp influences in the arrangements and disciplined execution of guitar parts. We then discover a surprising production of most interest to those who appreciate delicate chamber music, but also worth attention by those interested in the various projects sponsored by King Crimson's guitarist.
  
  
  
• Exclusive Raja - Insubmersible (1995)
  
  This French quartet offers a music that is sometimes hard to describe. The band features double-guitars, bass, drums/percussions and vocals (in English). Guests also contribute saxophones and keyboards. Influences include recent King Crimson but also, various other pop and jazz elements. Efficient guitar interaction are developed along with groovy rhythms, full of nuances, but the delivery remains light, sometimes humorous. An excellent production, solid performances, but a touch of avant-garde that could offend those who would rather stick with conventional symphonic rock.
  
  
  
• Finisterre: Finisterre (1995)
  
  An impressive debut for this young Italian group. Basic instruments include guitars, keyboards, bass, drums, flute and few vocals (in Italian) but saxophone, violin and a choir can also be heard. Faithful to their national tradition, the group blends rock, jazz and classical elements to produce a music that stays fresh through repeated listening. The compositions show originality and offer a certain variety of arrangements that transit smoothly from intense electric guitar solos to quiet piano-flute melodies. An ambitious production that's surprisingly solid for a first release.
  
  
  Finisterre: In Limine (1996)
  
  This Italian band is back with its guitars, keyboards, flutes, vocals (in Italian), bass, drums and percussions. Guests are present on cello, voice, violin, trumpet, clarinet, choir, saxophones and flutes. The style remains a tasteful mix different elements (rock, jazz, classical, folk) but themes sometime develop slower with more emphasis on atmosphere. Arrangements involve much flute often accompanied by acoustic instruments but also include jazzier (rhythms), more rock (electric guitar) or ambient (electronic) developments. An excellent production, solid performances and a certain variety of moods.
  
  
  
• Finisterre Project: Höstsonaten (1997)
  
  The solo project (composer, arranger and producer) by the Italian bassist involves numerous collaborations. Present are members from Finisterre on bass, guitars, keyboards, flute and drums., as well as other guests on keyboards, sax/flute (Eris Pluvia), and vocals (in English). The style is a tasteful blend of acoustic and electric elements in a simple and light symphonic rock. We then find delicate acoustic arrangements with a 70's flavour and others, more electric, closer to the symphonic rock of current British bands (Marillion, Pendragon). An excellent production where the simplicity of the compositions give way to strong melodies, rich arrangements and coherent performances.
  
  
  
• Firemerchants: Firemerchants (1989)
  
  This is the project of guitarist John Goodsall (Brand X) who is joined by C. Thompson (drums) and D. Lunn (basses). The music remains in the jazz-rock fusion style but is a bit heavier than that of his former band. The tracks consist of electric guitar improvisations on pretty intense riffs and rhythms. The use of guitar synthesizer introduces a certain variety to a sound that is never far from distortion. An excellent production for those who enjoy electric guitar in a fairly heavy jazz-rock context.
  
  
  
• The Robert Fripp String Quintet: The Bridge Between (1993)
  
  Fripp presents another project based exclusively on guitar work. The quintet includes Fripp (guitars and Frippetronics), Trey Gunn (stick) and the California Guitar Trio (acoustic guitars). This lineup offers a certain variety of arrangements. Some tracks are acoustic (by J.S.Bach), some receive a more electric treatment, while others a based on Frippetronics. The selections offer a good sample of Fripp's recent projects with the Guitar Craft. A disc full of sonic explorations with guitars of different kinds.
  
  
  
• Fruitcake: Room for Surprise (1996)
  
  The four Norwegians propose a simple, text-based (in English) symphonic rock which evokes that of numerous British bands. The bands includes guitars, keyboards/vocals, bass and drums/vocals. Also note the band's preference for slower but dynamic rhythms as well as analog keyboards sounds (organ, synths). This music, despite its simplicity, is then offered with much authority and a sound which evokes the 70's. The performances are also modest but appropriate. A sound that should reach those whit a weakness for analog keyboards and an appreciation for light, conventional symphonic rock.
  
  
  
• The Fyreworks: The Fyreworks (1997)
  
  The British band features the usual five members on vocals, guitars, keyboards, bass and drums. Guests introduce occasional flute, sax, strings, oboe or percussions but the style nevertheless remains true to the usual text-based, melodic, symphonic rock. Obviously influenced by numerous British bands, the sound often evokes present acts as well as more classic ones. The expert performances are also very dynamic but rely more on cohesive band playing than spectacular virtuosity. While it respects the simplicity of the usual format, this excellent production introduces, here and there, a variety of references to sounds from other eras (ex: analog keyboards).
  
  
  
• Galahad: Nothing Is Written (1991)
  
  One of several British band influenced by the careers of Marillion, IQ and Pendragon. The usual lineup features vocals, guitars, keyboards, bass and drums. This text-based melodic rock features occasional guitar solos, the symphonic touch of keyboards as well as precise and dynamic rhythms. A quality production in a very familiar style that should please the dedicated fan but that still offers very little to the others.
  
  
  
• Gandalf: Gallery of Dreams (1992)
  
  Gandalf is a multi-instrumentalist who composes, arranges, produces and plays his own music. Here, he calls on guitarist S.Hackett to lend a hand. Other guests are featured on flute, oboe and vocals (few). The abundance of keyboards and the dreamy feeling of the tracks evoke electronic music but programmed sequences are not used. Rather, it's the calm and peaceful atmosphere that give the music a New Age flavour. A disc with plenty of rich symphonism but with an energy that favours relaxation.
  
  
  
• Germinale: ...e il suo respiro ancora agila le onde... (1996)
  
  After a few refreshing changes (*) in personnel, the Italian band of five is back with a strong second effort. The usual rock line-up remains with guitars*, keyboards*, vocals (in Italian)/flute, bass and drums. The style is a symphonic rock with a sound that evokes the 70's with it's Hammond organ, synths, mellotron and flute. In fact, their music integrates influences from British as well as Italian bands from that same era. It offers progressive alternations between softer, more acoustic parts and heavier rock grooves. A quality production, solid performances and a kind of retro sound for a well integrated synthesis of a variety of influences from the past.
  
  
  
• Gongzilla: Suffer (1995)
  
  This recent production marks what seems to be a new chapter in the Gong story. This version follows in the footsteps of P.Moerlen's Gong, with slightly more rock ingredients. This jazz-rock fusion emphasises both rhythm and melody, thanks to the use of vibes, percussions and drums. Excellent guitar work by A.Holdsworth and B.Logaza should also be mentioned. This excellent production should please those that are used to the style as well as most electric jazz fans.
  
  
  Gongzilla: Thrive (1996)
  
  The second release by the band introduces a few changes in personnel and style. The trio of Lozaga (guitar), Rowe (bass) and B.Moerlen (vibes) remains but G.Husband now handles the drums and D.Torn also collaborates on guitar. The style is still a jazz-rock fusion but it gets more atmospheric, even pop oriented at times. In fact, you will find two types of pieces here: those that sound like the previous release (heavy and light) and some that vaguely evoke the music of P.Gabriel, The The or Sylvian/Fripp. Finally, the use of vocals, even if scarce, introduces a new dimension to a few tracks. A rich production with what will certainly be a few surprises for fans of Suffer.
  
  
  
• Gryphon: Midnight Mushrumps (1974)
  
  This British band is known for a music with folk themes and strong medieval influences. The five solid musicians offer a varied instrumentation that includes keyboards, guitars, assorted flutes, bassoon, bass, drums, percussions, mandolin and krumhorn. The tracks usually feature lively melodies with delicate symphonic arrangements. The originality of the music lies in the successful presentation of traditional melodies and sounds in the usual rock context. This timeless production still sounds very fresh.
  
  
  
• Halloween: Merlin (1994)
  
  Superb third production from this French band. Hear four excellent musicians share violin, guitars, basses, keyboards, lute, drums, percussions, vocals. Also add participation by two different quartets (strings and winds) as well as guests on voice and flute. This impressive production offers inventive music and a variety of arrangements that range from chamber music to heavy symphonic, to jazz-rock fusion. Medieval themes are developed in music, song and words (in French) in the format of a captivating suite. The richness of this music dictates sustained attention by the listener.
  
  
  
• Hands: Hands (1996)
  
  This American production features tracks recorded between '77 and '80. The lineup, which has gone through changes, usually includes six members on a great variety of instruments. They share duty on guitars, bass, drums, keyboards, flutes, saxes, vocals, violin, oboe, clarinet and percussions. Their music is a delightful blend of rock, jazz, classical and folk influences. The arrangements are varied to extend from very delicate acoustic parts to more animated ones with jazz or rock rhythms. The mood also swings from light and happy to more melancholic or angry. This quality production deserves consideration from fans of an era marked by the music of Gentle Giant, King Crimson, Kansas and many others.
  
  
  
• Happy the Man: 3rd, Better Late... (1990)
  
  The recent edition of these '79 recordings remind us of just how regrettable the disappearance of this excellent American group is. A music that defies description and a sound that isn't the least bit outdated. Always very melodic, this unique blend of symphonic rock and jazz relies on rich arrangements of keyboards, guitars, bass, vocals, drums, percussions, flute and saxophone. The sustained use of these instruments provide much richness to the sound while solid performances supply a dynamic energy. Five excellent musicians that played, we now realize, ahead of their time.
  
  
  
• Hecenia: La couleur du feu (1994)
  
  Hecenia is the project of French keyboardist Thierry Brandet joined by bass, drums and harp. The style, completely instrumental, offers a fusion of contemporary, jazz and symphonic rock influences. The digital sound of the keyboards dominates (melodies and textures) while the harp insures a more organic sound to some parts. The rhythms section is often active and they can considerable levels of intensity. The performances are solid, dynamic, but the rather synthetic sound of the keyboards insures the presence of spacious sound scapes. A quality production with certain sounds that suggest New Age music.
  
  
  
• Anders Helmerson: End of Illusion (1982)
  
  Classically trained pianist, this Swedish keyboardist presents his compositions and arrangements, armed with his stack of analog keyboards. Recorded over a three year period, the production includes numerous guests on guitars, bass, drums and violin. The sound is naturally dominated by classical themes on keyboards and the arrangements are rich and symphonic. The style brings to mind those of extravagant keyboardists like K.Emerson and R.Wakeman. Should please those who enjoy excellent technique and the sounds of good old keyboards.
  
  
  
• However: Sudden Dusk (1993)
  
  Recorded in '80-'81, the American band included four versatile members on vocals, guitars, saxophones, keyboards, bass, drums and percussions. Guests also add touches on violin, vibraphone, whistle, bassoon or cello. The style fuses rock and jazz influences to produce music that sounds curious at times while maintaining a light ambiance. The arrangements are varied, favour interaction and make even use of acoustic or electric, vocal or instrumental, calm or busy work. This variety of elements finally introduce a slightly experimental feel to this excellent production. A bit nutty but barely marginal, this music would first appeal to those who appreciate a jazzy touch of saxophones, syncopated rhythms and polyphonic melodies.
  
  
  
• Höyry-kone: Hyönteisiä voi rakastaa (1995)
  
  This superb Finnish ensemble offers very original music. The band features eight musicians who use vocals (in Finnish), oboe, violin and cello, as well as the usual rock instruments. The compositions make use of a great variety of unpredictable arrangements that make the sound difficult to describe. In fact, the influences are numerous but integrated in a very original manner. Here, rock music crosses path with opera, chamber music, samba, blues, techno, etc... The very original tracks and the expert performances will satisfy those who demand more.
  
  
  
• Hoyry-Kone: Huono Parturi (1997)
  
  The return of the Finnish band shows an effort more focused on a rock sound which tradition dates back to Red era King Crimson. Based on the work on double-guitars, bass and drums, the music also integrates the sounds of violin and cello. The result is a fairly heavy and gloomy rock with shades of chamber music and opera (Finnish vocals). We also note a more retro production (seventies) and a more distorted sound that favours the energy of a live performance. In fact, those familiar with Anekdoten, Boud Deun or Somnambulist will find a similar intensity even if the classical flavour of the vocals and strings is more pronounced. More homogenous and less daring than the previous release, this one should appeal to a wider audience.
  
  
  
• H2O: Unopuntosei (1997)
  
  This Italian production is the work of a trio on keyboards/vocals, guitars/vocals and bass. It also involves guests on drums and vocals. The style is a light symphonic rock presented as a suite of long pieces. The music is dominated by keyboards which many digital sounds have sort of a New Age texture. Themes inspired by classical music are then developed on keyboards, guitars (electric and classical) and vocals (in Italian). The use of drums insures a rock element, even if their work seems a bit weak. In fact, the compositions are quite solid, with a fine Italian touch, but the production and arrangements introduce another dimension that doesn't serve the style very well. While vaguely inspired by bands from the '70, this music is of most interest to fans of a contemporary sound.
  
  
  
• ICU: ICU (1997)
  
  This is the third release by the German band. They now feature vocals/guitar, flute/vocals, guitars, keyboards, bass (guests) and drums. Their style is not unlike the usual melodic, symphonic rock from the U.K. but you will find slight variations here. The texts (in English) are for example more scattered and not delivered with much drama. In return, the lively melodies are equally shared by the flute, guitars and keyboards. The rhythms are dynamic, varied but rarely heavy or explosive. In fact, you will find the usual symphonic keyboard accompaniment but the melodies and rhythms are often animated, passed-around but never excessive. This excellent production tends to stretch the standard norms of the style.
  
  
  
• Il balletto di bronzo: YS (1972)
  
  This Italian classic features four musicians on keyboards/vocals, guitars, bass and drums. Their style is a gloomy and explosive mix of rock, classical and jazz influences. The compositions (by the bassist) are often based on insisting rhythms from which dark themes are developed with drama and an intensity that gets most furious, almost chaotic during improvisations. In fact, it's the versatile work of the keyboards that introduces classical themes and symphonic arrangements. The vocals (in Italian) appear during quieter parts and the guitar often follows the rhythms, except for a few improvisations. A crude sound with energetic performances where the delicate Italian touch often makes room for an unusual rage.
  
  
  
• Il Baricentro: Sconcerto (1976)
  
  Italian band that plays in the fusion style of the 70's. The music is based on arrangements of double-keyboards, bass, drums and percussions. Several synthesizers are featured, as well as electric piano (Rhodes) and Clavinet with its funky touch. They have a sound that was common to numerous bands from that era. Note that brassy sounds are not used here, despite the very funky grooves the music often takes. Deserves attention from fans of the style, especially where the keyboard work is concerned. An excellent complement to your Return to Forever discs.
  
  
  
• Il Berlione: Il Berlione (1992)
  
  This Japanese group offers a very active instrumental music built around the guitar, saxophone, keyboards, bass and drums. It also includes the use of percussions and traditional instruments. However, the distinct characteristic of this music is its explosive energy and its very high intensity. The tracks are often based on rhythmic patterns and commonly lead to guitar and sax improvisations that flirt with dissonance. The style owes as much to jazz as it does to rock. In fact, the only rock elements present here could be the electricity and the blistering guitar work. A release that deserves a warning to those who prefer relaxation to peak hour traffic in Tokyo.
  
  
  Il Berlione: In 453 Minutes Infernal Cooking (1994)
  
  These five Japanese guys are back with their guitar, saxophone, keyboards, bass and drums. While the use of other instruments has been reduced, the music retains its jazz influences where guitar and sax improvisations are common. The band still shows a high level of energy but the raging intensity now makes room for a bit more conventional melodic work. The style is also closer to a conventional jazz-rock fusion. The rhythmic components remain important but themes are now more often based on melody. Easier to listen to than the first one, this disc offers strong performances that should please jazz-rock fans.
  
  
  
• Il Castello di Atlante: Sono io il signore delle Terre a Nord (1992)
  
  This Italian group features five veterans on vocals, keyboards, bass, guitars, drums and violin. Their brand of symphonic rock is very melodic with folk elements. The compositions usually involve text (in Italian) but are all written by the pianist/keyboardist. Themes are then developed through text and music that implicates all band members. The performances are certainly solid but primarily serve melody instead technique. A simple but quality production finally introduces a certain lightness to the sound that remains true even during more animated parts. Deserves attention by fans of Italian rock from the 70's.
  
  
  Il Castello di Atlante: L'ippogrifo (1994)
  
  This Italian group, founded in the late 70's, offers a rich blend of guitar, violin, keyboards, vocals (in Italian), bass and drums. This unmistakably Italian music, delicate and subtle, is composed by the pianist/keyboardist but still offers the cohesive performances of a full ensemble (melodic work is equally shared). The result nevertheless retains a lightness that persists even when rhythms intensify and symphonic arrangements get richer. This production by B.Crovella captures the essence of the sound common to bands like Le Orme, PFM or Banco. Enjoy a smooth one where the strongest moments are often de quietest ones.
  
  
  
• Il Trono dei ricordi: Il Trono dei ricordi (1994)
  
  This new Italian band plays in a style commonly associated with British bands. The long tracks are an excellent format for this intense but melodic symphonic rock where captivating instrumental breaks alternate with quieter but no less dramatic passages. An excellent production makes the arrangements of vocals (in English), guitar, keyboards, effects, bass and drums even richer. The variety of influences, with a potential to reach many listeners, are nevertheless fused in a familiar style that first appeals to a taste for the usual British productions.
  
  
  
• Ines: Hunting the Fox (1994)
  
  This German production features the music and performances of a keyboardist. Nevertheless, the style remains that of a vocal, melodic rock with the usual format on vocals (in English), keyboards, guitars, bass and drums. The contributions of nine guests (four different vocalists) certainly insure a band format. The performances are expert, energetic, dynamic and the quality of production is excellent. Here, the style remains true to that of the current British bands but the work of the keyboardist is remarkable. She insures the usual symphonic support but her melodic touch has nothing to envy that of the veterans of the style. Compositions are in a familiar format and their expert execution deserves the attention of, at least, the usual fans.
  
  
  
• In Spe: Typewriter concerto in D (1984)
  
  This intriguing production by modern composer Alo Mattisen comes from Estonia. Apart from his keyboards, a whole ensemble is featured which includes flutes, bass, guitar, percussions, vibes, synthesizers, horns and even a typewriter. The style is a curious fusion of classical, jazz and rock elements and the sound ranges from Zappa-type arrangements (vibes & flutes) to meditation music. With such an unconventional sound, this production is for adventurous listeners with a taste for something else than the usual symphonic rock.
  
  
  
• Interférence sardines: Mare crisium (1998)
  
  The first offering by the Canadian (Quebec City) quintet features the sounds of violins, saxophones, guitar, bass and drums. Additional vocals, strings, brass and keyboards are occasionally heard. With a touch of humour, the style fuses folk, classical, jazz and rock influences of various inspirations. The themes, often dictated by the violin, are progressively developed through arrangements that suggest tormented chamber music as well as 70`s jazz-rock fusion. The solid performances demonstrate flexibility, rebel energy and a touch of silliness. In fact, the result is difficult to describe using conventional rock references. A first production with surprising style and execution.
  
  
  
• In the Labyrinth: Garden of Mysteries (1996)
  
  From Sweden, the four band members use an endless list of acoustic and electronic instruments to create meditative music without compromising on melody and rhythms. The themes as well as the instrumentation are influenced by the band's interest in traditional music from Asia and Africa. For example, percussion arrangements insure the rhythms. A wide variety of string and wind instruments then introduce slightly baroque, often oriental and occasionally electric tones. The keyboards (includes mellotron) and choruses finally give a symphonic aspect to certain passages. The result is a pleasant travel through space (via Middle-East) and time (via Middle-Ages). A bit like the music of M.Oldfield, this one could be found in the World Beat sections.
  
  
  
• I.Q.: Ever (1993)
  
  These veterans of the British scene play a melodic and symphonic rock rooted in the same tradition as Genesis. They actually contributed to the redefinition of the style during the 80's. With the usual names on keyboards, guitars and drums, this release marks the return of P.Nicholls on vocals an the replacement of the bassist. A return to slightly longer tracks favours a more progressive development of compositions but the music remains very accessible. Beautiful melodies, a strong vocal presence and tasteful instrumental episodes will delight fans of the style.
  
  
  
• Iris: Crossing the Desert (1996)
  
  This is the project of French guitarist S.Gouvernaire (Arrakeen) joined by the bassist and drummer of Marillion. This instrumental music features a guitarist who's work is no stranger to the tradition that ties S.Rothery to S.Hackett. It is supported by keyboards that provide a rich symphonic texture and also relies on the expert precision of the rhythm section. Here, the simplicity of the compositions makes way for the extremely rich production and the dramatic delivery of performances. The tracks include smooth parts as well as more active ones but often convey a feeling of melancholy. An instrumental feast for fans of current British symphonic rock.
  
  
  
• Isildurs Bane: Sagan Om Den...('82) / Sagan Om Ringen ('84)
  
  This Swedish production ('92) is in fact a compilation of two releases, similar in style, from their debut period. This ensemble includes keyboards, guitars, bass, drums, flute, saxophone and few vocals (in Swedish). The delicate work on compositions and arrangements is also remarkable. This light symphonic rock, with its jazzy grooves, remains fresh and original despite the abundance of short tracks. The music is based on the keyboards/guitars combination but its development usually goes beyond this simple framework. A production without much flash that can take a few listens before revealing its qualities.
  
  
  Isildurs Bane: Sea of Reflection ('85) / Eight Moments of Eternity ('87)
  
  This Swedish re-edition ('92) features two recordings from the same period where the group proposed a light jazz-rock fusion with symphonic touches. The group of eight musicians uses the usual electric instruments but also relies on percussions and brass. The short format of the many tracks favours arrangements where the roles of the instruments alternates between solo and accompaniment. Despite an electric sound, rock elements are pretty discrete in this music that makes sustained use of jazzy rhythms and a brass section.
  
  
  
• Isildur's Bane: Cheval: volonté de rocher (1989)
  
  This production marks another stage in the evolution of the Swedish project. The band offers a style where chamber music elements are now added to existing jazz and symphonic rock influences. As a result, the usual rock instruments (keyboards, guitars, bass, drums) are complimented by numerous guests (choir, narration, guitar), including a classical ensemble of a dozen musicians (strings, winds). The music remains essentially instrumental but themes are developed as part of a concept that now involves tracks which vary in length and atmosphere. An excellent production for those who don't mind breaking away from the usual rock format.
  
  
  Isildurs Bane: The Voyage - A Trip to Elsewhere (1992)
  
  At this stage of their evolution, the Swedish ensemble offers a conceptual work with a very ambitious presentation (see booklet and case). The music is also very special with its curious mix of symphonism, rock, jazz and chamber music. The unpredictable arrangements include a trio (piano, violin and cello), electric rock (guitar, keyboards, bass and drums) and jazz (with vibes and saxophone). Passages with a choir and flute are also part of the package. In fact, this rich production offers quite an adventure to people who appreciate an often quiet music with sonic configurations alien to the usual symphonic rock.
  
  
  Isildurs Bane: Lost Eggs (1994)
  
  What the Swedish band offers here is a compilation of unreleased material ('76-'93). The style is fairly conservative and varies from symphonic rock to light jazz-rock fusion. The arrangements are similar to those found on their first four releases (first 2 CDs) and don`t involve the extended ensemble that would take shape on Cheval ('89). Despite a long list of credits, keyboards, guitars, bass and drums account for most of the sounds while percussions, saxophone, flute and a few vocals (in Swedish) are also used. The performances remain solid, most compositions are by M.Johansson and the production is a quality one (including a few live tracks). This release exposes the roots of the style progressively developed by the band.
  
  
  Isildurs Bane: MIND Volume 1 (1997)
  
  The Swedish project is back with their arrangements of pieces by composer/keyboardist M.Johansson. True to the style developed on the two previous releases, MIND offers a meticulous fusion of symphonic, rock, jazz and chamber music. The instrumentation remains rich and varied, involving some twenty different collaborators. The final result is the music of a coherent ensemble brought together by a specific process of arranging the pieces. The integration of styles and instruments offers a surprising richness that is best appreciated through repeated listens. This monumental production is unavoidable for fans of the band but also deserves the attention of all listeners who seek progressive contemporary music.
  
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