• Pablo el enterrador: Pablo el enterrador (1994)
  
  This re-edition of material recorded around 1979 involves the legendary Argentinean band with their double-keyboards, guitar/vocals/bass and drums. Influenced by British bands from the seventies, the style retains a Latin flavour common to Italian symphonic rock. Based on the work of keyboards (pianos and synths), the composition remain simple, involve some vocals (in Spanish) and use conventional but dynamic rhythms. The performances are solid but the polished arrangements favour cohesion over spectacular soloing. Despite a bit of a flat sound, this production remains worthy of the attention it often gets from fans of Italian classics.
  
  
  
• Pangée: Hymnemonde (1996)
  
  This band of five Canadians includes bass/clarinet/guitar, keyboards, guitars, violin and drums/percussions. You can hear various prog and jazz influences but the format favours their integration. The long tracks as well as the lack of a rigid structure also opens the way for improvisation. But that doesn't translate into sustained soloing. The style is based on clever band interaction and ever present intensity, alternating between calm and more active passages. The guitar (some Fripp influences) sets the tone throughout, but everyone else gets involved. They actually come close to pulling off something incredible but the modest production doesn't always do justice to the ambitious compositions. This bold effort deserves the attention it will get from demanding prog fans.
  
  
  
• Pendragon: The Window of Life (1993)
  
  These veterans from the "second wave" produce typical British music in the style of Marillion or Pink Floyd. Very melodic rock that uses fantasy and very tasty guitar solos. The compositions and arrangements, fairly simple, involve rich keyboard textures, modest but efficient rhythms that make way for N.Barrett's vocal and guitar work. The tracks often take the shape of long melancholic ballads that can feature more than one guitar solo. In fact, it can only be the length of the tracks that keeps this music off the FM airwaves. A rich production and catchy melodies make for an enjoyable mix of pop rock and symphonism.
  
  
  
• Philharmonie: Nord (1994)
  
  Philharmonie is a French quartet that plays in a style strongly influenced by R.Fripp's recent productions. The music consists of improvisations on melodic and rhythmic sequences with complex interactions. You can recognize Fripp's "discipline" but also a looser and more sensitive melodic touch. The guitars, essentially electric, go for a sober sound with chorus and echo. A different sound with a flavour that gets tastier with every listen.
  
  
  Philharmonie: Rage (1996)
  
  These four French musicians are back with their double-guitars, stick, drums and percussions. True to a format commonly associated to R.Fripp, the title now suggests a more aggressive sound. The improvisation on superb melodic and rhythmic interactions is still present but the guitars now reach a more raging electric sound. This sound brings them closer to that of the present King Crimson (instrumental version) but maintains the melodic sensitivity that sets them apart. The effectiveness of this peculiar music increases with every listen.
  
  
  
• Porcupine Tree: Up the Downstairs (1992)
  
  This British production is in the style of many contemporary bands with psychedelic inspirations. The music has a certain "pop" flavour and always relies on spacey atmospheres. The keyboard arrangements provide a luscious base on top of which vocals and electric guitar solos are added. The rhythms, a bit simple and mechanic, remain solid and adequate. Certain tracks evoke the style favoured by Ozric Tentacles while others are more "pop" oriented. Easy to listen to and very efficient.
  
  
  
• Project Lo: Dabblings in Darkness (1995)
  
  This American project features the work of a duo on guitars and keyboards. Guests bring their contributions on saxophones, bass, percussions and violin. This fairly light music often relies on a keyboards and percussion base with melodic work by the acoustic guitar, often doubled by soprano saxophone. Jazz (improvisation) and electronic (meditation) elements are present in the music but rock elements are practically absent. The presence of bassist P.Jones on most tracks introduces a sound familiar to Brand X fans.
  
  
  
• Pulsar: Halloween (1977)
  
  This French band of five lines up keyboards, guitars, flute/keyboards/vocals (in English), bass and drums/percussions. Here, the two long tracks offer symphonic arrangements, slow but progressive developments and a softness that's often dark and menacing. Rich keyboard textures dominate the sound and the other instruments' contributions are episodic. The intensity of the performances varies but the tone remains tormented. This convincing production favours haunting atmospheres more than flashy performances.
  
  
  
• Quaterna Réquiem: Velha Gravura (1992)
  
  This Brazilian band is based on the work of a classically trained keyboardist who masters her analog keyboards. The band also involves violin, guitars, bass, drums and guests on flutes and oboe. The style is symphonic rock and all compositions show heavy classical influences. Tasteful melodies serve as themes and are progressively developed, not unlike many Italian bands. In fact, melody and harmony dominate a modest rhythm section and a slightly flat sound. A promising debut.
  
  
  Quaterna Réquiem: Quasimodo (1994)
  
  This band is the project of a superb Brazilian keyboardist with a solid classical technique. She is joined by a drummer and guest are also present on bass, guitars, violin, flute, crumhorn and chant (Gregorian). The style, based on keyboard work (lots of organ), is a symphonic rock with heavy classical influences. The themes, as suggested by the presentation, have a medieval flavour. A music that should please fans of Italian productions but also anyone with interest in keyboard dominated symphonic rock.
  
  
  
• Quella Vecchia Locanda: Quella Vecchia Locanda (1972)
  
  This recent re-edition ('95) is the Italian band's debut. The group includes keyboards, guitars, vocals/flute, violin, bass and drums. You can hear the classical/symphonic influences and the variety of arrangements that would later make the reputation of Italian bands. The music includes tasty parts with vocals (in Italian), guitar, violin and piano but also offers more intense moments where the sound becomes a bit raw. For Italian rock fanatics. (re-mastered from vinyl - questionable sound on track 8).
  
  
  Quella Vecchia Locanda: Il tempo della gioia (1974)
  
  Like many of the Italian productions from that era, this one offers a charming mixture of classical music, rock and jazz. The delightful arrangements usually feature piano, violin, guitar, flute and vocals (in Italian), and sometimes take on a more electric tone to the rhythms of the bass and drums. Clarinet and saxophone are also heard. The performances certainly show virtuosity and emotion but the sound maintains a lightness not typical of the usual symphonic rock. This can also be observed when compared to their previous release. Fans of the Italian style from the 70's will want to file this one not far from their copies of PFM discs.
  
  
  
• Quidam: Quidam (1996)
  
  The Polish bands includes six members on guitars, vocals, keyboards, flute, bass and drums. Their style is a melodic, text-based (female vocals, in Polish) symphonic rock. The compositions rely on a movement from delicate but shorter interludes that progressively become more intense to include longer instrumental parts. The band then offers a vaguely classical/medieval touch (quiet parts) but they quickly return to a simple and very familiar pop rock format. The rhythms intensify, the symphonic keyboard textures thicken and the electric guitar plays long melancholic notes. At this point, their sound is closer to current British bands like Pink Floyd and Pendragon. The music is simple, dramatic, efficient and easily enjoyed by a vast public.
  
  
  
• Red Jasper: A Winter's Tale (1994)
  
  This band from Wales includes five members on vocals/flutes, keyboards, guitars, bass and drums. The style is common to a bunch of British bands who produce simple symphonic rock based on fantastic themes. In fact, it's the strong presence of the singer (deep voice) and a bit of folk inspiration that set the tone of a music that uses a very familiar formula. The instrumental performances are solid and involve the usual arrangements. A quality production of most interest to unconditional fans of the style.
  
  
  
• Ritual: Ritual (1995)
  
  This new Swedish band features four young musicians on guitars, keyboard, bass and drums. They use the usual rock instruments but also rely on rich vocal harmonies and numerous traditional instruments like mandolin, dulcimer, flutes, violin, harmonica, accordion, etc... The musicians are versatile and solid but rely on the originality and variety of arrangements rather than virtuosity. The compositions are text-based (in English) and their very actual rock sound incorporates a tasteful folk touch. An excellent production that blends an impressive variety of influences into an accessible format.
  
  
  
• Saga: Generation 13 (1995)
  
  The Canadian group is back with an ambitious production that marks a return to a more progressive development of themes. The five piece band is the same as the one we were used to. The G13 concept, developed in 25 scenes, is inspired by a book dealing with the anguish related to the turn of the century. Musically, the sound is much the same as the one we knew except for a heavy production, with numerous effects, that adds quite a bit of drama to the treatment of the concept. A strong comeback that will please those who knew them and surprise those who didn't.
  
  
  
• Sagrado coracao da terra: Farol da liberdade (1991)
  
  This Brazilian band is the project of excellent violinist (keyboards, vocals and arrangements) Marcus Viana. The line-up also includes guitars, keyboards, bass, drums, flutes, voice (in Spanish) and choir. In fact, the participation of the various instruments is well balanced and their rich symphonic arrangements dominate. The style stays true to rock with a mostly electric sound (violin included), solid rhythms and simple writing. On the other hand, melodies and arrangements show classical influences that are often displayed by Italian bands.
  
  
  Sagrado coracao da terra: Flecha (1987)
  
  Brazilian band, led by the excellent violinist (keyboards, vocals and arrangements) Marcus Viana, that also includes keyboards, guitars, bass, drums, flutes and choir. The style is a light melodic rock that relies on rich symphonic arrangements. The tracks are usually text-based (in Portuguese) and show classical influences through violin and keyboard arrangements. The sustained use of electric instruments (violin included) insures a rock sound but the music often shows a soft romantic touch. For fans of soft, light symphonism.
  
  
  
• SBB: Memento z banalnym tryptykiem (197?)
  
  Probably from the late 70's, this production from the prolific Polish band now features double guitars, keyboards (bass, vocals) and drums. The style is a fairly conventional rock but remains difficult to describe due to various elements of different inspirations. The work on keyboards (synths, organ, piano) is typical of symphonic rock from the era while that of the guitars (acoustic or electric) is often rock (touch of blues), then more classical. The rhythms are dynamic and they sometimes get into a light jazz-rock fusion groove. Finally, sparse but excellent vocals (in Polish) are used in more delicate, almost Italian sounding parts . Nothing exceptional, but the solid arrangements and performances deserve the attention from most 70's rock fans.
  
  
  
• Secret Cinema: Dreamin' of my Past (1994)
  
  Beppe Crovella (veteran Italian keyboardist) surrounds himself with four surprising young musicians on bass, drums, guitar and flute/vocals. This work features his compositions and performances which assure loads of rich keyboard sounds in the context of pieces with lengthy developments. This format implies various roles for the band members. For example, voice and flute (both occasional) are mostly used with mellotron or piano, while rhythms usually get busier with the addition of organ and synthesizers. A rich production of symphonic rock which, as suggested by the title, will surely evoke classics of the style.
  
  
  
• Sinkadus: Aurum Nostrum (1997)
  
  The Swedish band includes six members on keyboards, guitars, flute/vocals, cello(discrete), bass/vocals/guitar and drums. Their style is a symphonic rock which sound takes us straight to the early 70's. We then note sustained use of organ and mellotron (no synths) as well as arrangements that maintain a sound in constant transition between acoustic and electric. The texts (in Swedish) are short and evenly distributed to leave room for long instrumental developments. Don't expect furious virtuosity display here. The group relies on busy harmony around melodies often given tone by the flute. Solid performances and a retro-production finally capture the essence of the sound used by bands from the 70's (Genesis, Yes).
  
  
  
• Sithonia: Spettacolo Annullato (1992)
  
  This band shows the usual Italian lineup of double-keyboards, guitar, bass, drums and an excellent voice. The style is also typical with a variety of arrangements (soft and heavier) often inspired by classical music. The vocals (in Italian), guitar and keyboards share the progression of the melodies thru many episodes with different rhythms. The sound shifts easily around baroque, jazzy or rock ambiences but usually favours electric instruments. Some fresh music with influences that certainly include some Italian bands from the 70's.
  
  
  Sithonia: Confine (1995)
  
  The five Italians are back on vocals, double-keyboards, guitars, bass and drums. This band presents a symphonic rock which tracks involve much vocal work (in Italian). Their music still relies on rich and varied arrangements but the band often returns to a rock sound where the electric guitar and keyboards play an important part. The compositions and melodies remain Italian but the sound seems to become more electric, more accessible to British or American listeners.
  
  
  
• Somnambulist: Somnambulist (1996)
  
  These four Americans play guitar/vocals, keyboards, bass and drums. They offer a music based on a variety of heavy riffs delivered with much intensity. The loud rhythm section is then an important element to the band's sound. Its insisting work will evoke that of Anekdoten and Rush. The guitar also provides furious licks and keyboard work consists of mellotron textures, Hammond organ attacks and some piano and synth. The occasional vocal work doesn't manage to assert itself amongst all this activity. The result is a dark but energetic and explosive rock where keyboards insure a dramatic touch of symphonism.
  
  
  
• Spirosfera: Umanamnesi (1996)
  
  The Italian band involves four members on vocals, guitar, bass and drums. Although the booklet mentions various credits on keyboards and saxophone, their use is discrete and the band most often plays in a conventional rock format. The vocals (in Italian) are delivered with much energy and conviction, in a style which evokes that of Area and Deus Ex Machina. The style, with its electric guitar riffs, first presents itself as heavy rock and then flirts with rhythms and arrangements that suggest jazz and symphonic influences. A simple, quality production, aggressive performances and a more subtle touch make for a music which appreciation is susceptible to grow with repeated listening.
  
  
  
• Spock's Beard: The Official Live Bootleg (1996)
  
  The American band offers a melodic rock which sound evokes many British groups from the 70's. The compositions are credited to the singer (keyboards and guitar) but the performances are those of a band that also includes keyboards (mellotron, Hammond, synths), guitar, bass (Rickenbacker), drums and backing vocals. The themes are developed through long tracks and are usually given tone by the texts but the arrangements always include the whole band. The preferred sound is that of an electric rock driven by precise and very dynamic rhythms, while the keyboards add a touch of symphonism. The band does alternate between vocal and instrumental parts which intensity varies but an explosive energy generated by expert performances is always present. Recorder live at Progfest '95, this excellent production contains all the tracks from The Light and one from Beware of Darkness.
  
  
  
• Stolt, Roine & Flower Kings: Flower King ('94) / Welcome Back to the World...('95) / Retropolis ('96) / Stardust We Are ('97)
  
  The four titles will be described together because they constitute a consistent body of work at the composition, arrangement, production and performance levels. The project is in fact led by R.Stolt, a veteran of the Swedish scene with multiple talents: producer, engineer, composer, bassist, keyboardist, singer but primarily an accomplished rock guitarist. He is surrounded with excellent musicians on vocals (in English), keyboards, bass, drums, percussions and sax (occasional). The lineup takes the definitive form of a band as early as '95. The compositions, in a very melodic symphonic rock style, are presented with a deceiving simplicity which makes it easy to overlook performances and rich, meticulous arrangements. A first listen often give the impression of a collection of direct references to famous British bands from the 70's. A closer listen will favour a better appreciation of an authentic and carefully developed style.
  
  All four titles would then make excellent occasions to discover the band. The first one ('94) features a more restricted lineup, a bit more guitar, but essentially the same format. The second one ('95) is very similar. The third one, Retopolis, is often mentioned as the best introduction to the band. The last one ('97) is a double disc. The ideas may be spread a bit thinner, short interludes are introduced, but the style remains consistent. Four superb productions that serves the best elements of accessibility and technical performance.
  
  
  
• Strunz & Farah: Mosaioco ('82), Frontera ('84), Guitarras ('85), Misterio ('89), Primal Magic ('90), America ('92), Heat of the Sun ('94), Live ('97)
  
  Jorge Strunz (Costa Rica) and Ardeshir Farah (Iran) form this California based guitar duo. They play acoustic guitars in a passion, grace and fire style that certainly brings to mind the DeLucia, DiMeola & McLaughlin trio. Their music consistently offers complex guitar work based on themes from various South-American and Mediterranean cultures. The pieces also involve improvisations that can reach blazing speeds. All their releases feature contributions by other musicians. Bass, as well as a wide variety of percussions are usually present while the use of drums increases as the years go buy. You will also find occasional violin, flute or vocals on most of their high quality productions. While their work has been pretty consistent thru the years, some nuances can be made. Misterio is an Audioquest release with a more intimate feel and is described as nocturnal music. It also marks a point after which the use of drums becomes more frequent. Their subtle role give a more steady pulse to the rhythms and seems most noticeable on Americas. The Live disc features tracks from the three preceding releases. While their music is often found in New Age sections, it deserves attention from those interested in the acoustic projects of jazz-rock fusion guitarists.
  
  
  
• Syndone: Inca (1993)
  
  This double-keyboards, bass and drums outfit is another Italian production under the supervision of B.Crovella. The context is essentially the one of a ELP type "power trio" but here, two keyboardists share the spotlight. The composition show strong classic influences, symphonic arrangements, but the performance remains rock and sometimes pretty heavy. Numerous organ and synthesizer solos with intense rhythms are common but more relaxed passages with vocals (in Italian) are also present. Music for fans of keyboards with a sound from '70s.
  
  
  
• Tale Cue: Voices Beyond my Curtain (1991)
  
  These five Italians form the usual group with vocals (in English), guitars, keyboards, bass and drums. The result is a melodic rock that alternates between soft and heavier parts where the rhythms and electric guitar get busy. The compositions, fairly simple, take advantage of the singer's expressive and dramatic style. She shares the melodic role with the guitarist and keyboards provide symphonic textures. Modest but solid rhythms take on a support role. A sound that ranges from bands like Pendragon to bands with a harder rock edge.
  
  
  
• Tempest: Turn of the Wheel (1996)
  
  This American band plays a rock music with strong folk influences. In fact, traditional Celtic (reels) and Scandinavian themes inspire most of the tracks. Text-based, the tracks show the usual rock arrangements of guitars, bass, drums and keyboards (few) but it's the melodic work of the vocals, mandolins, flutes, violin and harmonica that insure a distinct flavour. An excellent production with a sound that evokes Jethro Tull or Garolou with their rock interpretation of traditional music.
  
  
  Tempest: The Gravel Walk (1997)
  
  As they did on the previous release, the American band offers rock arrangements of traditional Celtic themes. The sustained presence of violin (acoustic or electric) is now added to the vocals/mandolins/flutes, guitars, bass, drums and keyboards (few). The arrangements are also similar except that the guitars are slightly more discrete (toned/mixed down) or acoustic in order to successfully integrate the violin to their sound. It often plays unison with the guitars but it also exchanges solo phrases. This excellent production possesses all the qualities of the previous release while it completely integrates the violin work.
  
  
  
• Townscream: Nagyvárosi Ikonok (1997)
  
  The Hungarian band is lead by the former keyboardist for After Crying. The only composer and singer, he is joined by three musicians on basses, cello/synth and drums while discrete guests are mentioned on flute, trumpet and trombone. A collaborator writes the numerous texts (in Hungarian). This release offers an impressive variety of rich arrangements that most often insure a classical orchestral sound to the music. While all the performances suggest an academic training training, the keyboard work is most remarkable. The piano often provides a solid base to the compositions while synths are added as if they were additional musicians. The tone varies progressively between calm, melancholic or religious moments and more rock, jazz or symphonic ones. A superb production in continuity with the work started in After Crying.
  
  
  
• Trespass: In Haze Of Time (2002)
  
  The trio from Jerusalem revolves around the work of an academically trained keyboardist, vocalist, composer and producer. The guys on bass and drums are tight, groovy and dynamic while their sound maintains a light, jazzy quality. Because of lineup, outstanding work on organ (piano and synths also) and a quality but modest sounding production, their work ressembles many keyboard-driven rock recordings of the 70's. In addition, sparse vocal work (in English) and bits of recorder or guitars sometimes introduce a more typical band sound. In fact, even if it often sounds like a lost classic, this relatively short first release does feature more contemporary sounds and ideas.
  
  
  
• A Triggering Myth: Twice Bitten (1993)
  
  ATM is an American duo where mosty keyboard but also guitar, percussion, flute and trumpet work is shared. Guests contribute on bass, drums, guitars, keyboards and percussions. The compositions show an unpredictable style that cleverly blends symphonism, jazz and rock. Most tracks are keyboards based (excellent piano) but the arrangements integrate the contributions of the other instruments with much pertinence. Modern and unconventional music with influences that include more than one style.
  
  
  A Triggering Myth: Between Cages (1995)
  
  The two Americans are back with their curious fusion of jazz, rock and classical music. The keyboards (excellent piano) remain an essential base to the compositions but the duo uses a variety of other instruments as well as guests on drums and percussions. The style, modern and experimental, is still unpredictable. Symphonic keyboard arrangements often accompany themes which progressive developments also include improvisations (keyboards or guitar) with jazzier rhythms. A rich production of music that often diverges from the usual rock formulas.
  
  
  
• Twin Age: Month of the Year (1996)
  
  This new Swedish band features the usual five piece formation. The tracks are text-based (in English) but all involve important instrumental work. The style is a melodic, symphonic rock that evokes the late 70's. The sumptuous and delicate arrangements of guitars (arpeggios) and keyboards (symphonism) are very Genesis-like ('76 to '78). The precise and energetic rhythms, as swell as the instrumental development of themes (guitar or keyboard solos) also show a similar inspiration. A high quality production that remains safely in familiar territories.
  
  
  
• Vervloesem, Pierre: Fiasco (1996)
  
  This Belgian group which operates under the direction of the guitarist/bassist involves a second guitarist and a drummer. The occasional use of vocals (in English), trumpet or keyboards is very discrete and doesn't bring much to the whole. The style is inspired by rock and jazz to create a music that's fairly heavy on rhythms and distorted guitar. The sometimes funky rhythms are usually jazz inspired while the guitar work often evokes the contemporary King Crimson. You can recognize Fripp influenced tones and techniques. The tracks are often based on rhythms or riffs and involve some improvisation and bits of dissonance. Fiasco or success ? Only the most adventurous will get to decide.
  
  
  
• Via Lumini: What Have We Done About US ? (1995)
  
  This Brazilian collaboration first involves a five piece band on keyboards (analog), guitars, flute, bass and drums. Since their compositions are text-based, producer J.Kurk (Terrano Baldio) also handles all vocal parts (in English with foreign accent). Their style is a rich blend of influences that evoke a wide variety of bands from the 70's. The music alternates progressively between softer, sometimes acoustic parts and more lively ones given a distinctive tone by the use of organ and flute. The melodies and harmonies are equally shared while dynamic rhythms are adjusted to the tempo. A rich production that doesn't betray a symphonic rock which arrangements and even technique are inspired by the pioneers of the style.
  
  
  
• Volare: The Uncertainty Principle (1997)
  
  The first release by the American band allows the discovery of four excellent musicians on keyboards (mostly analog), guitars, bass (occasional soprano sax) and drums. A first listen will reveal a variety of jazz-rock influences from the 70's. The music effectively consists in instrumental pieces with jazzy rhythms featuring electric piano (Fender Rhodes) and synth (Moog) tones with a definitely retro sound. The performances are energetic, dynamic and flexible enough to allow an easy flow between a delicate (sometimes acoustic) tone and a more furious, definitely more rock oriented one (organ and distorted guitar). However, spectacular soloing is restricted by clever arrangements that favour band cohesion. Appreciation for this rich production will grow with repeated listening and volume increases.
  
  
  
• Vulgar Unicorn: Under the Umbrella (1994)
  
  This British production features a keyboard/bass, guitar and drum trio. The style is a conventional melodic rock but the symphonic keyboard accompaniments and guitar work insure a sound typical of current British bands. The long tracks involve vocal work (guest vocalist) but instrumental parts as well. However, the compositions remain simple and the usual arrangements dominate; except for brief parts involving acoustic guitar, trumpet or saxophone. The rhythms offer some variety but sometimes lack a bit of dynamics. A quality production and a conventional style will keep the listener in familiar grounds.
  
  
  
• White Willow: Ignis Fatuus (1995)
  
  This Norwegian project features a beautiful blend of folk, classical and rock music. Their instrumentation goes beyond the usual rock format to include classical guitar, flutes, horns, violin, cello, sitar and sublime classically trained female vocals (in English). Sustained use of acoustic instruments insure a certain softness to a sound which only occasionally shows its rock elements. The result is melancholic music inspired by medieval folk themes with the addition of an electric and symphonic touch that evokes The Court of the Crimson King.
  
  
  White Willow: Ex Tenebris (1998)
  
  Here, the Norwegian project offers a five member lineup with vocals (female), guitars, keyboards, bass and drums. Guests also lend a hand with vocals and flute on a few tracks. The style remains a mixture of folk and symphonic rock but the arrangements, both vocal and instrumental, are simpler. Their sound involves much guitar (often acoustic) and analog keyboard (mellotron, organ, synths) work while the rhythm section remains slow and discrete. The vocal (in English) and instrumental parts are equally distributed and are all composed buy the guitarist. A simple but quality production also insures a retro (70's), almost live, sound. Despite a less impressive display of resources, the spirit of the compositions remains true to the one that animated the previous release.
  
  
  
• The Wishing Tree: Carnival of Souls (1996)
  
  This British production is a collection of tracks featuring the delicate, almost juvenile voice of Hannah Stobart. The music is by S.Rothery (Marillion) on guitars and keyboards accompanied on bass (P.Trewavas) and drums. The style, text-based songs, is similar to that of many current "pop" female vocalists. The texts are presented on a light, often dreamy tone and rely on rich acoustic and/or electric guitar arrangements. Some tracks are acoustic with a more folk sound while others use light but dynamic rhythms. A high quality production, expert performances but a common style with no specific interest to symphonic rock fans.
  
  
  
• Zorn Trio: Plays Mats Johansson (1996)
  
  The trio (piano, violin, cello) has been collaborating with the leader of Isildurs Bane since 1991. Here, they play chamber music arrangements of Johansson`s compositions. The first piece is new material presented in eight short scenes. The other piece is the original version (for trio) of Voyage: A Trip to Elsewhere. At the time, it included the four longest tracks from the Isildurs Bane release. Those familiar with this title will recognize how easily the themes fit the intimate format proposed here. Otherwise, this production is of most interest to those who appreciate classical music of romantic inspiration. Academic performances that show the depth of the compositions.