(08 October 2010) Balligomingo first emerged in 2000 as a project led by Garrett Schwartz and Vic Levak with a collection of seven stunning female vocalists. Their initial EP was extremely well received by enthusiasts which led to their Beneath The Surface album in 2001. The singers included: Jennifer Baldwin, Colleen Coadic, Jennifer Hershman, Camille Miller, Jody Quine, Beverley Staunton and Kristy Thirsk. After an extended hiatus, Balligomingo resurfaced in 2008 with the release of Under An Endless Sky (UAES) fronted by Jody Quine and Rebecca Ramone. The new album was warmly welcomed by their fans.

Balligomingo's latest project is a seven track acoustic collection feature two new songs and alternative mixes of tracks from Under An Endless Sky. Entitled UAES Origins the project is certain to draw interest not only from former Balligomingo fans but from singer songwriter enthusiasts. Origins opens with the stunning new track "Last Words" sung by Jody Quine whose voice shimmers gliding above the instrumentals. Light arrangements incorporate strings and backing harmonies and are underscored by very light percussion. It is great to have Balligomingo back after a two year break.

Rebecca Ramone returns from her solo career to deliver the new mix of "I Just Tell Myself" sung atop a lone acoustic guitar. Her tender heartfelt delivery that wrings with emotion is superb. With guitars glistening, Jody Quine's performance in the acoustic mix of "Sunshine In Rain" is spine tingling. The feel of this new release is entirely different than the former heavy electronic influence that Balligomingo fans will recall. The singer songwriter tone of the record becomes that much more evident.

Under An Endless Sky's standout "A Beautiful Day" is reworked into a piano mix for Origins. Exclusively backed by piano, Jody Quine's solo vocal soars into the stratosphere. Clearly the standout on Origins, the production of Quine's voice is simply astounding and has to be heard. The accompaniment is also tremendous but is far overshadowed by Jody's vocal work. Bravo! An acoustic mix of "Dream Believer" is sung superbly by Rebecca Ramone. Backed by lone acoustic guitar, the producers have captured Ramone's evocative vocal delivery in spine tingling accuracy.

The second of two all-new tracks appearing on Origins is "Wounded." Sung superbly by Jody Quine, the acoustic ballad fits well with the rest of this release. The producers have again done an outstanding job with Jody's vocal work and on this track they have joined acoustic guitar passages with piano textures. A down-tempo electro-acoustic version of "You're A Star" sung by Rebecca Ramone is the final song on this release.

Balligomingo continues to deliver outstanding music to their listeners with their UAES Origins release. While there are only seven tracks included, it is clear that the quartet are still working closely together. Enthusiasts will be delighted with this new project. Let's encourage Balligomingo to stay in the studio and press forward with a new full length album soon!

(updated 08 September 2010) The Hungarian vocalist Fanni Völgyessy Szomor was one of Musical Discoveries' first featured artists. Her crystalline voice captivated audiences of You And I when she was the lead singer in the Hungarian progressive rock broup. Equally comfortable singing in a broad range of styles, she performs sensitive ballads, highly accessible almost-pop numbers, AOR and moving progressive rockers.

Initially influenced by Yes and secular themes, her music has evolved with and outside of You And I. Our original feature on the singer's recording focused on her debut solo album and two albums done as the lead vocalist for the progressive rock group You And I. A review of her solo project Tündér Rózsa was accompanied by an exclusive interview in 2003. Sadly You And I called it a day after their Exit album (review).

Fanni's most recent album is a 22-track live performance recorded in February 2004 entitled Szerelem Emleke. Sung parts are separated by lovely narration. The material is performed in her native tongue atop light acoustic instrumental arrangements. The 54-minute thematically produced project can be best characterized as folk or new age music, but it includes selections from her solo material, You And I classics and a stunning cover of Enya's "Evening Falls."

Fanni's vocal work is completely crystalline. She is joined on the album by two former You And I members Dorogi Károly (bass) and Gálantai Zsolt (guitar) as well as Koblicska Löte (narration), Pejtsik Péter (cello); Takács Márton (percussion) and Varallyay György (keyboards). Readers should note that Hungarian names are written with the first name appearing last. Familiar tracks are arranged similarly to Fanni's debut album or the You And I projects. The other songs are sparsely arranged, largely sung atop percussion or with cello and percussion. She says, "I sing folk, rock, pop, in Hungarian and in English. This is ME!"

Fanni told us, "This summer I made a new concert program on my own. It contains a movie as well, wich means that while I am singing the audiance can watch the film witch completes a little bit the music and the songs." Perhaps explaining the texture of this latest release, she said, "The places where I go are really poor, so I can not afford a band to play with me in live." She concluded, "This is the East. I am still organising my concert, without a manager so instead of singing I am sitting front of this laptop all day long." She told us that she doesn't really like that part much at all.

Promotional Single. Fanni won the Mozaïque Songfestival Den Haag (website) in 2009 and received a professional release of her songs on a single entitled "Jöjj El Fény / Like A Dream." The enhanced CD includes bonus material, including a video recorded live at the festival that will play on most multimedia computers. Fanni told us, "I made a film added to my music, not just a 55-minute videoclip but to show more what I would like to say through my songs." She is planning to travel and visit the Hungarian communities in Europe. She said, "I woulnd't mind finding someone that could help me with this." The single includes music and Hungarian lyrics by Károly Dorogi (You And I) arranged. It was produced and mixed by Péter Pejtsik. Fanni is credited with the English lyrics. The two versions of this song are stunning. The recording is masterfully arranged and hopefully indicates the direction Fanni is headed in her new full length release.

Fanni has recently updated her website. There are new photos, samples of her recent recordings, including tracks from Szerelem Eemléke and an updated artist biography. When we asked Fanni about her plans for the future she told us, "My plan is to go through Europe visiting Hungarian clubs, churches and giving concerts with the film together." She also told us, "I am organizing a little concert for a few American friends. It would be nice to fly over."

Fanni is also working on a new album. When we asked about progress, she said, "Actually my songs are not complete. I would like to make a CD with the concert program on it." She says, "I didn't start it yet, so in this moment I just have the music and I am singing live." The performance must be similar to this live album. She said, "I worked with three musicians. We play word music with cello, piano and percussion." She loves it, but "Nowadays I can just have one big concert with them around Christmas." She says, "The rest is with this film. Like this, I can organize my concert much easier." The other musicians are often too busy to tour with Fanni. She says, "Life goes so fast, so we just have to love and take care of each other." This is the motto of her new film.

Concert Album. The tension in Szerelem Eemléke album builds across the running time. There is an initial release in the dramatically performed song "Utorirat." The warm yet melancholy Enyaesque texture of "Smaointe" works to perfectly bookend Fanni's stunning rendition of "Evening Falls."

The concert's last song "Nincsen Kedvem" is stripped right back, sung a capella. It most clearly illustrates the crystalline texture and tremendous power of Fanni's voice. Drawing an ovation, Fanni returns to perform "Utazas" as her encore. Backed with keyboard and percussion, this familiar track is performed flawlessly and has been produced with outstanding quality as the album's closing number.

Our editorial staff pushed to have one of Fanni's new songs on our Syrenes compilation but were unsuccessful convincing the other partners. Based on the four demos posted at her website for the world to hear, Fanni's new project promises to be very exciting and we look forward to it.

(12 September 2010) In an era when the British public is used to being spoonfed its star performers through reality TV shows, it's refreshing to come across an artist who is doing it the old fashioned way. That is if you consider performing in front of 30,000 people alongside the likes of Charlotte Church and Blue at the age of seven to be old fashioned.

Sixteen year old Annelies Kruidenier is that person, and the one who is preparing to be the next British classical crossover superstar. Born and raised in the Welsh valleys that seem such a nutritious source of singing talent, she won a music scholarship to the prestigious Cathedral School in Cardiff, who count Charlotte Church amongst their illustrious alumni. And like the ever-popular Ms Church, she was quick to display her precocious vocal ability, singing at every opportunity that arose. Learn more about Annelies in our exclusive interview.

With a talent that was obvious to anyone who witnessed her performances firsthand, it wasn't long before the concert recitals grew into something more substantial. A performance alongside the Welsh National Opera was followed by an invitation to sing at the Rugby World Cup at Cardiff’s enormous Millennium Stadium, and even at the newly refurbished Wembley Stadium in front of a capacity crowd of 73,000 people.

One might think that, for someone of such tender age, it must have proven extremely daunting to sing solo in front of so many people? Not so, refutes the lady herself. "I suppose that when you've always sung, it seems pretty natural to be in an environment where you’re performing. I mean don't get me wrong, I was pretty nervous walking out onto the pitch, but once the music starts, I just feel at home."

It defies belief that such a strong voice can be housed in someone so young, but to witness the power coming from her small frame is to realise that this is no disposal pop wannabe. Annalies is the real deal. Her note perfect renditions of "Per Sempre" and "Time To Say Goodbye" have already attracted the attention of legendary vocal maestro and songwriter Steve Balsalmo, and now her talents have brought her to the attention of the major record labels.

Yet there's more to Annalies than a voice and her rapid ascent up the classical performance ladder; not many opera singing starlets can boast of a silver medal in the UDO World Street Dance Championships in their armoury, nor have they been in a position to turn down a highly-sought after presenting gig with international media giant Disney. "I like lots of things," she states, "Just become I sing classical music doesn't mean to say I spend the day wondering around in a choir robe!"

We were provided eleven demo recordings by Annelies. Her voice has perfect clarity and she sings with remarkable maturity. While each recording is very special, the standouts included the dramatically delivered and wonderfully produced "It's Raining Again," the stunning classic "Per Sempre" and the artist's Ryder Cup concept, a powerful and very maturely delivered track entitled "Just Believe."

None of this is sufficient to distract Annelies from her true ambition. "It might seem odd to some that a sixteen year old girl wants to sing classical music, but for me its always been my over-riding passion, and I can't ever imagine that changing." Listen to samples at Annelies' MySpace, FaceBook and Reverbnation sites. She has performed already alongside the likes of Hayley Westenra and Faryl Smith, the future seems certain to deliver that ambition for Annalies. Based on the demos we have heard, her debut album promises to be smashing!  

(17 October 2010) The eleven track debut album from the soon to be rapidly emerging Indonesian classical crossover artist Sisca is entitled Impermanent Life (Hype33 Entertainment (Australia), 2010). Sisca's album is not yet released and is being shopped around by the artist's management with the major labels. Influenced by Sarah Brightman and Enya, listeners will be astounded how classical crossover, new age and world have been combined in this stunning new project. Learn more about Sisca in our exclusive interview.

Sisca's crystalline soprano voice is indeed the centerpiece of Impermanent Life. String and keyboard arrangements and backing harmonies contribute to the incredibly rich texture that backs the singer's work. The over seven minute long title track achieves a world and new age texture with powerful atmospherics, tribal chants and superb arrangements including the strongest percussion on the album. Sisca's powerful vocal soars above the arrangements following an extended introduction. In sharp contrast, listeners will delight in melancholy crossover ballad "Mother." Dramatic allusions of Sarah Brightman are clear in the powerful multilaypered ballad "Hope."

The rhythmic sound of "Kindness" is driven home by the numbers sung in the song's chorus, and is by combining rich keyboard washes and crisp percussion, reminscent of Enya's work, except for the wonderful soaring vocalise parts. Sisca returns to the theme in "Time," a duet which appears as a bookend later in the record. Her production staff were brilliant in pairing the standouts at opposite ends of the album.

Backed by acoustic guitar and strings, Sisca's delicate delivery of the crossover ballad "Beautiful" is tremendously delivered. Her vocal work continues in crystalline form to soar above additional harmonies and lovely arrangements.The singer's Mandarin singing roots are echoed in the orientally derived arrangements of "We Are The Same," clearly one of the album's most progressive standouts. The song absolutely defines classical crossover--stunning vocals atop worldly, yet modern, arrangements.

Piano and strings provide the foundation for Sisca's poerful delivery of the crossover ballad "Where Is Love." Sisca's vocal maturity on the track puts her amongst the best crossover singers. Listen for the Tarja Turunen allusion within this stunning track. An incredible world textured duet Sisca sings opposite Mark Vincent entitled "Time" is well placed in this collection. The two voices are splendid together.

"We Never Learn" is the most powerful vocal number on the album. Sisca's vocalise glides atop the rhythmic arrangements opposite the lyrical parts. It is a compliment to Sisca and her team to say that the song has a strong Sarah Brightman influence within its vocal and instrumental arrangements. The final track of the main album is the delicately yet percussively arranged "Earth Song." It is a stunning new age style track with extremely powerful operatic vocal work. The album concludes with an upbeat and accessible alternative mix of "Beautiful." The vocal power is incredible.

Sisca's debut album Impermanent Life is certain to draw significant attention from the major labels as it is shopped around this autumn. Likely to be released after Midem in Cannes next January, this album will delight female vocal enthusiasts as well as classical crossover fans. Musical Discoveries will keep visitors posted on release plans. Sisca is at the beginning of what promises to be a successful and long running musical career.

(29 August 2010) Liv Kristine Espenæs Krull from Norway is better known as Liv Kristine. She is the former vocalist for the band Theatre of Tragedy and is current vocalist for the band Leaves' Eyes. Her solo career includes two former albujms entitled Deus Ex Machina (1998) and Enter My Religion (2006) respectively. Her new album, Skintight (Napalm Records (USA), 2010) reviewed below is her third solo outing. The artist also released eight singles and two EPs supporting these three albums.

Readers will note the gap between her debut and follow-up albums. During this period she worked exclusively with Leaves' Eyes who released two albums entitled Lovelorn (2004) and Vinland Saga (2005) respectively. Leaves' Eyes third studio album Njord (Napalm Records (USA), 2009) was also recently released. Four EPs, most notably the Legend Land (2006), and a double live album (2009) were also released to promote the band's work. Liv Kristine and Alexander Krull are the driving force behind Leaves' Eyes.

Kristine's latest solo album is a ten track rock and pop collection naturally with little semblence to her work with Leaves' Eyes. The tracks are more lightly arranged although electric guitar arrangements support her vocal work. Vocals are more delicate and less "out there" than the artist's work with Leaves' Eyes or her prior solo album Enter My Religion. We appreciate the distinction between Liv's solo recordings and her work with the symphonic metal band.

The artist continues to support her work with promotional videos and a vast online presence at her official website and also MySpace. Publicists have taken care to release only the most professional photography. The care taken to control Liv's image has served her well as she is always show in the most evocative clothing and notable poses that show off her assets visually. Recordings are available at MySpace, her official website and YouTube.

The new album's ten tracks run just under forty minutes. The material includes gentle and delicate ballads ("Twofold," "The Rarest Flower," "Love In Gray," "Lifeline," "Wonders"), fast paced rockers ("Skintight," "Boy At The Window"), rock'n'roll ("Train To Somewhere," "Emotional Catastrophies") and bluesy numbers ("Versified Harmonies"). The album's standouts are clearly "Twofold" and "Boy At The Window." Listeners will also adore the electric guitar-laced "Versified Harmonies." The album concludes with the piano-based ballad "The Rarest Flower." Allusions of Tori Amos emerged as the album drew to a close.

Skintight is a respectable solo album from Leaves' Eyes vocalist but is not representative of Liv Kristine's very best work. The material may be slightly too accessible and lacks the edge that many will expect from the singer.Liv Kristine continues to draw interest from enthusiasts worldwide. While this album has not drawn the critical acclaim of her earlier work, there are some excellent tracks.

(29 August 2010) New Mexico native and New York City-based Misty Boyce got her feet wet as a professional musician playing keyboard for The Naked Brothers Band. Don't let her tween-pop roots fool you, Boyce is a serious songwriter in her own right, with a drop-dead voice and a style that compares well against folks like Sarah Slean, Regina Spektor and Tori Amos. Her self-titled debut album (Modern Vintage Recordings (USA), 2010) is a twelve track collection of ballads and upbeat pop numbers. Misty plays pioano akd keyboards and sings on the album. Some will recognize Doug Yowell (November Project, MaryAnne Marino) who contributed drums to a couple of the tracks.

The album opens with "Razors," a jaunty, angry tune very much in the style of Sarah Slean. Boyce admonishes an old love to go away, although methinks she doth protest too much. It's a great composition, and the layered vocal harmonies are a great accent. "Trouble" is a highly stylistic ballad. It is a sad soliloquy from a person who's taken satisfaction in being broken but is now turning away someone who would be good for her for fear she’ll ruin him. It's a case of tragic redemption through self-sacrifice. Boyce surrounds this story with gorgeous instrumentation and a near-perfect arrangement.

Misty gets a bit more pop-oriented on "Be A Man." Written from the perspective of a child acting out because of a divorce in the family and a new woman in dad's life, "Trouble" is an amazingly stark and potent bit of songwriting. "How Long" is a delicious mix of intense emotions in a stark arrangement and a distinctive pop sensibility. "Regrets" seems more rueful than anything else, mixing regret and a positive outlook in a viable power-pop arrangement that works well for the singer.

The best pop songwriting on the album comes in the form of "Love You Down," a song that might win the title as ultimate come-on song. Misty wears her heart on her sleeve on "Slow Burn," a nearly mournful tune of devotion. The arrangement crafted for "Slow Burn" is a gorgeous mix of dark and light; hope and pain. "Dutch Girls" is stark and needful. It is a song about loneliness in a digital age where we are drawn closer and closer to each other even as we grow more confined within our digital walls. There is an over-arching sense of loss that runs throughout Misty Boyce, which turns out to be something of a post-breakup album.

Misty doesn't leave listeners mired in the emotional ruins however, ending up in the self-awareness and hope of "Snowed In." The track finds the singer forced to stop for a day and see her life as it is; and realizing that things are okay. It's not healing, per se, but certainly a sign that all will be well.

The debut album announces Misty Boyce to be a musical force to be reckoned with. Comparisons to Regina Spektor, Sarah Slean and Tori Amos are all well-founded, but Misty is her own songwriter, and one senses that over time her sound might become even more distinctive. As a debut album, Misty Boyce approaches brilliance. Original review by Wildly in Amherst, NY; edited by Russ Elliot

(updated 08 October 2010) Musical Discoveries reviewed Sofia's Jonestown (2008) album as well as her followup EP entitled Strawberries on My Tongue in 2009. An interview with the Swedish singer songwriter was also published here in 2008. Sofia's latest full length album Florida (Makaki Music (Sweden), WOR-CD-1010, 2010) was released earlier this year simultaneously with an acoustic version of the album. The artist's lineup have done an outstanding job with supporting arrangements. The guitar work is extremely notable.

Sofia Talvik's earlier releases Blue Moon (2005) and Street of Dreams (2007) as well as remix version of Street of Dreams received broad critical acclaim by the music press. Talvik's earlier albums Rock of MQ (2005), Jeans & Cover (2005) and Jeans & Summer (2003) are less well known away from Sweden. Sofia has also released four singles and lists two further demos in her discography. Her label Makaki Music is said to be the "hardest working indie label in the world." Sofia is also a prolific FaceBook communicator.

Florida is a ten track collection of accessible tunes with a running time of just over 33 minutes. The acoustic version of the album is comprised of the same tracks and--as one might expect from the title--are arranged differently. Fronted by Sofia's stunning vocal work acoustic has the simplest acoustic guitar arrangements. The two releases together make an extremely nice double album addition to any female vocals enthusiast's record collection.

Sofia traveled across the United States over a two year period building the foundation for Florida. Some have said that the album is very much a travelogue from this period. Arrangements on Florida are rich but not overpowering. It has a folky Americana style. Listeners are sure to pick out the various guitars and note the horn and woodwind-sounding passages beneath Sofia's glistening vocal work.

Florida, with its overall Americana feel, is comprised of mostly upbeat singer songwriter tracks although there are a couple of bluesy numbers and ballads as well. The album comes right out of the chute with the richly arranged "King Of The Willow Tree." But the instrumental arrangement quickly takes a back seat when the singer's lead vocal line soars to the top of her range of the bluesy passage. A warm chorus featuring the artist's vocal layers perfectly offsets the lead.

The title track is an upbeat singer songwriter style track with robust country-style electric guitar. The memorable chorus is wonderfully supported by vast vocal harmonies. Listeners will immediately note the contrasts within this song; at times it almost sounds like Sofia is singing a capella and at others she is leading an audience full of Sofias singing right along with her. The horn passages add great texture as well. "As We Catch On Fire" is the album's first ballad. Tenderly delivered atop acoustic and electric guitar, Sofia's lead and backing vocals are perfectly produced.

"In The Eye Of The Storm" is the album's first standout. The crystalline texture of Sofia Talvik's voice punches right through the light electronic arrangement, especially in the stunning and richly orchestrated chorus. The bluesy yet upbeat track "You Plate Your Heart With Gold" is wonderfully arranged with Sofia's vocal layers adding a lovely texture to the overall sound.

The artist's tribute to the Americana style is everso evident in the arrangements of the upbeat ballad "More Than I Should Have." Twangy guitars are perfectly joined with strings and percussion elements with Sofia's multi-layered vocal work. As if to bookend the former track, string and guitar work in "Paper House" are in a similar style, however here Sofia's stunning lead is joined in a duet with a male vocalist.

"The Light" is another album standout. Backed by woodwinds, keyboard and gentle guitar, Sofia's evocative vocal lead carries the lovely ballad. The electric guitar part binds the track with the rest of Florida. "You Bring Me Back" has a wonderfully produced vocal recording pushing Sofia's sensual voice well atop the Americana-styled arrangement. The album concludes with the down-tempo ballad "Maybe Then Will Be When." Listeners will be drawn into the track's lovely arrangement featuring horns, rich percussion and standup bass. Sofia's heartfelt vocal lead and additional layers tenderly deliver the lyrical message.

While both versions are stunning, the acoustic version of the album is, as one would expect, significantly stripped back with the artist's vocal work atop simple, crisp and unabashed acoustic guitar arrangements. Both of the albums are available at amazon and other online retailers worldwide.

Florida is indeed a tribute and a testament of Sofia's incredible vocal prowess. Listen to both versions with headphones. The production is superb! While the songs may sound somewhat less accessible on the acoustic version, listeners that seek stunning female vocal work will adore both versions of the album.

(22 October 2010) The debut album from District 97 is entitled Hybrid Child (Laser's Edge (USA) LE1057, 2010. District 97 is the only progressive rock band in the world to feature an American Idol finalist and a Chicago Symphony Orchestra virtuoso cellist. This gives the Chicago, IL band a unique sound and contributed to a dramatic live presentation. In addition to being one of the top ten female vocalists on Idol, the band's lead vocalist Leslie Hunt has released a solo album entitled Your Hair Is On Fire (Ellenel Record (USA) 001, 2009). Read more about the singer in our exclusive interview.

In addition to Leslie Hunt (lead and backing vocals), District 97 is comprised of: Katinka Kleijn (cello), Rob Clearfield (keyboards), Jim Tashjian (guitars), Patrick Mulcahy (bass) and Jonathan Shang (drums) . Leslie's dynamic performances have allowed the band to forge a unique marriage between accessible, catchy vocal melodies and an adventurous instrumental prowess. The fourteen tracks on Hybrid Child include three most accessible rock tunes, a long progressive single and a ten track suite. The tunes range from highly accessible through progressive, metal and hard rock. Katinka's cello contributions lend a Curved Air sound to several of the the tracks.

Fronted heavily by Leslie's vocal work, the album's first two opening tracks are the most accessible. The upbeat and rhythmic "I Don't Want To Wait Another Day" introduces District 97's sound with thick guitar and rapidfire vocals and especially crisp percussion. Multi-layered harmonies are gloriously produced. A cello solo during the instrumental bridge reveals the band's prowess. These themes echo in the thirteen tracks that follow. "I Can't Take You With Me" is a richly arranged number that more clearly exposes Rob Clearfield's keyboard work. Hunt's vocal work is powerful and clearly illustrates the artist's dexterity. A light metal edge to the guitar work reveals the wide breadth of the band's overall sound.

Thick bass lines and heavy guitar work contribute to the band's first extended length track "The Man Who Knows Your Name." Guitar riffs, drums and percussion are especially powerful before the cello solos emerge. The tempo changes and Hunt's stunning vocals emerge mid-track following the band's extensive instrumental and remind the listener that this is after all a District 97 album. "Termites" is a fast paced number backed with a thick rhythm section and hard guitar arrangement. Pay particular attention to the cello work and Hunt's vocal dexterity in the recording.

A ten part suite entitled "Mindscan" builds on sounds introduced in the album's first four tracks and has the title track as its centerpiece. Listeners will be impressed with District 97's range of styles and themes embodied within the lush instrumentals of "Mindscan." "Arrival" and "Entrance" are orchestral and significantly more gentle than the material that precedes them on this album. "Realization" is a harder track laced with thick guitar and keyboard riffs. The rhythm section reminds the listener that the track is not just a jam session.

"Welcome" is the first vocal track inside the suite. In this instrumentally lighter track, Hunt's powerful vocal is balanced by Katinka's cello parts. Following the tension built in the suite's preceding numbers, the gentle ballad "Hybrid Child" is wonderfully performed and backed with very light guitar and keyboard arrangements. Leslie's vocal work glistens in range and power. Self-backing harmonies and a fabulous keyboard solo contribute to the album's standout title track.

The band returns to instrumentals in the percussive and harder "Exploration." Leslie Hunt joins the fray in "What Do They Want" as subtle themes of the "Hybrid Child" track emerge within the robust arrangement. Another clear album standout is the brief ballad "When I Awake." The accessible song perfectly balances the band's instrumental prowess with Hunt's stunning vocals and embraces the entire range of the album from ballad to powerful guitar-laced instrumentals. Listeners will especially appreciate the harmonies that conclude her contribution to the record. The "Returning Home" finale pays homage to the band's instrumentalists, bookends the suite's introductory movements and concludes the album.

As Leslie Hunt says, "District 97 is my main squeeze," although the singer is also continuing to work as a solo artist and producer. Enthusiasts are encouraged to check out her 2009 solo album. District 97 is an extremely promising American progressive rock band with a bright future. Critical acclaim for their live performances is certain to draw larger crowds to their shows and expand their touring schedule. Hybrid Child is an excellent first offering that will draw significant attention from a broad listening audience.

(15 October 2010) As the title suggests, the latest album release of Karl Jenkins, Gloria/Te Deum (EMI Classics (UK) 5099964643021, 2010) consists of two choral-orchestral works. These are the newly premiered Gloria and an earlier work of Karl, Te Deum. Te Deum was commissioned by the Liverpool Welsh Choral, and later the premiere concert was coined with the celebrations of "City Of Culture" status in Liverpool, receiving its premiere in November 30, 2008.

Gloria, on the other hand, was commissioned by The Really Big Chorus (TRBC), a project led by Don Monro and ex-King Singer Brian Kay. The main goal of TRBC is to perform music from scratch. Everybody who would like to join them are welcome to sing on any ongoing project they have. TRBC has performed some of Karl Jenkins' music in the past as some years ago they learned and performed his highly successful works The Armed Man and Requiem, but this time they commissioned a completely new piece from him.

The premiere concert of Gloria took place at London's Royal Albert Hall in July 11, 2010, under the baton of Brian Kay and in presence of the composer Karl Jenkins himself. Singing on stage there were about 2,500 singers from about sixteen different countries, though instead of the New Zealand-born soprano soloist Hayley Westenra, featured on the album version of this work, was unavailable for the premiere, the concert featured the voice of tenor Samuel Evans.

On the album version, both the choirs and the orchestra are different from the premiere concert. On the album TRBC is replaced by The National Youth Choir Of Great Britain and instead of the English Festival Orchestra who did the live performance, the album version features the London Symphony Orchestra. Although the studio version of the album was released the day after the concert, the Abbey Road Live crew actually recorded the premiere concert "on the go," and the live version was then quickly pressed and sold to concert audience and the choir and orchestra members as an exclusive and rare memento.

Like Karl's earlier and highly successful choral-orchestral works such as The Armed Man, Requiem and Stabat Mater, his new setting of Gloria is also a multi-denominational composition with readings from various sources such as Taoism, Buddhism and Hinduism side-to-side with Christian texts. The readings, which all share the idea of describing the "Most Divine," are interspersed with the musical movements of the work so that it could be performed either with or without the non-Christian contents. Although some may indeed find those readings interruptive, they are a vital and natural part of the composition as a whole.

Both Gloria and Te Deum are a very interesting mixture of typical Karl Jenkins rhythms and melodies, and although the most avid fans easily spot that Jenkins is once again quoting himself in two of the movements in his Gloria by introducing the melody from one of the movements of Dewi Sant (2000)that fits like a glove within this work as well. The readings and the "attacca" tie-ins of some movements, especially in Te Deum, can be a bit nuisance if one listens to the the album on a random or shuffle setting.

Because both Gloria and Te Deum are two very cohesive works, it is not very fair to point out any particular movements that could be better than others, but there are some real aural bliss moments in both works. The second and fourth sung movements of Gloria, "Laudamus Te" and "I'll Make Music" respectively, just will melt any listener's heart with their wonderful melodies, and the crystal clear voice of Hayley Westenra on the latter movement is the icing of the cake.

Te Deum then, on the other hand, creates some very exciting musical contrasts between its movements, so it is a bit more challenging, not only for the performers but also for the listeners. Karl has very cleverly sandwiched some exciting rhythms between two very melodic and singable movements of Te Deum,, but still the contrast between "Te Ergo Quaesumus", the jolly "Aeterna Fac" and another mellow movement "Miserere Nostri" is never banal in any way.

All in all, both Gloria and Te Deum are highly approachable works, both in the point of view of performers and the listeners, albeit Te Deum might be a little bit more challenging. And, this is what modern choral-orchestral music should be, accessible enough to please both the performers and the audience. These days, there are many compositions that are way too complex to understand and to get into thoroughly, which very easily means that the works are never performed again after their premiere.

Gloria and Te Deum are works that both professional and amateur choirs and orchestras will put in their repertoire across the world, just like they have done with Karl's earlier successful settings of The Armed Man, Requiem and Stabat Mater, which all are also multi-denominational. In the meantime while waiting for new interpretations of Karl Jenkins' latest works Gloria and Te Deum, let us enjoy the stunning new album from the master of melodies and rhythm!--Suvi Kaikkonen in Oulu, Finland and Russ Elliot in New York

(04 September 2010) Vocalist Lauren Edman made her debut appearance here in association with the song "Afterthoughts" that she sang with Sleepthief on the Dawnseeker album (review). Read our interview with Lauren. The singer contacted us this month to tell us about a hew new project For Every Story Untold that she formed with Brian Caesar. She also shared their new EP entitled Hideout.

A lifelong musician, Edman had also made an appearance with Delta-S's Voyage to Isis. Caesar had previously been the bass guitarist for As Tall As Lions helping in the writing of the band’s debut album Lafcadio. Since his departure from the group in 2004, he had only picked up his bass for a handful of shows with other artists, and he began refocusing on writing songs with supernatural elements in mind.

Learning that they had similar backgrounds and shared a passion for huge melodic arrangements brought them to the conclusion that the two should collaborate. The first song they wrote together was "Hideout." The arrangement was derived from part of a score to a story that Caesar had written years ago. Edman took this background music and came up with a haunting vocal melody that gave the song new life. Caesar began recording other songs that he had written over the years, including the lyrical ghost stories "Mistakes We've Made" and "Getaway Soul."

For Every Story Untold's debut EP and title track share the name Hideout. The EP was released digitally and is envisaged to be part of the run up to a full length album. Arrangments for the title track are lush with a thick electronic feel. Lauren Edman's voice could have been placed higher in the mix but nonetheless glides atop the instrumentals and her backing vocals add lovely texture to the downtempo number.

The band uses keyboards and thick guitar layers to create the foundation for "From Under Paris." Here Caesar multitracks Lauren's voice to add the thickness necessary to favorably compete with the arrangement. Lauren's additional vocal layers contribute further depth to the sound of the evocatively delivered track. Guitars glisten alongside the singer's successful excursion into the upper end of her range.

In sharp contrast, "Mistakes We've Made" is a delicate ballad sung in a more whispy style against very light acoustic guitar backed with ever so gentle keyboard textures that build up and drop back through the cinematic running time of the song. Lauren clearly holds herself back in the verses building tension that she ultimately releases in the chorus.

The EP concludes with the dynamic rock-oriented track "The Wolf That Bit Me." Lauren's lead vocals are crystalline, strong and powerful rising up above the shimmering electric guitar arrangement. Her backing vocals are equally extraordinary. Here the producer has done a tremendous job placing Lauren's vocal work well up in the mix, right where female vocal enthusiasts like them.

The Hideout EP is available digitally at many online outlets including amazon.com (see link below). Listen to the tracks at the band's MySpace. For Every Story Untold likely have a bright future and will garner interest not only from Sleepthief, Delierum and Conjure One enthusiasts but from New York area audiences that are becoming increasingly familiar with their work. We'll be sure to review the album when it is released.

(22 October 2010) In extra sharp contrast to the 2009 Delerium compilation Remixed: The Definitive Collection, Bill Lieb's latest offering is Voice: An Acoustic Collection (Nettwork (Canada) 0 6700 30850 2 1, 2010). The twelve track record is comprised of three all new tracks and nine acoustic versions of Delerium favorites. Overall, like the recent Balligomingo release, the album has a singer/songwriter feel. But make no mistake, even without the legendary rhythm section, this is certainly a Delerium album. Ten of Delerium's stunning female vocalists are featured.

The album opens with a great Miranda Lee Richards rendition of Delerium's classic "Send Me An Angel" backed with piano and gentle key washes. An acoustic version of the R&B styled "Dust In Gravity" performed by Keesha Turner follows. Several versions of the track were released on an EP in 2009. Butterfly Boucher, who also sings on the 2010 Conjure One album Exilarch by Lieb's colleague Rhys Fulber, is featured on the previously unreleased piano ballad "Too Late, Farewell." Soaring at times, Boucher's crystalline vocals are superb.

The acoustic version of the Delerium classic "Silence" performed by Sarah McLachlan is stunning. With light percussion, layers of sublime vocals work well with the stark arrangement. Enthusiasts will be delighted with the world texture of the arrangements backing Leigh Nash's (Sixpence None The Richer) wonderful performance of "Innocente." Nash also contributes vocal work to the lightly yet electronic arranged and lovely rendition of "Orbit Of Me." With an accorion sound, the texture of the arrangement is especially rich.

We were delighted to hear Jael's powerful, evocative and sensual vocal work in the stunning acoustic arrangement of "Lost And Found." Harmony layers and rich strings contribute to the lush arrangements. The singer is also featured on the acoustic version of the Delerium hit "After All." The vocal production is especially crisp with Jael's voice pushed way up in the mix far above the stings and piano.

No Delerium collection would be complete without a contribution by Musical Discoveries Featured Artist Kristy Thirsk. The sensually delivered acoustic version "Flowers Become Screens" is the album's standout. Perfectly backed by Delerium's full depth acoustic arrangement, the track explores the full range of Kristy Thirsk's vocal prowess. The power of her vocalise is awe inspiring. Similarly, Zoë Johnson contributes an acoustic and primarily piano backed version of "Love." The down tempo track captures the sensitivity of the singer's whispy voice.

The final unreleased track entitled "Vienna" is performed by Nettwerk artist Elsiane [Caplette] whose 2007 album Hybrid drew critical acclaim and interest from Bjork fans worldwide. Light yet warm strings perfectly underpin the singer's unique vocal sound in this crisp Delerium production. The album concludes with the acoustic version of "Angel" sung by Rachel Fuller. The production of the singer's vocal work is especially noteworthy as are the string arrangements in this outstanding track.

While an all new Delerium album is anxiously awaited by their loyal following, Voice: An Acoustic Collection is atremendous singer songwriter styled compilation of Delerium classics that features of their most stunning female singers.This is a tremendous project certain to please both regular and new visitors to this website. Bravo!

(23 October 2010) There have been great passions in Anna Rose Menken's 25 years, and then there has been music. "More than anything, I have always straight-up just totally and truthfully loved it," she says. And always she has been a little nuts about guitars. Anna Rose started playing at age five, after an older cousin brought one along to a holiday family gift exchange. She has always known that she would perform and record as a singer, songwriter, and guitarist-pianist. She wrote the songs and co-produced her twelve song debut album Nomad (White Pony LLC (USA) 0 20286 15233 0, 2010) with William (Billy) Sullivan.

After early years of teaching herself, Anna Rose began to study with Arlen Roth, the celebrated guitarist who has performed with Bob Dylan, Paul Simon, and illustrious others, and who wrote the book 'Masters of the Telecaster'. Anna Rose calls him "the best living guitarist on the face of the planet," pointing out that he encouraged her to listen to Chuck Berry, Muddy Waters, and Buddy Guy. Her mother used to dance ballet and her father is Alan Menken, the celebrated and widely influential pianist and theater and film composer. She danced, played sports, rode a lot of horses and cleaned a lot of barns. She fully appreciated and learned copiously from her father's work and world yet sometimes -- to his complete delight -- critiqued them, finding in a school essay major fault with the Middle Eastern politics she found inherent in Aladdin, the 1992 Disney film he scored.

Fronted by Anna Rose, the lineup for the EP is rounded out by Adam toler (guitars), Tyler McDiarmid (guitars), Jamie Bishop (bass), Jordan Pertson (drums and percussion), Arlen Roth (guitars) and Leon Pendarvis (piano, synths, organ).On Nomad, songs like the guitar-rich "Picture" and the atmospheric ballad "Wilshire Blvd" proceed with an elegant ruggedness that comes from Anna Rose's life-long attraction to rock and roll from the halcyon days of 60s and 70s southern California, and she sings them with an effortless-sounding soprano gravity. "I love that Mulholland Drive, rock-songwriter, star-tripped, holed-up-in-a-house-drinking-gin-and-smoking-weed-writing-songs thing," she says. "I think that's why I moved to California when I was 18, and the place will always be that to me, even though it wasn't that for me. I remember driving up on Mulholland Drive, for example, one night after I'd played one of my gigs in LA I was with Billy Sullivan. It was like I had found a place in the music world." Five of the album's twelve tracks appeared on a self-titled EP released last year.

Anna Rose believes that this leather-and-suede foundation of her creative worldview accounts for why, in her music, Anna Rose takes stylistic routes not often encountered among female singer-songwriters. The process involved a lot of full takes, no Auto-Tune, and "maybe one synthesizer," Anna Rose estimates. "I did intentionally go for a gritty sound but I also come from a background where, since I was a little kid, I've seen the best people in the world record. I know what it takes to make a great record, and it's not one take. Sometimes it is one take -- sometimes the first vocal that you do is the most honest. But you've got to do all these other takes to realize that."

Anna Rose's music on songs like "The Four Corners," about friends dispersing across time and space or "You Got It For Free," a Springsteen-Dylanesque confrontation of personal difference -- recalls that of young bands like Kings of Leon who are inspired deeply by the classic past yet shun retro simulations. "I listen to all these people," Anna Rose says, "who I wasn't alive to ever see play. I think I'm always trying to capture that, to imagine what it would have been like to have seen people like that live."

On "In the Morning View," which Anna Rose calls one of her poppier songs, she writes about going out to clubs. "You play a person at night," she says. "When I was younger, I would go out to these places -- after-hours clubs I had no business being in. I would go out, then the next morning I'd go back to the barn and shovel horseshit. And I would be like, 'Oh, this is who I really am.'"

The rhythmic ballad "Whispers" showcases Anna's voice against acoustic guitar backing harmonies adding great texture to the track. The superb production quality of Nomad is evident in this standout track. Listeners are sure to enjoy the breezy number "Dare." Here the singer's evocative voice glides atop light arrangements carrying the song's melody. The bluesy "I'll Be Gone" provides a stylistic contrast and continues to show the singer's versatility and depth.

The guitar-laced and bluesy ballad "Overtone" is tremendously produced placing Anna's sweetly delivered vocals right up in front. Backing harmonies add great texture and provide good offset to the keyboard washes supporting the lyrical delivery. "Walk Away" is an extremely accessible mid-tempo number driven by rich guitar arrangements that provide the foundation for Anna's powerful vocal lines. Again in contrast, "All I Have To Say" has warm keyboards and light guitar work beneath Anna's vocal work. Keyboard washes provide a wonderful warmth to the track.

As the album comes to its conclusion, the acoustic guitar backed ballad "Gillian" is delivered. Here listeners will sample Anna Rose's vocal work from the most stripped back setting to a robust full band sound that reveals her virtuousity, breadth and power in this singer-songwriter styled track. Anna Rose continues to draw interest to her recording with acclaim from internet blogs and music press. Clearly a singer with a bright future, her debut album is stunning.