All posts by Professor Mark

Edenbridge – “Dynamind”

Edenbridge – Dynamind

Anyone who knows me, knows I like Edenbridge. I thought they reached their peak with The Bonding. There were so many great stories and lyrics, as well as powerful orchestration on the album. The Great Momentum was a good album; however, it was not up to the caliber of The Bonding. So, it was with hope that I requested and received their new album Dynamind

Although it does not have the power of the lyrics and orchestration of The Bonding, it does have something that The Great Momentum was missing. Innovative keyboards, mixed well with blazing guitar, and a plethora of some added instruments and sounds.

Edenbridge has always reflected the effervescent spirit of their Austrian heritage in their music. That spirit is so well summed up in the classic movie of defiance and love of country, culture, in The Sound of Music.

“The Memory Hunter”, opens Dynamind, like many an Edenbridge song. Full of power drums hammering, bass supporting and those two lead electric guitars roaming like wolves on the hunt. Speed rock n roll, set to a heavy beat. Sabine sounds great as she sings, “How will you measure your life? Without a past. A trail of devastation, so dark and vast”. “Dreams don’t fly no more”. Lanvall has a cool mysterious keyboard sound integrated within the guitar roar, like a rolling synthesizer that gives this track some magic.

When I first saw the track titled, “Live and Let Go”, I thought this might have an ironic spin on the famous James Bond classic, Live and Let Die. (The band has covered Bond songs in the past). Instead, it is another traditional Edenbridge song. What really makes this band so great for me is Sabine’s singing. No other female vocalist quiet compares to her power, mixed well with emotion, and without the screaming that often accompanies female metal singers. And on “Live and Let Go”, she shines well above the music. She has a strong opening line, reminding me of The Bonding, “Here I stand”, and then she carries it on so well after, singing, “Live and let go. There’s a light in the dark to endeavor. Free to fly in a never-ending sky”. Full of enthusiasm and drive.

“Where the Oceans Collide”, opens like most Edenbridge rockers, full of spark and racing electric guitars, supported well with bass and thundering drums. What makes it different is Lanvall’s infusion of some cool keyboard sounds. Edenbridge albums are always full of intricate and innovative guitar sounds, but the keyboard extras he has added on this album stand out to me. Sabine sings some great lyrics, “This is not a dream. This is not a test. Colors clashing like a wave in crest. It’s the line of sight, where oceans collide”.

 “The Other Side”, has a wonderful mix of stringed instruments adding to the soundscape that the band creates. This one almost sounds like an Irish/Scottish jig at times; it is a rousing march full of imagination. Hammered Dulcimer and mandolin makes this one of the best and most original tracks on the album. Sabine sings wonderful lyrics, “The eternal quest for the better. Be different than you’re meant to be. Every march into a battle has the core inside the men. Your mind will feed the universe. The inner voice shall guide”.

“All Our Yesterdays”, is full of all of that orchestration I miss from The Bonding. Sabine sings glorious lyrics with emotion, “The coming of age. Where ever we go. Whatever we will know. The dust of a thousand ways. In all our yesterdays”. Another of my favorite tracks.

On “The Edge of Your World”, Lanvall has some more of those innovative cool keys and orchestration at the track’s opening. Sabine sings, “Where you are, is how you see. The edge of your world is a mystery. All you dare come, by and by the edge of your world is an open sky”. The guitar solos on this track are some of the most memorable on the album.

 “Tauerngold”, is full of wonderful acoustic and rhythm guitar mixed well with keys and the usual heavy electric, bass and pounding drums. Sabine sings, “We were bound for this glaring ideal. The call of nature is our vein of gold. It is the future we hold. It is the scream of the eagle. The Midas touch. It is the eternal raging stream. The merit real. The only ideal. The Holy Seal”. The music is always better when this band tells an elegant story of their native history.

Finally, Lanvall unleashes the album’s best keyboard/synthesizer intro on the album for the opening of “What Dreams May Come”. Yes, that is what I was dreaming of, more cool keys, like Tool’s new album. That keyboard was awesome. But the electric guitar pairings on this track are also wonderful. Sabine sings, “Home again. The end is just a new beginning. Those kindred souls. When life is just a heartbeat”.  The lead electric guitar solos remind me of some of the ones I remember off The Bonding

“The Last of His Kind”, is the longest and most epic track on the album at over 12 minutes. The opening, is worth the price of admission alone, but it gets even better. They finally let Sabine sing with quiet background sounds surrounding. Like they did on The Bonding. That is when her voice is allowed to completely reach its epic proportions, full of all her emotions. She sings, “Did you hear me, did anything change? Time, time and again. Appallingly high. Why, we’re holding on? Only to find, he is the last of his kind”. The song’s middle section with cool percussion, electric and rhythm guitars, soft drums and keys is the most elegant section of the album.

I beg Lanvall and the band to please listen to Tool’s new album and hopefully they will hear the cool quiet sections, like this, are just as powerful as all the bombast. Sabine picks back up, “We’ve forgone the chance moving on in trance. Holier than thou. We want it now. We need it, to feed it”. Thunderous guitars and drums as an epic soundscape builds, like the glory of The Bonding returning. Sabine closes the album elegantly with the words, “Oasis of light. A planet of grace. Where powers unite. Shall be our place!”

“Dynamind”, is a final closing thought set to song, with Sabine singing, “The Holy Grail of inner wealth will lead away. From the demotion and remorse, out of grey. When polarity will balance the world, rising above mankind. It’s Dynamind, for all!”

Edenbridge is: Sabine Edelsbacher, on lead vocals; Lanvall, on lead and rhythm guitars, bass, 6 & 12 string acoustic guitars, piano, keyboards, orchestration, Hammered Dulcimer, Kacapi, Bouzouki, and mandolin; Dominik Sebastian, on lead and rhythm guitars; Johannes Jungreithmeier, on drums; and Stefan Gimpl, on bass.

Dynamind will be release October 25th, 2019. It is another great album, by a favorite band. Get this for your collection. But hopefully, the band will return to the music and orchestration of The Bonding, and stay away from the standard grinding metal they are used to creating.

Dynamind will be available in the following formats: DigiPak CD, including bonus CD – 2 colored (blue with black swirls), Gatefold LPs with printed inner sleeves, CD in paper sleeve. 

Track listing: 
01. The Memory Hunter 
02. Live and Let Go 
03. Where the Oceans Collide 
04. The Other Side 
05. All Our Yesterdays 
06. The Edge of Your World 
07. Tauerngold 
08. What Dreams May Come 
09. The Last of His Kind 
10. Dynamind

Dawn Lights – “The Illusion of Tension”

Dawn Lights – The Illusion of Tension

Dawn Lights is an alternative/metal/progressive rock band out of Cleveland, Ohio. Yeah, anyone who knows me, knows Cleveland is my birthplace. So, I had an early interest, because of that fact. Despite that, you have to earn my or anyone else’s attention if you want to get written about favorably. And this band definitely has earned my respect with The Illusion of Tension.

However, The Illusion of Tension, is the band’s third album. They have built a loyal and critical following beyond the Mid-West. Their first album, My Will Alone was released in 2011. That album was followed up by their sophomore effort, Exaggerate the Distance, in 2013. Both albums are on my wish list for the future.

Dawn Lights is made up of two talented musicians Eric Hess, on vocals, and storytelling; and Dean Johnson, who plays most of the music and creates the musical sceneries. Their goal, “A studio project born out of the love of music, for the sake of making it”. Now that attitude is rare, but it is more than welcomed.

The album opener, “The Illusion of Tension”, will make you a believer, if you had any doubts going in. Like a powerful mix of Dream Theater’s early sound mixed well with Karnivool, and the metal power of Metallica or Nine Inch Nails. The grinding guitars and bass that provide the “21-gun salute”, along with the drums rocking, give provide a welcoming celebration. Eric Hess’ voice sounds a little like Ian Kenny, if he was yelling, or a little like fellow Clevelander, Trent Reznor, from Nine Inch Nails. This opener is one of the best songs on the album.

After a short percussion intro, you get a kind of David Fielding, Chameleons UK’ electric guitar opening, mixed well with Andrew Goddard’s Karnivool sound on “Everything You Need”. Plenty of original and innovative lead electric guitar work supported well by bass and smashing drums. The pace of the music comes at you fast like Karnivool. There is no time to reflect. But you don’t need to, when you have this much great music bubbling through your ears.

“Right Now,”, slows the pace down a little, but the power of the music is still up to the rest of what you have already heard. Eric Hess’ sings, I cannot save you, no matter who you are. What are we supposed to do now?. I will fight for you! We need to live right now!” That sense of urgency permeates this music well, from beginning to end.

“Moments”, opens with cool keys and drums smashing loudly and percussion. Eric Hess’ voice sounds more like Trent Reznor on this fast-paced track. The drumming is hypnotic, and so is the wonderful percussion going on. Eric Hess sings, “I need you, you need me…to make this whole”, as power lead guitars echo in the background and drumming with mixed percussion, fill the soundscape. The quieter electric guitar solo at the end is worth the wait. Another of the best songs on the album.

“Breakthrough”, fills the sound space with powerful lead electric guitar, bass and that wonderful drum rhythm and percussion. Hess’ sings, “I can’t break through!” Such a cool urgency and blasting frontal attack. Like a great mix between Nine Inch Nails and Karnivool.

“Heroes in Time”, is a softer, moody track, where Hess’ vocals get a much clearer sound, amidst soft keys, synths, bass and soft drums/percussion. Great song, set to a slower, more reflective pace.  

The rest of the album is similar in nature and the story unfolding from the opening gets a powerful and emotional musical soundtrack.

This is an excellent album. A great introduction to Dawn Lights. I am interested enough to want to go back and listen to their earlier other two albums. Please listen and buy this album if you love a heavier edge to your progressive rock, moving at a fast pace, like Karnivool’s Sound Awake, with a guitar assault that will make you smile.

Track List

  1. The Illusion of Tension – 3:55
  2. Everything You Need – 4:24
  3. Right Now – 3:56
  4. Moments – 5:03
  5. Breakthrough – 3:45
  6. The Heart of Me – 3:53
  7. Embracing Chaos – 5:58
  8. Heroes in Time – 3:11
  9. The Actor – 3:23
  10. Wide Open – 4:13
  11. The Only One – 4:01
  12. My Connection – 3:16
  13. Wake Up the World – 4:00

Lazleitt – “Perpetually Under Idle Grounds”

Lazleitt – Perpetually Under Idle Grounds

Lazleitt is a progressive rock project conceived by Alex Lazcano; a Washington, DC-based musician, songwriter, and multi-instrumentalist.

I had the pleasure of reviewing Alex Lazcano’s debut album from 2018, On the Brink. It was a wonderful album filled with some of the best keyboard work I had heard that year. Now Alex has returned with a much more full-scale album, including many important supporting musicians.

On Perpetually Under Idle Grounds, Alex Lazcano, plays guitars, bass, keyboards, piano, and sings vocals; Eric Gillette, (The Neal Morse Band), plays drums & lead guitar; Liz Tapia, (Dark Beauty), adds lead and supporting vocals; Carlos Hernandez, (Tree Of Life Project), plays lead guitar; and David Knowles, (The Swan Chorus), plays keyboards.

Perpetually Under Idle Grounds, is an incredible step forward for Lazleitt and Alex Lazcano. His first album was a stunner, but this album takes him to a brand-new level of talent exhibition. Each of the tracks beyond the prelude, take you inside an intricate story, which plays out throughout the album. More of Alex’s classical music background comes through on this album.

The Prelude is a synthesizer and keyboard extravaganza, of fire and light. It is a beautiful awakening type piece that truly gets this epic album off to a gallant start.

The next track, “Furtive Shelter”, mimics the opening track, prelude, only this time using electric guitar. The song is inspired by the works of H. P. Lovecraft, Edgar Allen Poe, and others. “Furtive Shelter” features a keyboard solo by Lazcano. David Knowles provides beautiful high strings and synth arpeggios throughout the piece. Liz Tapia sings soft lead vocals, adding another vocal sound to Lazleitt’s repertoire. Carlos Hernandez and Eric Gillette play some innovative alternating electric guitar solos. This is the longest and best track on the album at over 21 minutes.

“Gallows Hill: Dossier 1: Grace Sherwood”, is a story about a forty-six-year-old Princess Anne County woman named Grace Sherwood, who faced being accused of being a witch back in 1706. She was about to be thrown from a boat into a river as a test to see if she was a witch. Luckily her case passed from the county court to the attorney general of Virginia without any judgment. Musically, the track is full of regal splendor keyboards, electric guitar and bass.

“Gallows Hill: Dossier 2: Bridget Bishop”, tells the story of Bridget Bishop, who was one of nineteen people executed for witchcraft in Salem, Massachusetts, in 1692. After Bishop’s hanging, eighteen others were executed for the crime of witchcraft. Eric Gillette’s drums stand out well amongst the regal music filling the soundscape.

“The Owl and the Blue Rose”, is inspired by the David Lynch classic, Twin Peaks. The music follows the shows’ “illusory perceptions of the mind awakening to alternate dimensions or multiverses”. This song is inspired by the episode which features, “The Giant, who first appears to Agent Cooper after he’s been shot and drifts between states of consciousness, and informs Cooper “the owls are not what they seem”. “Blue Rose was a top-secret joint task force of the United States military and Federal Bureau of Investigation, formed in the years after the official closure of Project Blue Book in 1970 to investigate cases of a paranormal nature”. The piano and keyboards which open this track will take you back to early and mid-70s Genesis, which is a wonderful trip back, every time you get to take it from a different musician’s perspective. This is the second-best song on the album.

Perpetually Under Idle Grounds, is a wonderful follow-up to Lazleitt’s first album. Get this second part of Lazleitt’s discography to build on the collection. Fine progressive music with a classical influence.

Track List

  1. Prelude – 1:13
  2. A Furtive Shelter – 21:13
  3. Gallows Hill Dossier 1: Grace Sherwood – 5:00
  4. Gallows Hill Dossier 2: Bridget Bishop – 6:35
  5. The Owl and the Blue Rose – 8:18

Written, produced, and arranged by Alex Lazcano. Additional production by Eric Gillette. “The Owl and The Blue Rose” – lyrics written by Sue Lumb. Mixed & mastered by Eric Gillette at EKG Studios, Sleeve design by Alex Lazcano.


Dark Beauty (Liz’s band):

DBLT Designs (Liz’s jewelry line):

The Swan Chorus (David’s band):

The Tree of Life (Carlos’ project):

EKG Productions (Eric’s studio):

Edison’s Children – ” The Disturbance Fields”

Edison’s Children The Disturbance Fields

Wow! What a band. Pete Trewavas from Marillion, Kino and Transatlantic, on bass, lead and rhythm guitars; Rick Armstrong, son of the first man on the Moon, Neil Armstrong, on lead and rhythm guitars, and keyboards; Henry Rogers, from Touchstone and DeeExpus, on drums; Eric Blackwood, on lead and rhythm guitars, bass, and lead and backing vocals; and Lisa Wetton, wife of the late John Wetton of Asia and King Crimson, on drums. An all-star cast for a greatest hits level album.

Before we get started on the review…a long overdue thank you to Pete Trewavas. It was years ago in Denver, at a Marillion show. My brother and I wandered backstage after the show, only to be welcomed by Fish and the band. Pete and the rest of the band were so easy to talk and welcomed us in to take pics and get the Fugazi album signed by the entire band. It was a night I will never forget. So, thanks Pete!

Now on to The Disturbance Fields, Edison’s Children’s latest album, released July 20, 2019. The band described disturbance fields as, “the physical manifestations that mother nature’s fury can take against the human race due to our mistreatment of the oceans, rain forests and over-development of urban landmasses”. “The Disturbance Fields features just one song… a 68-minute epic piece of music called “Washed Away” that takes you on a journey of a man fighting all of the forces of Mother Nature’s wrath”.  

By the way, the band had to maintain their focus on recording The Disturbance Fields despite, “being hit by a hurricane, a 6.0 earthquake, a tornado and a massive blizzard which caused a state of emergency”.

That being said, this album is my first experience with the band, despite a rather formidable discography. The Disturbance Fields is the band’s forth album. All of their albums have received glowing reviews from critics. I have missed them, covering everyone else, including some of the members’ other bands, notably, Marillion, Kino, Touchstone, DeeExpus, and Transatlantic. That oversight will soon be corrected.

The band members and storyline should be more than sufficient to require your interest, but the music and lyrics on this album are of the highest level. Rather than do a track by track review of the album, I will say that every song is not only a keeper, but a treasure and would make any other band’s greatest hits list.

With the talent assembled, you can just imagine the magnitude of the music. My favorite songs on the album were, the opening track, “Captain’s Ledger”, with its wonderful opening sea sounds and flute like keys and effects. The acoustic melody is wonderful as it drifts into rhythm guitar, like waves rolling together in the sea.

Eric Blackwood’s vocals are a great mix between David Bowie, Roger Waters, and of all people…I couldn’t place it for a while…but finally did…John Popper from Blues Traveler. In fact, Blackwood looks like he might even be, Popper’s long-lost brother…if he had one…

Another stand-out track is “A Random Occurrence”, with its peaceful and welcoming keyboard sound, mixed well with guitar and soft drums. The lyrics are foreboding and threatening. Those keys rise high and at times sound like a pipe organ, bringing a smile to my face.

“The Approaching Front”, is another album high point. The many forms of lead and rhythm guitar bring back some memories of many a Cure song I love. The deep bass riffs are wonderful.

“Indigenous” has some awesome moments with hard driving lead electric guitar surrounding narration and soft flute in the background.

“The Surge”, may be best song on the album. It is the album’s second longest track and a wonderful opportunity for these musicians to showcase their talents. Blackwood’s vocals are front and center, but well supported by lead electric and rhythm guitars. Henry Rogers’ drumming is steady and rhythmic.

“Into the Dead Calm” has some wonderful acoustic guitar and some of Blackwood’s most heart-felt vocals.

 “A Random Disturbance” brings back that welcoming, yet now alarming, keyboard reveille.

“The Confluence” is the longest and best song on the album, at over 10 minutes. It is full of Blackwood’s emotional vocals and some innovative keyboards and guitar. I hear wonderful memories of both Fish era Marillion, and Collins’ era Genesis, in both the keys and guitar. But they really bring the power of full drums and grinding electric guitars around the songs’ three-minute mark. The story is also deeply moving. The guitar solo, at just passed the seven-and-a-half-minute mark, is the album’s best guitar solo.

“Resurgence’ also has more of those wonderful guitar and keyboard synergies I remember so well from Marillion’s height of reverence, with Fish.   

This is an album not to be missed this year. I expect to include it in my top albums of 2019. Please give this a listen. I think you will agree.

The Disturbance Fields was digitally mixed and mastered by John Mitchell, (Arena/Kino/Frost), and digitally remastered by Rush’s re-master engineer, Andy VanDette, (Metallica / Porcupine Tree / Aerosmith).

The album cover art and booklet artwork, graphic design, and photography was created by Wendy Darling.

Track List

  1. Captain’s Ledger – 3:06
  2. A Random Occurrence – 5:25
  3. Asphyxiation – 4:45
  4. Captain’s Refrain -0:49
  5. The Approaching Front -3:24
  6. Indigenous – 3:46
  7. The Surge – 8:28
  8. A Cold Gray Morning – 5:25
  9. Into the Dead Calm – 4:57
  10.  The Tempest – 6:12
  11.  A Random Disturbance – 3:32
  12.  The Confluence -10:28
  13.  Resurgence – 4:07
  14.  Epitaph – 3:23

Pete Trewavas Prepared Statement about the Future of Edison’s Children

Edison’s Children-The Disturbance Fields (2019)-Resurgence

Glasys – “Defective Humanity”

Glasys – Defective Humanity

2019, will be remembered, by me, as the year Pacific Northwest progressive rock artists emerged and became recognized by the world. I have covered progressive artists all over the world but have been so happy to finally cover some local bands who are making tremendous progressive rock music. Today I will comment on another wonderful artist, Glasys, from Portland, Oregon.

One thing to keep in mind about Glasys and the bands from the Northwest I have covered, is that they are accomplishing all of their success on the merits of the music they make.

I am from Ohio; Cleveland, to be exact; it is famous for its rock radio station, WMMS, (which I grew up listening to). WMMS was vital to securing the Rock and Roll Hall of Fame for Cleveland, over the many competing cities in the running. Their love and support of music and the bands that made Cleveland a regular stop on their tours, helped win the day for Cleveland. Bands had incredible radio support back in the 1970s.

Here in the Pacific Northwest, we have no real progressive rock radio stations; at least not like they have back east, and overseas. These Northwest bands are playing music that they believe in, and are finding listeners and fans on their own, through the music they create, constant touring and constantly innovating, as well as their own social media presence. That is to say, based on their own hard work.

So, Glasys is a perfect example of that drive to create music that can capture an audience at home and abroad. Gil Assayas, is the leader and main artist for Glasys. Gil plays all music, lyrics, production, keyboards, synths and vocals.

On Defective Humanity, Gil has the support of none other than the famous Todd Rundgren, on vocals and playing the guitar solo on the track “People”. Amit Erez, plays guitar on tracks 2, 3, 4, 5, 7, 8; Micah Hummel, plays acoustic drums on tracks 4, 5, 7; Milo Fultz, plays bass guitar on track 4; and Joe Mengis, plays percussion on tracks 1 and 3.

Gilm Assayas relocated to the US three years ago. He has been endorsed by major gear manufacturers such as Nord Keyboards, 64 Audio, Sequential and Spectrasonics. GLASYS released his debut EP, The Pressure, in 2016. Defective Humanity, was released August 2, 2019, after it was successfully crowd-funded on Kickstarter.

Defective Humanity, is an ethereal dreamscape full of innovative keyboards and synthesizers. Gil Assayas’ has created an album here, which will assuredly make my top albums of the year. It is that unique and full of innovation and promise.

Defective Humanity, opens with “Slow Things Down”. It is a brilliantly innovative keyboard and synthesizer track that will take you back to some of the greats of the 70s. Gils’ vocals remind me of Todd Rundgren’s mixed with a little of Jeff Lynne, and maybe Steve Hackett, at times. The keyboards and synthesizers on this track are simply fantastic.

“Malady”, is another synthesizer dream scape. Like a magical trip on a Wonka ship it will fill your ears and imagination with color. It starts out with a runup, which reminded me of some songs from the English band Keane, but Assayas’ calls beyond to the sound of ELO and the big top or carnival, with like keys guaranteed to blow your mind. It is wonderful. I did not want this album to end. I put this track on replay, just to enjoy the imaginative ride again. When I listened to the lyrics I heard what could be an anthem for those that would love to see an end to the Trump era.

“Nebula b” is a big bold deep synthesizer rhythm set to a quasi-reggae beat provided by Joe Mengis. Mostly instrumental, with some vocals added by Assayas, to point the way to the mind-bending space rhythm. I hear some early Larry Fast influence as well.

“Unwinder”, opens with what almost sounds like mono piano. Then he follows with, to a true Genesis fan, what sounds like keyboards off Foxtrot or Nursery Cryme. Only these keys are glossy like movie soundtrack sounds not classic rock. Another wonderful romp with the keys you never want to end.

“People”, is full of Todd Rundgren’s vocals, wit and a long guitar solo from the maestro. It was good to hear his voice and inspiration again. This poppy synth and keys, joy machine is another wonderful ride through the mind of a music genius who never allowed his music to stay in one place.

“Daughter of the Ocean”, includes more of Assayas’ innovative keyboards following the path of his vocals and lyrical direction.

“I’ll Never Change Your Mind”, almost sounds like an ELP keyboard symphony, like “Fanfare for the Common Man” at its opening, only much faster. Then, Assayas’ sings and helps drive the pace of the rhythm.

“Leon’s Dream”, is just what you might expect. Softly the piano plays as slow string like synthesizer riffs and rhythms drift through your ears and the soundscape. A little like some of the dreamy sequences I remember from Genesis’ Trick of the Tail, yet with completely different synth tones. Just the feeling. Tranquil and spacey…other worldly.

This entire album was like one, wonderful dream ride through a Willy Wonka – like landscape, full of joy and fun, set to wonderful keyboard and synthesizer work, the likes of which, we haven’t heard since maestros like Wakeman and Emerson made their majestic rock symphonies.

This should be required listening and collecting for anyone who loves keyboard and synthesizer music. It is as if Glasys has captured the spirit of Larry Fast’s brilliant music of the 70s and brought it forward to 2019, with more human feeling and tone. Please get this album…and put on some headphones and experience it.

Acoustic drums recorded at Dead Aunt Thelma’s Studio and engineered by Sacha Müller. Tracks 1, 2, 3, 5, 6 mixed by Tony Lash. Tracks 4 and 7 mixed by Sacha Müller. Track 8 mixed by GLASYS and Sacha Müller. Album mastered by Kris Crummett. Cover art was created by Ted Mineo.

Track List

  1. Slow Things Down – 5:00
  2. Malady – 5:11
  3. Nebula b – 3:52
  4. Unwinder – 2:59
  5. People – 3:31
  6. Daughter of the Ocean – 4:22
  7. I’ll Never Change Your Mind – 3:24
  8. Leon’s Dream – 2:46

“People” video with Todd Rundgren singing

“Slow Things Down” video

Glasys “Tiny Desk Concert

Todd Rundgren appears courtesy of Cleopatra Records.


Art in America – “Cloud Born”

Art in America – Cloud Born

It all started in 1983, on MTV. I first saw Shishonee Flynn play that wonderful golden harp that cascades like a waterfall across the opening and title track for their debut album, Art in America, and I knew I was hooked. I can’t imagine how many times I lifted the stylus on the vinyl version and replayed that opening. I still have that vinyl album in storage. But when their album finally came out on CD, I relived the experience all over again.

The rest of the title song had that cool Yes’ 90125 sound and vibe to it. 90125 came out the same year. Art in America’s debut was produced by Yes and Emerson, Lake and Palmer producer Eddy Offord.

Cloud Born, has three different producers. Tracks 1 – 6, were produced by David Hentschel; tracks 7 -1 0 were produced by Chris Flynn; and tracks 10 – 12 were produced by Jim Kuha.

Well, skip forward 36 years later and we finally get to hear the follow up, Cloud Born, and it was well worth the wait. The album is being released through the band’s website and is available now.

Cloud Born is a combination of tracks recorded in 1983 at Cloudborn Studios in Dearborn, Michigan. Thus, the title Cloudborn. The new album also includes some tracks produced by one of my favorite producers David Hentschel; who also plays keyboards on tracks 1 through 6; and a piano solo on “Someday”.

The album opens with “A Tale of the Unexpected”. It is an instrumental that does not open with a beautiful harp, but rather a sharp line from the famous 1957 movie, Witness for the Prosecution. It is followed by percussion, drumming, and wonderful wavy synths and keyboards. That wonderful choir mellotron, permeates the soundscape and takes you back to mid-70s Genesis and others who used it so effectively to create warmth and emotion. Bass and lead guitars join in on the soft running rhythm and make this one of the best opening tracks I’ve heard this year.

“I Am I”, opens with Chris Flynn singing his first lyrics on the album. His voice reminds me a little of  Stan Ridgway’s, only less sarcastic. The song is an upbeat track full of great bass, lead electric guitar, solid drumming and wonderful keys. The song also features the first harp sounds from Shishonee. Her harp work matched with Tony Levin’s bass work, make this song magical.

“Someday”, is full of the kind of emotional keyboards and guitar music I remember so well from mid-70s Genesis and David Hentschel’s influence. It is my favorite track on the album. They use that choir mellotron sound very affectively on this track. Wonderful lyrics like, “I will arrive someday. Riding the tide someday. Open the sky and shine the dark away. Destiny, Come tomorrow let the dream arrive tonight’. This song is full of dreamy flights of musical instrumentation filled with positive lyrics.

“Drool” opens with electric and acoustic guitar with a little of a country twang. Then Flynn returns singing, “Ripping your head off. Taking out your piece tonight. Taking the edge off”. A track full of concern and loathing over the curse of alcoholism.

“The New Swami”, is another interesting track. Plenty of heavy drumming, bass, and electric lead guitar and yes, what sounds like a little sitar. A commentary on Los Angeles and its residents’ desire to embrace Eastern religions and worldly ideas. Amidst all of this, the sound of 70s Genesis keyboards and effects.

“Someone Called My Name”, is another good song full of good lyrics and thoughtful music. Flynn sings, “Waking up early morning pouring rain. Just the same as yesterday”.

“For Shelly”, opens with soft acoustic guitar and builds momentum with Flynn’s vocals, “Once I was here bright eyed ever clear. Now I can see what you meant to me. How we could talk about anything, yeah just anything”. A thoughtful love song, which is my third favorite song on the album.

“When We Were Young”, opens with cool keyboards, then that wonderful harp. With lyrics and music that tug at the heart and your memory. Flynn sings, “Another time – another place”. “A piece of time – to while away”. “Oh, Tidal Road take me back again”. “Make life flow again when we were young and life was so simple”. “Life in my town in Ohio”. Yes, Chris grew up in Lakewood, Ohio, not far from where I grew up.

“Facelift”, is a track that deals with war, especially World War II. The opening guitar riffs remind me of IQ’s monumental, “Common Ground”. The track is interspersed with the voice of Joan Crawford from Mommie Dearest, which was released in 1981. It is a deeply moving track and my second favorite track on the album. Powerful guitar rhythms with great supporting bass, keys and drum beats. The lyrics are deep and moving, “This war can’t be won, and the sorrow wasted everyone. Villages on fire, courtesy of ein satz grupen”.

“Don’t Look Down”, is a strong rock track about searching out that someone you need for comfort on a weekend night at the local bar or pub. Great drumming and electric guitar.

“No Wonder”, opens with soft guitar and a rhythm reminiscent of the Genesis song, “Pigeons”. Which was a wonderful memory in itself. More harp enters the soft soundscape as keyboards, bass, guitar and drums build momentum.

“Goodbye My Love -Mind’s Eye – Peace of Mind”, is a powerful closer, full, of harp, keyboards, bass, lead electric guitar and drums. The fourth best track on the album. Those powerful synth and mellotron vibes throughout the song will bring back memories. The instrumental section that takes over halfway through the song will take you back to Mike Oldfield and mid-70s Genesis…and oh what a journey…

Cloud Born is the beginning of a comeback for Art in America. Chris Flynn posted on Facebook that they have up to three additional albums worth of music either recorded, or ready to release. That is good news for all of us fans. Please pick up this wonderful piece of history in the band’s evolution and get set for more exotic journeys in the future.

Track List

  1. A Tale of the Unexpected – 3:49
  2. I Am I – 4:17
  3. Someday – 4:44
  4. Drool – 4:20
  5. The New Swami – 3:40
  6. Someone Called My Name – 4:22
  7. For Shelly – 4:08
  8. When We Were Young – 7:40
  9. Facelift – 5:23
  10. Don’t Look Down – 5:01
  11. No Wonder – 3:52
  12. Goodbye My Love -Mind’s Eye – Peace of Mind – 8:20

Art in America is: Chris Flynn, on guitars, keyboards, and vocals; Shishonee Flynn, on pedal harp, koto, tambura, and vocals; Dan Flynn, on drums; David Hentschel, playing additional keyboards on tracks 1 thru 6, and a piano solo on “Someday”; Tony Levin on bass, for tracks 1- 6; Jim Kuha, on bass, for tracks 11-13; Gary Galloway, on keyboards, for tracks 11 -13; Karyn Ormiston, on keyboards for tracks 11 -13.

The wonderful front and back cover art were created by Ioannis, from the Zografou section of Athens, Greece. He also created the wonderful art on Art in America’s debut album.

Inside CD booklet cover art was created by Dan Flynn. Photography: Mark Swidler captured all of the photographic images. The collage and digipak design were created by Levi Gray.

Darrel Treece-Birch – “No More Time”

Darrel Treece-Birch No More Time

Darrel Treece-Birch is the keyboardist for Nth Ascension. He offered to let me listen to a couple of his solo albums that he created since I was so impressed by his keyboard’s on Nth Ascension’s latest album, Stranger Than Fiction. I was happy to receive the downloads and after listening, knew these albums deserved to be heard by others. Both Celestial and No More Time are wonderful gifts of creative talent that I hope you will purchase and listen to for yourself.

No More Time’s album cover says it all. On the oceans of times our Earth’s hour glass is broken. Time is slipping away when we can do anything to stop the effects we are having on this globe, our home. The shocking cover photo is a wake up for us to try to reverse course. The music within the album stirs consciousness and hopefully you into action to care more daily, about what it is that we are doing here on Earth.

The theme of No More Time, echoes across the music: Darrel’s notes explain it this way, “No More Time, begins at some distant point outside of our space-time and follows the very essence of human spirit through its journey to finally return home to the nexus of our eternal regeneration”. “The soul is cast on a journey that flows with artistic fluidity conveying a meaning that is eternal and universal, like the broken hourglass, our perception belies reality …There is always time”.

This album is different from Celestial, which was instrumental and keyboard driven. This album uses more guitar, bass and drums. Darrel features the piano more often on this album than the synthesizers he used to wonderful effect on the last album.

Songs like “Hold On”, truly grab at you emotionally. This track in particular is very moving. It sounds like a narrative taken from a talk between a father or elder and a son. It is one of the stand out tracks on an album full of spectacular highlights. Alan Taylor, from Nth Ascension, sings lead vocals and warmly fills this song with emotion.

“Requiem Pro Caris” follows “Hold On” and almost brings you to tears with its emotion drenching deep bass, strings and orchestration.

Fellow Nth Ascension bandmates contribute on No More Time, including:Alan Taylor, who sings lead vocals, plays acoustic and electric guitar; Gavin Walker, plays bass guitar; and Martin Walker, plays electric guitar. So, at times it almost feels like an extra Nth Ascension track, for your collection.

The bold piano and keys on “Mother (Olive’s Song)”, tells the story of someone full of grace and soaring beyond this place and time like the wind.

“Freedom Paradigm” reminded me a little of Steve Hackett’s many great moments. Like: “Shadow of The Hierophant”, “Land of a Thousand Autumns”, “The Angel of Mons”, without the clocks: or maybe “Valley of The Kings”, mixed well with some Dark Side Floyd. Deep electric guitar and soaring rhythms that make this another of the best tracks on the album.


“The River Dream” is a wonderful David Gilmour – like guitar solo with drums, bass, and keyboards backing.

“Music of the Spheres” brings back that wonderful piano, this time with Karen Fell, from the Gary Hughes Band as lead vocalist. I have to admit that I had not heard of her before. But I will search out her other works after hearing her beautiful voice.  

“Return to the Nexus” is just the closer you wanted an expected for this wonderful epic album. An over 7-minute keyboard and skyrocketing guitar soloing epic that takes you back to all of the greats, like Pink Floyd and others of progressive rocks’ Golden Age. And at the same time providing new sounds and riffs to remember.

No More Time, is a wonderful progressive rock epic which should have been given more coverage when it was released on August 19, 2016. But as I always say, better now than never!

Sometimes solo albums are not given the same respect as group releases. This album would sit very well on the shelf next to any of the classics of progressive rock; while at the same time it re-imagines the sounds and visual landscapes inspired by generations in this genre.

The album includes other guest appearances by: 

Phil Brown: (Counterparts UK) Acoustic Guitar, Electric Guitar 
Steve Grocott (Ten) Electric Guitar 
Karen Fell: (Gary Hughes Band) Vocals 
Dan Mitchell: (Formerly of Ten) Electric Guitar 
John Power: (Counterparts UK) Bass and Fretless Bass Guitar, Acoustic Guitar, Electric Guitar, & Violin 
Dann Rosingana: Electric Guitar 

Darrel Treece-Birch plays keyboards, sings vocals, plays bass guitars, mandolin, and drums. 

No More Time was recorded at the War Room, Fleetwood, UK, Taylormade Studio, Ansdell, UK, The Dog House Studio, Blackpool, UK Westmorland Studio, Burton-In-Lonsdale, UK RW Studio, Rossall, UK SJG Studio, Stafford, UK, and Sandyforth Studio, Thornton, UK. 

No More Time was engineered, produced and mixed by Darrel Treece-Birch. It was mastered by Dave Aston, Digital Audio, Skipton, UK, CD Production, Pure Music, Manchester, UK.

Track List

  1. Nexus Part 1 – 1:31
  2. Earthbound – 3:21
  3. Riding the Waves – 5:09
  4. Hold On – 4:07
  5. Requiem Pro Caris – 3:22
  6. Nexus Part 2 – 1:27
  7. Twilight- 3:47
  8. Mother (Olive’s Song) – 4:37
  9. Freedom Paradigm – 6:04
  10. Nexus Part 3 – 1:12
  11. The River Dream – 7:00
  12.  No More Time – 8:00
  13. Legacy – 4:02
  14. Music of Spheres – 7:34
  15. Return to the Nexus – 7:37

Darrel Treece-Birch Celestial

Darrel Treece-Birch Celestial

After completing the review of Nth Ascension’s new album, Stranger Than Fiction, I was invited to Darrel, to listen to keyboard player Darrel Treece-Birch’s two solo albums. He noticed in the review that I had mentioned I enjoyed his keyboard playing on Stranger Than Fiction. Of course, I told Darrel, I would not only listen to them, I’d write about them.

Once I first started to listen to Celestial, which wasreleased October 2, 2015, I found the music to be utterly brilliant. A great journey through the solar system and beyond.

Find an easy chair, put on your headphones, close your eyes and prepare to travel in your mind. Celestial is recorded at 432Hz tuning, and yes it does offer a rich warm flavor to the recording. Celestial tells the story of human perception of our universe.

If you are a fan of Vangelis, Larry Fast, ELP, Yes, Kitaro, and Pink Floyd, this is the ticket you were in search of for a trip to the stars, for the price of a CD or download, along with using your own imagination. You might even hear a little of Eddie Jobson’s Theme of Secrets here as well.

I was thoroughly impressed with Darrel’s keyboard and synth work on Nth Ascension’s “Sound to Light”, off Stranger Than Fiction. I point back to that review to read about my full discussion of that wonderful track.

Celestial is similar to that work, although it is one continuous journey over 16 tracks, filled with brilliant starlight synthesizers and keyboards. Each and every track on the album is its own short, 3 to almost 8-minute journey. All of the tracks are different, with none leaving you wanting.

All the music was composed, written and performed on keys and synthesizers by Darrel Treece-Birch.

I thank Darrel Treece-Birch for the opportunity to hear all of this amazing music, which now helps me dream and imagine worlds apart from the Earth each night before sleep. I pass this information on to you. Please give this relaxing album a Close your eyes and use your mind instead of watching TV or allowing a video game to show you its vision of the future. Put this CD on and dream your own future.

Track List

  1. Celestial – 7:45
  2. The Infinite – 4:18
  3. Light Echo of Monocerotis – 5:11
  4. Event Horizon – 3:24
  5. Voyager – 3:37
  6. The Space Between – 6:51
  7. Nebula – 5:45
  8. Oort Cloud – 4:10
  9. The Comet’s Wake – 6:04
  10.  Asteroid Belt – 4:55
  11.  Sol – 4:38
  12.  Luna – 4:41
  13.  Blue Planet – 4:09
  14.  Northern Lights – 3:42
  15.  Such Love is This – 5:07
  16.  All Things New (Cosmos) – 5:02

Time Symmetry – Ghosts

Time Symmetry – Ghosts

Time Symmetry is a progressive metal band from Madrid, Spain, that began back in 1999. They play music similar to Dream Theater only with a great female lead singer. Elena Aznar, is that female lead; David Rubio, is a founding member, who provides the male vocals and guitars; Jorge Velasco, a schoolmate friend of Rubio’s and founding member, plays guitars and sings backing vocals; Alejandro “Ando” Martínez, provides drums; and Carlos Hernandez, plays bass.

 Ghosts is the third release from Time Symmetry. They first released a mini LP, self – titled Time Symmetry, in 2003. In 2006, they released their first full-length LP, Fate in Gray, to critical acclaim. And in 2013, Time Symmetry released their second full-length album, Tetraktys. This year, 2019, they return with Ghosts, and the addition of Elena Aznar on vocals and Carlos Hernández on bass provide new lift, talent, and sound for the band.

Hope you’re buckled in, because this rocket is about to launch. There is a little narration surrounded by cool spacey keys and effects before things reach take – off speed on the opener, “Winding Road”. The grinding guitars, metal bass and smashing drums roar forward as we hear Elena Aznar’s first vocals, “Walk with me, walk with me forever!” She sounds almost as gutsy as many male singers in the genre. Yet, her higher pitch is not ear piercing, like many other females in the genre. The launching lead electric solo guitars rocket skyward as Aznar’s voice purrs, then belts out screams. The blood is flowing and if you were at a show, I bet you’d be moving with the beat.

“Blue Lights”, opens with deep bass and pounding drums, before a drum roll welcomes the firepower of many lead electric guitars to the feast. That persistent bass reminds me of Les Claypool. It sounds that good. Then Aznar returns with powerful vocals, “With the lights and background noise I cut off my dark thoughts”. That lead electric guitar is torching the stage with clarity and force. The drums keep perfect pace, rounding out the sound. Another track summoned from Baelo Claudia itself. Amazing.

“The Circle”, brings powerful keyboards to its opening. They are followed closely with drums, bass and more great lead grinding electric guitar. Aznar leads on vocals, and David Rubio supports well with his own vocals. The combination is a great double-punch.

“Reboot System Now”, opens with robotic sounding keys and cool synths. The growling lead guitar returns like a lion set free from a cage. The bouncing bass synchronizes well with the pogoing drum kit. Aznar delivers her softest vocals and helps drive the revving train of sound. Then her vocals lift, “To feel this moment and to rise!”

“Entropy”, opens with welcomed soft acoustic guitar. Like a Rush or Yes classic. Aznar’s vocals are simply beautiful and heartfelt. They absolutely needed a song like this. One of, if not the best on the album. Aznar’s “oohs” are warm and wonderful. A nice break from the revving fire they have been creating up until now. Later, the power grinder returns without the revving this time. Building to a complete ballad/theme song.

“Arendt’s Sorrow”, begins with cool synths and keyboards before the hammer falls and drums, bass and electric lead thunder on their way once again. This time, though, they bring a very cool space circular vibration synth with them. The bass work right after is some of the best on the album. Aznar and Rubio alternate vocals to help add variety to the music. Aznar compliments the track with some spoken word narration set to formidable bass and drums, along with soloing lead electric guitar.

“Fireworks”, opens like more of a Foreigner rock-oriented sound. Then, cool keys build as the drums, bass and electric lead guitar buzz the airspace. Aznar sings, “Don’t tell me that it’s gone. Don’t tell me it could be wrong!” Later, motor engines join in on the fun. Cool.

The keys that open “Hunt or Be Hunted”, are wonderful. Cool synths too. The drum loops are cool. Aznar sings, “open your eyes…now”. The synths, bass and electric guitars are excellent after her vocal.

“Better Days”, opens with cool piano, synths and sounds like another softer melody, until the drums, bass and lead electric bring forth their power. Rubio’s best vocals yet, “Here was a drop in an endless sea, a man of the many. A beast to unleash”. Backing chorus vocals add epic proportions to the mix. It gives the soundscape a more symphonic sound.

“Ghosts”, is a cool instrumental overture from space, with Apollo narration and wonderful keys mixed with slow guitar.

“Race to Nowhere”, is just what the title portends, blasting drums, heavy bass and grinding lead electric guitar. Aznar’s vocals are at some of their clearest on this track. Aznar sings, “Why cross the stars? This is our time?” This over 11-minute epic closer is worth the price of admission alone. Powerful grinding guitars, crushing bass, and racing pace drums.

This is a wonderful full – length album of heavier prog metal rock, veering ever closer to the metal side than progressive. But there are still progressive tones to the sound. The lead female singer does not burn your ears. It is a great album and I’m glad I have discovered them and would recommend this album to anyone with similar tastes in music.

The album was produced by Time Symmetry. Ghosts, was recorded at New Life Studios, in Madrid, Spain, and mastered by Ermin Hamidovic in Systematic Productions Studios, (Melbourne).

Track List

1.Winding Road – 4:40

2. Blue Lights – 4:44

3. The Circle – 3:32

4. Reboot System Now – 5:05

5. Entropy – 4:52

6. Arendt’s Sorrow – 5.53

7. Fireworks – 5:50

8. Hunt or Be Hunted – 5:25

9. Better Days – 5:12

10. Ghosts – 1:02

11. Race to Nowhere – 11:20

Farmhouse Odyssey – Fertile Ground

Farmhouse Odyssey – Fertile Ground

Farmhouse Odyssey is a progressive rock band from Arcata, California. I found them while searching artists playing this year at the Seattle Prog 2019 show, SeaProg:

I requested a demo immediately after listening to some samples at the store:

Farmhouse Odyssey was formed in 2012, and is made up of Alex Espe, on vocals, piano, Rhodes, Moog, organ, and mellotron; Aaron Laughlin, on vocals, guitars, mandolin, and mellotron; Alex Pepe, on guitars; Ian Taylor, on bass and synth bass; and Thatcher Norton, on drums. They are inspired by the natural beauty of the Pacific Northwest and endeavor to craft music to match its magnitude.

 Fertile Ground is a perfect name for this album. The album was released May 31, 2019. It is full of wonderful reminders of progressive rock’s legacy, while at the same time sounding innovative and original. Farmhouse Odyssey has a modern, yet transcending sound that is somewhere between the sounds you might here on early IZZ, Phil Collins era Genesis, and Midlake’s The Courage of Others. Nice mix, huh?

“The Call”, opens with soft mandolin and acoustic guitars, surrounded by keyboards and wonderful background effects. Aaron Laughlin sings, “Stirring song filled the dreamer’s ears, carried on the wind, that sent ripples across the water’s surface, shimmering – becoming”. Yes, Aaron Laughlin, writes most of the lyrical content that fills this short but magnificent 5 track album. The band uses a quote from Dostoyevsky, which is both relevant and capsulizes their mission with this Fertile Ground; “Dreams are extraordinarily strange. One thing appears with terrifying clarity, with the details finely set like jewels, while you leap over another, as though you did not notice it at all — space and time, for instance. It seems that dreams are the work not of mind but of desire, not of the head but of the heart… In a dream, things quite incomprehensible come to pass.”

That is what “The Call”, and the rest of this album is about, dreams and fulfilling them through a musical journey. The IZZ – like beginning gives way to a much slower pace after the mid-point. Beautiful Hackett – like guitar catches you breathlessly as Laughlin sings, “In the water there shone a dream – a great chance. Come quickly and walk with me. Is it Destiny we meet? Along the elemental stream of dreams? All of this is but to be a memory; A spiraling infinity calling through an ever-deepening mystery”. Then, they almost let one of those wonderful guitar riffs from Genesis’ “Entangled” take over. They finish with the sounds of water and birdsong. Wow, what an opener.

“Out of the Fog”, opens with piano that almost takes you back to the wonder of The Lamb Lies Down on Broadway. The electric guitar work supports well. Alex Espe, the bands’ lead singer sings, “I see a moonlit path before me. Filtered by fog creeping in. And out of my control. If only I could find some way to let go”. Later Espe sings, “Lost in tangled wood. All that I can see is the worn step I long to take in front of me”. Adventurous lyrics supported well with engaging music. The piano and keyboard playing truly sets a feast for the ears.

Aaron Laughlin, returns to sing most of “Betwixt and Between”. The almost eight and half minute epic opens with soft flute like keys and some of the most innovative acoustic guitar I’ve heard in a long time. Very early Genesis sounding, but original and different. I hear a great mix between the sound of early Phil Collins Genesis and Midlake’s The Courage of Others. Yeah imagine the blending of those two bands’ sounds. Laughlin sings, “Alone I stand, as I plant my feet in the cool morning sand, to softly bury my uncertainties and yesterdays. In the riddles of the green woods that linger within reach; and the tireless ocean breeze”. Yes, the image of the Pacific Northwest captured perfectly. Those verses capture why we all live here. Later, he captures the magic of Fertile Ground, with these lyrics, “The fertile state of unknowing; just letting it all be, lit by the light of dream”. Meanwhile the crashing waves of pulsing drums, grinding guitars, thick bass and keyboard wonders, shower your ears with amazing sounds. Perfect.

 “Ancient Yet Eternal”, opens with that beautiful piano, before soft percussion and bass join in. Espe sings, “Somewhere in the fire’s low, amber glow there are worlds upon worlds, shining soft, in far off unknowns”. The keyboards and piano take center stage and envelope you in a bliss rarely captured on record. Espe closes the track singing, “You don’t need ears to hear or eyes to see, when all life is like a dream. Lit by the light that brings the same flame that ignites dominance. Lights the way for love to find us. Calling from the other side”. They close with thunder and the sound of heavy rain. The kind of rain we have on the Pacific Coast in October. Thunder, which reverberates on the ancient, yet eternal forests which cover the Pacific Coastline; providing nourishing rain after the long summer dry spell.

 “Verve”, opens with excellent synthesizer and piano. Deep bass and electric guitar join in as rhythm forms and builds towards a melody. Espe sings, “Above the clouds I see no rainfall. Through the clouds I hear a faint call”. Bass, electric guitar, drums and amazing keyboards and synths fill the track. Espe closes the track with the heartfelt lyrics, “Live not in the past. Let resentment wither. Darkest hour of night, light still shines a sliver”.

Fertile Ground is an album full of both sincerity and intricate/innovative progressive rock. As Dostoyevsky said, “It happened as always in a dream when you leap over space and time and the laws of life and mind, and you stop only there where your heart delights.” Heed the call, and please get this album for yourself and sit back and dream of a new future.

Fertile Ground was recorded, mixed and mastered by Aaron Laughlin at Odyssey Studios.

Track List

The Call – 4:30

Out of the Fog – 12:33

Betwixt and Between – 8:48

Ancient Yet Eternal – 6:49

Verve – 6:25

Farmhouse Odyssey – “Daybreak”