Hans Platz

Hans Platz - Time Stamps - 2013 - Piazza

Timestamps is what german guitarist Hans Platz offers with his debut under his own name. He has been in bands I have never heard before so this is my first meeting with this guys and his music, he plays the guitar on this album and has guests for the other instruments. Well known guests as well. It is an instrumental rock album that comes in the colour of green, nice artwork and interesting liner notes in the booklet is a nice touch. It is eleven tracks dominated by strong guitar lines, no vocals, strong melodies and an excellent production. The sound is very exciting, it goes in green, like an interesting walk through an exciting jungle where there is a lot more to be seen than what first meets the eye. There are a lot of interesting details to be found here, but it is not overly complicated and the songs are quite short and to the point where all eleven songs plays for just over 35 minutes. I wrote no vocals but in the tenth track This is War there are some spoken words within the music just to add a bit more depth or something. I think this is a quality production and a quality album, not being a big fan of the instrumental rock music I find myself not overly excited about the music but I still enjoy listening to it. I think that the fans of the genre could be a bit blown away by this album as it is very interesting and has a lot to offer. I think Platz shows a lot of competence and he shows here that he knows how to make good music. I have enjoyed this album, even though it works best as background music for me. The album shows a lot of strength but it is best on the first half of the album, especially the second track. That track is my favourite of the album, excellent track and very amusing to listen to. You could say that the album starts out well but looses a bit towards the end, not that it ends poorly but it is noticeably less good in the end than in the start. Do you like instrumental rock music? if the answer to that question is yes, then I think you will do yourself a favour to pick it up. © Daniel Kallmalm(4/7) © http://www.hallowed.se/english/music/reviews/2014/hans_platz-timestamps.htm

The Erlanger guitarist Hans Place gathered on his album 'timestamps' world class musicians such as Marco Minnemann (Steven Wilson, Joe Satriani, Aristocrats), Wolfgang Haffner (Passport, Metro, Till Bronner), TM Stevens (James Brown, Joe Cocker, Steve Vai, Billy Joel, John McLaughlin) or Pete Griffin (Zappa plays Zappa) around, and conjures up out of nowhere a virtuoso instrumental album on the table that does not need to shy away from the international comparison. Mixed by Fabio Trentini (produced including the Guano Apes) the songs are presented in a glorious sound garment that expresses and still lets air to breathe. As a purely instrumental album of traditional song structures free, creativity knows no bounds, and the guitar can occupy the space that is denied in her classic bands. Especially because the musicians it is not an album become only for guitarists, bassists, drummers or just people who are interested in unusual rock music will love this album. © Hans Place © http://hansplatz.de/hp/

Excellent guitar playing from Hans Platz aided by musicians that include Mattias IA Eklundh, Marco Minnemann, and Pete Griffin. This is a good example of modern progressive metal rock with symphonic and classical leanings. Hans has created a very different sound with some very original guitar lines and good compositions. Its a very short album but full of quality. Watch out for more from this guy. Read more reviews @ http://hansplatz.de/hp/ and more about Hans @ https://www.facebook.com/hansplatzofficial?fref=photo [All tracks @ 320 Kbps: File size = 80.5 Mb]

TRACKS / COMPOSERS

1. Birdrange - Hans Platz, Wolfgang Haffner, Fabio Trentini
2. Spanish Race On A Devil's Highway - Hans Platz, Marco Minnemann, Fabio Trentini
3. Pull It Out - Hans Platz, Marco Minnemann, Pete Griffin
4. Father - Hans Platz, Wolfgang Haffner, Fabio Trentini
5. Red Room Nine - Hans Platz, Wolfram Kellner, Pete Griffin
6. Axetasy - Hans Platz, Wolfram Kellner, Fabio Trentini
7. Freak Sauna - Hans Platz, TM Stevens, Wolfram Kellner
8. Deadman - Hans Platz, Simon Michael, Fabio Trentini, Mattias IA Eklundh
9. Timestamps - Hans Platz, Marco Minnemann, Pete Griffin
10. This Is War - Hans Platz, Marco Minnemann, Fabio Trentini
11. Alive - Hans Platz, Wolfgang Haffner, Pete Griffin

MUSICIANS

Hans Platz - Guitars
Mattias IA Eklundh - Guest Guitar Solo on Track 8
Fabio Trentini, Pete Griffin, TM Stevens - Bass
Marco Minnemann, Wolfgang Haffner, Wolfram Kellner, Simon Michael - Drums

Tetrafusion

Tetrafusion - Absolute Zero - 2009 - queensix/Tetrafusion

Tetrafusion is an experimental/progressive metal band based out of Shreveport, Louisiana. Having just released their debut album “Absolute Zero” in February of 2009, the band has begun to garner global acclaim from rave reviews and new fans worldwide. While the band is currently writing for their sophomore album, plans for vocalist Gary Tubbs (also the group’s keyboardist) are taking shape. Though established on the foundation of instrumental jams and their unorthodox approach to songwriting, Tetrafusion promises to stay true to their home in the progressive genre while continuing to hone and polish their style as a result of sheer musical innovation. Choosing not to have used a vocalist for their debut, Tetrafusion forced listeners to direct their attention to the music rather than on the lyrics, where it should be focused. Although soon introducing lyrics to current and future listeners alike, the music itself will continue to remain as the primary focus in all future endeavors. © http://www.cdbaby.com/cd/tetrafusion

Tetrafusion is an experimental progressive metal band from Louisana, and Absolute Zero is their debut album. This is how the band describe the album in the booklet: Absolute Zero is a concept album based on cosmology, along with the associated theorems and laws behind it. The album depicts the life of the universe from beginning to end via the form of instrumental music. Along with this, each of the eight songs on this disc, some of which are divided into multiple movements, is explained in great detail. Starting with the 10-plus-minute "The Beginning," the album takes on a fusion of fluid, articulate guitar and keyboard parts built around a bass-centric drive. A perfect choice to represent the overall vibe of the album, the song weaves crushingly heavy passages and atmospherically dense sections with subtle changes in tempo and melody. Both bass and guitar solos abound, where the guitars take on a liquidy flow during the solo passages. The use of cello and piano on "Dark Matter" helps establish a more laidback yet emotionally engaging context while the transition from the soft acoustic passages to the fierce, head-spinningly agile guitar work on "Energy" contributes to the diversity of Absolute Zero. Of particular note is track four, "Gravity." It starts off with a gorgeous piano motif that eventually takes on a jazzy feel. It is informed by constantly ascending and descending melodic patterns. According to the information given in the booklet, the acceleration of gravity is 9.8 metres per second, which is symbolized by the song's opening riff in the 9/8 time signature. From here on, each section sees the band morphing the melodic drive, constantly dropping one beat with the arrival of a curious Latin breakdown and shifting to 4/4 or 8/8 rhythms, and then to 7/8, losing yet another beat. It sounds very mathematical perhaps, but unlike many instrumental prog bands, Tetrafusion's songs are absolutely listenable and painstakingly well composed. The aptly titled album finale, "The End," is equally complex if not the highlight of the whole album. At over 15 minutes, it is the song that depicts the inevitable fall of the universe. Alternating between passages filled with symphonies of riffs and piano-supported melodic interludes, the song turns into the soundtrack of the apocalypse. The first movement, "Expansion," sees the quartet building (expanding) the melodies from a time signature standpoint while the second movement, "The Big Freeze," depicts mankind's reaction to this catostrophe. Without doubt, the last movement, "Absolute Zero," functions as a summary of the album, or the life of the universe in this case, and gets particularly emotional during the piano-driven medley to "resurrect" its former phases. If the wailing guitar solo at the end doesn't devastate you, then you're not breathing. Overall, Absolute Zero is highly recommended, especially to fans of instrumental progressive music. This is so far the only instrumental disc I've liked from start to finish this year. - ****/5 A concept fully realized, August 12, 2009 By & © Murat Batmaz (Istanbul, Turkey) © 1996-2014, Amazon.com, Inc. or its affiliates http://www.amazon.com/product-reviews/B001RCAK50/ref=acr_dpdigitalmusic_text/178-7302387-3046267?ie=UTF8&showViewpoints=1

Sound: In the past couple years it's become increasingly difficult to find good instrumental music, let alone good music in general, but Tetrafusion's debut album Absolute Zero could change that. Absolute Zero is definitely one of the best albums of the year despite the lack of a singer. The album is based on the concept of the universe starting with the Big Bang and finishing with the universe's demise, without a single word being uttered. The thing I love about this album is that it feels like an epic music journey from start to finish. Every song just flows, for instance the song Dark Matter it begins with a cello and a piano playing together and at 1:28 the cello disappears and a perfect transition to guitar begins without skipping a beat. Another great song on this album is The End, my personal favorite; it's a 15-minute epic and even if this were the only song on the album I would still pay 10 dollars for it. I only have one problem with the whole album and it's that at some points in the album the distorted guitar lacks tone; it's not even that noticeable and it rarely happens but that's the only thing stopping me from giving this album a 10. // 9 Lyrics: Despite the lack of any singing in Absolute Zero Tetrafusion still does a great job telling a story. In the song The End the band has no problem expressing the feeling of inevitable doom and chaos. Even without lyrics, this song has epic written all over it. // 9 Overall Impression: The thing that stands out on Absolute zero is the amazing layering and the unbelievable transitions. I listen to a lot of music, but never have I heard a 15-minute instrumental song that kept my interest the whole time. Absolute zero is definitely a modern masterpiece. I, without a doubt, put this in my top ten best albums of 2009. If you don't get hooked within the first song this album isn't for you. Absolute Zero is a definite buy for people who like Dream Theater, Genesis, Between the Buried and Me, Yes, King Crimson, or progressive rock in general. Although Tetrafusion is amazingly talented they have yet to have any real commercial success, and That's sad thing about music the best bands are always in the shadows of bands like My Chemical Romance or The Jonas Brothers so I ask that everyone help support Tetrafusion and buy Absolute Zero you wont be disappointed. // 10 - [Reviewer rating: 9.3 / 10 Reviewed by & © ARS0NiiST, on may 08, 2009 © 2014 Ultimate-Guitar.com or its affiliates. All rights reserved http://www.ultimate-guitar.com/reviews/compact_discs/tetrafusion/absolute_zero/

Crank up your speakers music friends and get ready to go on a ride! Tetrafusion's Absolute Zero is a melodic metal masterpiece. The album's first and last tracks are appropriately named 'The Beginning' and 'The End' respectively and will take you on a journey from the moment you hit play until the very last note, leaving you wanting more. The Beginning' starts off with an intriguing bass riff that will perk the listener's ears to wonder what is coming next. Driving guitar and riveting drums kick in next followed before too long with cosmic keys that launch the listener on a journey through the heavens. Absolute Zero is not only a fantastic album with eight outstanding tracks on it, but it is also a concept album that easily rivals any predecessors. Through technical virtuosity and musical ingenuity, Tetrafusion takes us on an epic journey detailing the birth, life and death of the universe from its explosion into existence to its fading out at the end. With no lyrics, the listener must rely on the ear-satisyfying blended themes, the soul stirring recurring motifs and the underlying melodies that bind the album together. This is done with masterful precision to leave the listener feeling at the end as though he truly has just witnessed one of the greatest mysteries of mankind. So who is Tetrafusion? Take note as this is a band well worth becoming acquainted. Gary Tubbs(keyboards), Mark Michell(bass), J.C. Bryant(percussion) and Brooks Tarkington(guitar) combine to bring us this marvelous progressive foursome. Formed in October of 2006, the group began as a jazz/slow jam band but as their music became more creative and innovative they changed their direction to progressive experimental metal. Absolute Zero is shockingly their first full length album and I hope the first of many. Special mention has to be paid to the final track on the album, 'The End'. This fifteen minute epic piece details out the end of the universe as we know it from the catastrophic feelings humanity faces as it meets its demise to the final conclusion of the existence of the universe, absolute zero. From beginning to end this piece is a masterful whirlwind in and of itself with unexpected time signature shifts, brilliant key changes and a remarkable blend of varoius musical styles . Just when you think the metal can't get any better it changes entirely to a haunting, stunning solo on the keys then launches into a bluesy riff before circling back to the metal. It will keep the listener on the edge wondering what will come next while uniting the entire album for an outstanding conclusion. If you love progressive metal Absolute Zero is a must have for your collection. If progressive metal is not your thing, I would highly recommend you give this album a try because I believe you will find yourself pleasantly surprised. I give this album Four and a half Froggs only because I know their next album will be a five. - from Tetrafusion - Absolute Zero (by Eowyn Langholf) POSTED BY PROGFROGG AT 3:42 PM © http://progfrogg.blogspot.ie/2009/06/tetrafusion-absolute-zero-by-eowyn.html

Tetrafusion is an American progressive metal band formed in 2006 in Shreveport, Louisiana. "Absolute Zero" is their debut album and is a progressive metal release very much in the Dream Theater, Liquid Tension Experiment, or Symphony X mould. "Absolute Zero" is a "concept" album, supposedly dealing with the cosmic birth and death of the universe. Some of these "concept" albums are often offputting to many music fans as they often contain a series of musical pieces that are repetititious, devoid of any real imagination, and musically drift aimlessly along without any memorable structures or melody. Two very good concept or thematic albums are Ry Cooder's "Paris Texas" soundtrack to the movie, and Brian Eno's "Apollo: Atmospheres and Soundtracks" which was written about the Apollo moon missions. Both these albums conveyed feelings, sounds and emotions very relative to their themes. It is very difficult to compose music that can convey to the listener the ideas behind certain themes and concepts but there are exceptions. Going back to Tetrafusion's "Absolute Zero" is a good album in that the "concept" behind the album is probably irrelevant because the music by itself is really good. Check out Tetrafusion's "Altered State" album [All tracks @ 320 Kbps: File size = 140 Mb]

TRACKS / COMPOSERS

1. The Beginning - Michell, Tarkington, Tubbs 10:14
a). The Big Bang
b). The First Star
c). The First Galaxy
d). As We Know It
2. Dark Matter - Tarkington 8:28
3. Energy - Tarkington 3:34
a). Potential
b). Kinetic
4. Gravity - Michell, Tarkington, Tubbs 4:30
5. Inertia - Bryant, Michell, Tarkington, Tubbs 6:17
6. Momentum - Michell, Tarkington 5:45
7. Time Lapse - Bryant, Michell, Tarkington 3:01
8. The End - Michell, Tarkington, Tubbs 15:00
a). Expansion
b). The Big Freeze
c). Absolute Zero

MUSICIANS

Brooks Tarkington - Guitars
Mark Michell - Bass
Gary Tubbs - Keyboards
J.C. Bryant - Drums

Yang

Yang - A Complex Nature - 2004 - Cuneiform Records

Yang, a French quartet whose stunning compositons combine intricate guitar parts with driving rock, is the newest project led by French guitarist and composer Frederic L’Epée. L’Epée’s former projects include founding two of the most intriguing all-instrumental bands to emerge from France and capture international interest: Shylock and Philharmonie. Yang, L’Epee’s post-Philharmonie band, extends some of Philarmonie’s compositional ideas while adopting a harder tempered, more rock-based approach. Featuring the 'standard' line-up of two guiarists, bass and drums, Yang play a dynamic instrumental music that rocks hard, and which bears comparisons to groups such as Gordian Knot and King Crimson. L’Epée formed Yang in September, 2002. Yang’s debut album consists of 8 compositions written by L’Epée with each of the specific band members in mind. The band recorded the album quickly, spending only 3 days in the studio in a conscious attempt to harness the power and spontanaety of live performance. Featuring intricate and often beautiful guitar pieces embedded in harder-tempered rock compositions, complex rhythms and melodic modes not previously seen in L’Epée’s work, and a rich variety of guitar treatments, A Complex Nature is an inventive, dynamic and accessible instrumental work that rocks hard. It is, in L’Epée’s own words: “the next step after Philharmonie’s last albums: Rage and The Last Word.” This exciting and hard-rocking album features some subtly stunning work from all players, and is probably as close to an 'air guitar' album as you will ever hear from Cuneiform! © all rights reserved http://cuneiformrecords.bandcamp.com/album/a-complex-nature

If you like the music of the King Crimson after 1974, this album is surely for you. It has all the marks of a KC classic, but do not think it's just another copy/paste work. These French guys are making an extremely powerful combination of Fripp sounding guitar with modern fusion elements. Get it, you won't regret it! A true masterpiece. - ***** Progressive rock at very high level! By & © Alex on December 21, 2004 © 1996-2014, Amazon.com, Inc. or its affiliates http://www.amazon.com/Complex-Nature-Yang/dp/B0002T7YZI

Guitarist Frederic L'Epee has long been thought of as France's answer to Robert Fripp, ever since his '70s work with the clearly King Crimson-influenced progressive band Shylock. With his '90s group Philharmonie, his solo work, and the debut album by his latest outfit Yang, however, L'Epee has moved far beyond mere mimicry. Complex Nature, despite its forbidding and slightly pretentious title, is actually an entirely accessible instrumental rock project featuring a two-guitar (L'Epee and his former student Julien Vecchie) front line over the rhythm section of bassist Stephane Bertrand and former Philharmonie drummer Volodia Brice. The eight compositions were recorded quickly, giving them a less polished edge than the occasionally too-polite Philharmonie, and unlike L'Epee's solo work, which occasionally trifles with mere prettiness (kind of like Bill Nelson's less-inspired releases), each of them starts with a well-crafted melodic and rhythmic base over which the players develop some complex interrelations. The concise nature of the pieces -- nearly all of which are in the four- to six-minute range -- means that the solos by L'Epee and Vecchie don't have time to veer off into unmanageable tangents, and showboating is kept to a minimum: Yang is definitely a group, with a rhythmic interplay that recalls great guitar bands like Television (especially on the dramatic ballad "Compassion") and, yes, King Crimson (particularly on the opening "Les Deux Mondes," which also features a terrific overdriven rhythm guitar riff by Vecchie that recalls Mission of Burma's telegraphic style). This is thoroughly enjoyable, straightforward instrumental art rock with few of the style's usual drawbacks. © Stewart Mason © 2014 AllMusic, a division of All Media Network, LLC. | All Rights Reserved http://www.allmusic.com/album/a-complex-nature-mw0000390085

Brilliant instrumental rock fusion from the great French guitarist Frederic L'Epee and Yang. This band has been compared to the mighty King Crimson, and nothing wrong with that if you can produce music of the quality of the monumental Robert Fripp & Co. Yang have easily achieved that with this inventive, progressive rock/fusion album. This is quality stuff and albums of this calibre are rare nowadays. HR by A.O.O.F.C. Listen to Yang’s “Machines” album and promote real original fusion and progressive rock [All tracks @ 320 Kbps: File size = 112 Mb]

TRACKS

1. The Two Worlds 8:13
2. Subterranean 6:38
3. Innocent Seducer 5:48
4. Compassion 4:28
5. Homme-Enfant 4:43
6. Impatience 7:04
7. The Red Mask 5:28
8. Pride 5:54

All tracks composed by Frederic L`Epee

MUSICIANS

Frédéric L'Epée, Julien Vecchié - Guitar
Stéphane Bertrand - Bass
Volodia Brice - Drums

Jarle H. Olsen

Jarle H. Olsen - Quadrasonic - 2011 - JHO Music

Hailing from Norway, Jarle H. Olsen is one of today’s finest guitarists and composers of melodic progressive metal. His full-length debut album, Quadrasonic, showcases his talents through its emotive atmospheres, surgically precise performances, and lavish harmonies. Rooted in neoclassical metal and fusion playing styles, Jarle has forged a recognizable voice on his instrument; one which he never fails to pair with memorable melody and elegant songwriting. © 2007-2014 Guitar Messenger. All Rights Reserved.

"The long awaited debut album from Norway's #1 guitarist. Featuring some of the best musicians in the business. Especially recommended to fans of prog/metal/fusion and bands such as; Dream Theater, Symphony X, Malmsteen, Satriani, Vai etc." © http://www.cdbaby.com/cd/jarleholsen

"I never thought this album was ever gonna sound like this. So complete, so interesting, so mature, and last but not at least not at all boring or annoying. And I would like to focus on the last characterisation; It is quite common for many Instrumental bands/albums to make the impression that they lack of something, that there is something missing from the whole project. That's probably (well, apparently speaking for myself but that may be your concern, too) because of the vocals that don't exist alongside with the instruments, to complement one another. But you don't have to worry, Quadrasonic is way different than what I wrote just above. It's almost like having the guitars singing. Jarle H. Olsen, the founder of JARLEHOSLEN (giving his name to the band) is a pretty talented guitarist, having spent a lot of time to come to the point of making his writing come to reality through playing the guitar. And that's because of the technical difficulties a mediocre (or even higher) guitarist could face trying to play the Uuadrasonic's songs. Nice prog and heavy riffs, catchy and ingenious solos, relaxing and sexy slow parts are some of the main points of the album. I must not forget to do mention the oriental melodies used at times. The first band that came to my mind while listening to JARLEHOLSEN was SYMPHONY X (probably because of the guitarists, Jarle and Romeo have some common elements). To sum up, this is the album where inspiration meets technique. You gotta give it a try, I highly recommend this to any metal fans. If you like melody and progressive playing, you are gonna love this." - Metal Inquisition 09/12/11

"‘Quadrasonic‘ is the new album from Norwegian shred master Jarle H. Olsen featuring Alex Argento on Keyboards, Rodrigo Garcia on Bass and Bjarte K. Helland on Drums with guest appearances from Jan Martin Kleveland and Manuel Soto. Jarle cites Iron Maiden, Yngwie Malmsteen and Marty Friedman among his influences and I really hear a bit of all of these players and more on this album, for instance the intro to ‘From Deep Within‘ wouldn’t sound out of place on Iron Maiden’s ‘Seventh Son…‘, having said that the rest of the track doesn’t sound like Maiden at all but I like when I hear a hat tip to influences. Another example would be ‘Enigmatic Mind‘ which is a like a heavier version of Yngwie Malmsteen mixed with John Petrucci. I make these comparisons not only with Jarle’s playing but with his compositional style too, this is a very mature sounding album with some incredible technical rhythm and lead playing, Jarle has a very precise and clean style so that even when he is sweep picking arpeggios they are very even in both tempo and attack, just check out ‘Event Horizon‘ to see what I’m talking about (here is a lesson on the intro that Jarle recorded for Guitar Messenger – http://www.youtube.com/watch?v=T4aZZ0uL1tk). ‘Quadrasonic‘ is a very atmospheric sounding album and features some amazing technical melodic playing I particularly liked the final 3 part suite (if I can call it that) called ‘Osiris‘, ‘The Omnipotence‘, ‘The Resurrection‘ and ‘Journey To Duat‘ all very distinct sounding and ‘Journey…‘ has an awesome odd time riff. Try this album if you like modern progressive shred instrumental albums by artists such as Jeff Loomis, John Petrucci and Marco Sfogli." - GuitarNoize 08/11/11

Norwegian guitarist Jarle H. Olsen’s new album Quadrasonic features a tightly produced collection of progressive metal compositions that are brimming with soaring melodicism, clever arrangements, and absolutely insane chops. Olsen is joined on the all instrumental disc by keyboardists Alex Argento and Manuel Soto, bassists Rodrigo Garcia and Jan Martin Kleveland, and drummer Bjarte K. Helland. Every track on Quadrasonic is credited to Olsen, and while the album is clearly dominated by his vision and impressive guitar playing, Argento’s keyboard work leaves a lasting impression here as well. Though Olsen’s writing on Quadrasonic definitely has some neo-classical shades, it’s also highly progressive, resulting in a Vinnie Moore-meets-Planet X sort of vibe on several tracks. And while the majority of the songs are either uber-heavy (such as “Pro-10,” “Enigmatic Mind,” and the arpeggio-laden “Event Horizon”) or at least feature heavier sub-sections, there’s plenty of melodic playing and writing on the album as well. On the ballad “From Deep Within,” for example, Olsen uses deeply stacked guitar harmonies to create a dramatic, almost melancholic mood. Even here though, odd meters and tricky lines are employed which lend a prog-rock vibe to the track. “Dark Matter” and “Chimerical Moments” are perhaps the album’s best examples of Olsen’s ability to seamlessly blend his melodicism with balls-out metal. Heavy riffs ride alongside clever, memorable lines in these songs, while the arrangements are such that everything has room to breathe. Both of these tunes are greatly enhanced by Argento’s keyboard contributions as well - his tones and playing provide great texture, and the tandem lines he peels off with Olsen are unreal. The album closes with a three-part suite (titled “Osiris”), which features an interlude-like middle section of keyboard accompanied solo guitar bookended by aggressive riff-driven tracks. The final song, “Osiris - Journey To Duat,” fittingly ends with some of Olsen and Argento’s best interplay on the album. Throughout Quadrasonic, Olsen’s technical display is simply stunning. His picking and legato chops are as fast and clean as anything you are likely to hear, and his vibrato is very well-developed. While this album is certainly overflowing with amazing technique - from Olsen, and everyone else for that matter - it’s more than a mere shred record. Quadrasonic is an album where the chops are used first and foremost to execute the smart, progressive ideas the songs call for, and to enhance the overall vibe of the disc. If this fine, well-produced effort is any indication, Olsen is one player whom we are certain to hear more from in the future. - © Nov 10, 2011 l By ABLX STAFF - By & © Rich Murray © 2003 - 2012. Abstract Logix and / or contributing writers. All rights reserved - See more at: http://www.abstractlogix.com/reviews_view.php? http://www.abstractlogix.com/reviews_view.php?idno=325idno=325#sthash.OVFmA8NJ.dpuf

A high calibre instrumental progressive metal fusion album with a strong neoclassical element from one of Norway's most skilled guitarists. Jarle's influences include Symphony X, Cacophony, Planet X, Yngwie Malmsteen, Alex Skolnick, Jason Becker, Marty Friedman, George Bellas, Greg Howe, Paul Gilbert, Vinnie Moore, and Michael Romeo. The tracks are not all going to blow you away with frantic shredding. "From Deep Within" is one of the "quieter" tunes whereas on tracks like "Event Horizon" and "Dark Matter" Jarle shifts up a few gears. However, there's not a dud track on the album and Jarle's tone is terrific throughout, and there are plenty of great solos to enjoy. Alex Argento provides sensational keyboards and Bjarte K. Helland on drums really needs to be heard. Keyboardist, Manuel Soto from the great Chilean prog rock band Crysalida plays some wonderful keys on "Exordium". This album received many great reviews, and deservedly so. A very impressive album from a remarkable guitarist and HR by A.O.O.F.C. Read an interview with Jarle @ http://www.guitarmessenger.com/interviews/jarle-h-olsen-interview/ Jarle plays lead guitar on Pitch Black Mentality's ‘The Pitch Black Reality’ album which is thrash metal and ok if you're into that genre, but watch out for further solo releases from Jarle H. Olsen and/or Quadrasonic. Promote real music [All tracks @ 320 Kbps: File size = 134 Mb]

TRACKS

1. Exordium
2. Pro-10
3. Dark Matter
4. Enigmatic Mind
5. From Deep Within
6. Event Horizon
7. Chimerical Moments
8. Osiris - The Omnipotence
9. Osiris - Reawakening
10. Osiris - Journey To Duat

All tracks composed by Jarle H. Olsen

MUSICIANS

Jarle H. Olsen - Guitars
Rodrigo Garcia - Bass
Jan Martin Kleveland - Bass on Tracks 5,7,8,10
Alex Argento - Keyboards
Manuel Soto - Keyboards on Track 1
Bjarte K. Helland - Drums

ABOUT JARLE H. OLSEN

"I started messing around with my older brother’s guitar at the age of 12. A year later I received my very first guitar for Christmas which was a B.C Rich. In those days I was seriously into bands like Iron Maiden, Testament and Metallica and learned every song and solo from their albums. I could put on an album and play along with it from the beginning to its end, none stop". "After some time I got my hands on a Carvin guitar. This was the beginning of the long lasting relation with Carvin and was the guitar that changed my playing style a lot. I never really started practicing before some years later when I discovered more progressive and technically advanced music. I suddenly realized that I had limitations playing wise and I was composing music that I wasn’t really able to play. This issue annoyed me because I wanted to be able to play whatever was on my mind without any limitations. So I spent the time practicing, studying, analyzing and breathe music 24/7 while constantly composing as well". "I had already played in various local bands, but never felt satisfied with the musicianship and wasn't able to express myself through the music that we played. So I was fed up with that way of working and decided to focus on my own material which eventually became "JHOP". After many years of member exchanges I finally found the right guys to join forces with. The chemistry is now very good and everyone seems to fit the project and music perfectly with their own styles and musical sense". Music of choice and influences: Iron Maiden, Testament, Metallica, The Cure, Depeche Mode, Planet X, Marillion, Sting, TNT, Dream Theater, A-Ha, Madonna, Supertramp, Deep Purple, Symphony X, Yngwie Malmsteen, Alex Skolnick, Adrian Smith, Greg Howe, Robert Smith, Jason Becker, George Bellas, Paul Gilbert, Marty Friedman, Joe Satriani, Vinnie Moore, Virgil Donati, Deen Castronovo, Vinnie Colaiuta, lots of C64 and Amiga500 game music, Bach, Rachmaninoff, Messiaen and lots of classical music, tons of movie score music, the great Ennio Morricone, John Barry, John Williams, James Bond scores and everything else that affects me and sounds good to my ears. © 2000-2011 jarleholsen.com All Rights Reserved. N.B: Read full band bio @ http://www.jarleholsen.com/JHOP/band_bio/jarle.html#Top

Nathan Frost

Nathan Frost - Synecron - 2013 - Nathan Frost

Nathan started playing piano at age 3, and started playing Pong shortly thereafter. Picking up a high school girlfriend's bass, he cofounded Strychnine -- an all-originals progressive metal band in Vancouver, British Columbia -- where he played bass, keyboards, and sang whenever he wasn't programming videogames, studying music theory, and slouching through classes. Nathan then enrolled at premier videogame development school DigiPen Institute of Technology in the Seattle area, and musically scored several of the videogame projects he completed while earning his degree in Realtime Simulations Engineering (Honors). He began writing the material that became synecron in between semesters. synecron gradually took shape during vacations from professionally developing videogames for Crystal Dynamics/Eidos (Project Snowblind, Tomb Raider Legend, Tomb Raider Underworld), PlanetMoon/THQ (Drawn to Life The Next Chapter [Wii]) and GiantSparrow/Sony (The Unfinished Swan). synecron was finally recorded in 2012 with some of Nathan's favorite musicians. Nathan continues to take great joy in videogame programming "to the metal" and technical instrumental workouts. © 2013. All Rights Reserved. http://nathanfrostmusic.com/bio

Virtuoso Nathan Frost makes his debut on the metal scene, Synecron, his album, six songs, one with two drums versions, 52 minutes of instrumental progressive metal music with fusion and neoclassical sounds, Nathan played keyboards, piano and bass, Virgil Donati and Marco Minemann on drums, Marco Sfogli and Taka Minamino on guitars, Derek Sherinian as keyboard engineer and a unique solo at the first theme. Fascinating musical proposal by Nathan, the result for several years of recordings and mixes, finally here, this album is powerful and innovative, the musicians involved in this project are truly masters, just listen every track, great performance. Very interesting thing is that the same song Empire Rising was recorded two times, Empire Rising 505 AD with Virgil Donati, and Empire Rising 2000 AD with Marco Minemann, both versions are fantastic, completely innovative, never made it before, it’s amazing how each drummer shows his creativity. Samsara is a masterpiece played with classical piano, it´s fantastic, Nathan is a virtuoso musician, he shows us with this song, enjoy it. 9.5 / 10. Buy This Album. - By & © Chuy Monjarás © Perfectprog.com 2013 http://www.perfectprog.com/site/index.php/reviews/226-nathan-frost-synecron-2013

Not content to just produce the debut solo album from former Aphelion keyboard ace Allesandro Bertoni (Keystone), Derek Sherinian is also at the helm here on Synecron, the brand new release from keyboard player/bassist/composer and video game developer Nathan Frost. Also on board for this wild prog/jazz-fusion affair are drummers Virgil Donati (Planet X) & Marco Minnemann (Tony MacAlpine, Paul Gilbert, Mike Keneally), guitarists Marco Sfogli (James LaBrie, Creation's End) & Tako Minamino (Derek Sherinian) and violinist Rosemars Siemens. Six tracks in total on Synecron, and it's a high spirited, exciting ride from start to finish, as each song clocks in at over 6+ minutes and allows for plenty of sizzling performances from the players. The opening & closing "Empire Rising, 2000 AM" and "Empire Rising, 505 AD" are basically the same song, but with Donati on one and Minnemann on the other. Each track has subtle differences, but if it's a torrid ride through dazzling heavy fusion you are looking for, you've come to the right place. Frost, and even Sherinian on this one, deliver some stunning keyboard lines, and look for hot guitar licks from both Sfogli & Minamino plus plenty of drum acrobatics. "Singularity" is another winner, plenty melodic and complete with addicting keyboard hooks, scorching guitar, and impressive drum fills from Donati. Frost shows his prowess on the bass during the more atmospheric & majestic prog rock track "Empire Falling". This one also features some commanding Hammond organ, intricate drums courtesy of Minnemann, and Rosemars' haunting violin, not to mention some shredding guitar by Mr. Minamino. The lovely "Samsaara" is all Frost, who displays a deft touch on the piano, while "Consilience" is a crunchy, groove laden progressive metal juggernaut. Minamino's thick riffs play off some nimble synth melodies from Frost, until the guitarist unleashes and gets into a duel with the keyboard wiz as Minnemann lays down some jaw dropping fills underneath. Pretty impressive stuff here from a guy I'm sure we'll be hearing much more from in the very near future. Having such an all star cast around certainly doesn't hurt, but Nathan Frost has the musical chops as well as the songwriting skills to be a player on the instrumental progressive metal/jazz-fusion scene. **** – Reviewed by & © Pete Pardo October 23rd 2013 © 2004 Sea Of Tranquility http://www.seaoftranquility.org/reviews.php?op=showcontent&id=15290

For over thirteen years, Nathan Frost honed the distinctively ultra-progressive, genre-fusing, stream-of-consciousness metal that became “synecron” in between developing high-profile videogames. When he was finally afforded the time to record, he contacted Derek Sherinian (ex-Dream Theater, PlanetX, Yngwie Malmsteen) — mostly since he lived nearby in LA, and Nathan thought it would be a fun excuse to email one of his personal musical heroes. When Derek heard the material, he offered to produce and engineer Nathan’s keyboards. Nathan already had a clear vision for the music, and didn’t feel the need for an outside producer, but it didn’t take long for Derek to demonstrate that his Beachwood Manor Studios indeed had “the killer everything” (his words), and that he effortlessly grasped Nathan’s aesthetic and how to push the already-progressive compositions to a new level of complexity. After putting the music through the Derek filter (including inspired arrangements involving his custom Hammond B3 organ setup, modern and vintage hardware synthesizers, and other keyboard wizardry), Sherinian introduced Nathan to another of his musical heroes — drummer Virgil Donati (PlanetX, Steve Vai, Allan Holdsworth) — and some of the best performers in progressive metal today: drummer Marco Minnemann (Tony Macalpine, Kreator, Paul Gilbert), and guitarists Marco Sfogli (James LaBrie, Jordan Rudess, Alex Argento, Creation’s End) and Taka Minamino (Derek Sherinian). Painstakingly mixed and mastered by veteran sound engineer Steven Seibold (Hate Dept, Pigface, Information Society), the compositions take the listener through an intricate musical journey overflowing with dramatic twists, virtuosic performances and uncompromising creativity. - By & © Nikola Savić on October 7, 2013 © 2010-2014 Prog Sphere & Prog Sphere Promotions. All rights reserved. http://www.prog-sphere.com/news/nathan-frost-to-release-synecron/

"Fascinating musical proposal...Nathan is a virtuoso musician...powerful and innovative, the musicians involved in this project are truly masters...9.5/10...great performance." - PerfectProg

"...new and fresh...heavy brutal riffs...progressive style...exceptional definition of what I call music..." - The Center of the Metal

"amazing guitar...grandiose drumming...breathtaking solos...but most of all well-crafted tunes!" - Heavy Paradise
"Frost has some serious prog ambitions for his debut album of heavy progressive instrumental metal...Frost plays keyboards and bass, has written some fantastic songs...top-notch lineup of producer Derek Sherinian, guitarists Tako Minamino and Marco Sfogli as well as two of the greatest drummers on the planet, Marco Minnemann and Virgil Donati... If you dig bands like Planet X this one is a must have." - Prog Metal Zone New Releases

"...produced by Derek Sherinian...features guitarists Marco Sfogli (from James LaBrie)...Taka Minamino and oh, by the way, he’s got two drummers on alternating songs – Virgil Donati and Marco Minneman!...Frost even had the brilliant idea of using them on different versions of the same song, Empire Rising...the album more than met my expectations...It's an exciting and dynamic recording that strikes a great balance between intelligent, progressive compositions, heavy grooves and masterful soloing. The recording is amazing too – the low-end is fantastic and you can really hear everything the two drummers are doing which is really a treat...the music has an epic storytelling quality...Synecron is a great album for fans of instrumental metal, especially if you’re looking for music that’s extremely well-composed and has a great cinematic feel to it." - Prog Metal Zone Review

"...a high spirited, exciting ride from start to finish...addicting keyboard hooks, scorching guitar...plus plenty of drum acrobatics...Frost, and...Sherinian...deliver some stunning keyboard lines...hot guitar licks from both Sfogli & Minamino...intricate drums courtesy of Minnemann...Frost shows his prowess on the bass...impressive drum fills from Donati...Having such an all star cast...certainly doesn't hurt, but Nathan Frost has the musical chops as well as the songwriting skills to be a player on the instrumental progressive metal/jazz-fusion scene." - Sea of Tranquility

"...quite a demanding ride, where the neo-classical furious shredding of Taka Minamino is the most immediate recognizable recurring element...something truly progressive and virtuosic should appeal to all prog enthusiasts out there. People missing the Liquid Tension Experiment they love can also get their dose here!" - Lords of Metal

"Bombastic, emotionally resonant, inspiring...each of the tracks flows smoothly into the next...listening to Synecron takes me back to those first times I heard Rising Force or King Crimson or Queensryche. It's a great album..." - iTunes reviewer Magnificent Weez

"I have come to the conclusion that Nathan Frost is one seriously talented guy. Yes, he is surrounded by a stellar cast on this recording but, you never feel he is out of his depth and he definitely has the musical talent to live with the big boys. This guy has a long and successful future ahead of him and Synecron, as a debut release, is a notably impressive slab of jazz/prog fusion that certainly stays long in the memory." - Lady Obscure

"NATHAN FROST is a highly talented musician...SYNECRON... features some of the best musicians in the Progressive Metal world...Nathan has assembled some of the best in the business and come out with one of the best Progressive Instrumental albums I have heard in a long time... The creativity, craftsmanship and musical talent is absolutely amazing. If you consider yourself not a fan of Progressive Instrumental, then you need to listen to SYNECRON and you will find yourself listening to it over and over and finding something new each time. Simply amazing!" - Beowulf Productions

Wild, creative, and brilliantly structured progressive metal jazz fusion of the highest calibre from the virtuoso multi-instrumentalist Nathan Frost. Nathan is assisted by a few giants of fusion including Marco Sfogli on guitar, and the legendary Marco Minnemann and Virgil Donati on drums. HR by A.O.O.F.C. [All tracks @ 320 Kbps: File size = 120 Mb]

TRACKS

1. Empire Rising, 2000 AD (feat. Marco Minnemann, Taka Minamino, Derek Sherinian & Marco Sfogli) (8:09)
2. Singularity (feat. Virgil Donati, Marco Sfogli & Taka Minamino) (9:33)
3. Empire Falling (feat. Marco Minnemann & Taka Minamino) (10:24)
4. Samsaara (8:56)
5. Consilience (feat. Marco Minnemann & Taka Minamino) (6:43)
6. Empire Rising, 505 AD (feat. Virgil Donati, Taka Minamino, Derek Sherinian & Marco Sfogli) (8:16)

All tracks composed by Nathan Frost

MUSICIANS

Marco Sfogli, Taka Minamino - Guitars on Tracks 1, 2, 6
Nathan Frost - Bass, Keyboards, Piano
Derek Sherinian - Keyboards on Tracks 1, 6
Marco Minnemann - Drums on Tracks 1, 3, 5
Virgil Donati - Drums on Tracks 2, 6
Rosemars Siemens - Violin on Track 3

Chris Nalbandian

Chris Nalbandian - Paralysis of Analysis - 2010 - Rudimental Records

I ran into Chris' music by reading the Planet X forum. I've been a Planet X fan for some quite time and when I heard the first notes and riffs I knew I needed to get this album. Seeing the guest artists made me even more intrigued since I love their music. I love Derek Sherinian's solo stuff (I prefer his solo stuff over Planet X); Lalu's "Oniric Metal" is a prog-metal masterpiece for me and I loved Shradane's "Temporal" as well; and I am familiar with Alex Argento's solo stuff with his solo album Ego which falls into the fusion category with Marco Sfogli on guitar (James LaBrie Solo, Solo artist) which is very enjoyable. I discovered Joop Wolter's guitar chops when listening to Shradane and fell in love with his monstrous riffs and guitar tone used in that album. Although I am not familiar with Gary Jibilian's or Chris Nalbandian's playing, I knew it had to be good because the album's cast is surrounded by extremely talented musicians. "Paralysis of Analysis" did not disapoint. It has become an instant favorite for this 2010. The music quickly reminds me of Planet X but with a heavier and more melodical twist (think of Derek's heavier songs from his extensive catalog but withouth the solo trade off's between keys and guitars). "Paralysis of Analysis" is a collection of great individually crafted songs where the song is never compromised by the musician's talents. It has the exact amount of musicianship and the exact amount of heavyness, fusion, and prog. I am forgetting to mention that the drums are played by Chris Nalbandian and he is quite a player (he quickly reminded me of a blend of Simon Phillips and Dave Dicenso) and the music was also written by him. This is a must-have release for fans of Planet X, Derek Sherinian, Dream Theater, Liquid Tension Experiment, Allan Holdsworth, instrumental rock/prog rock, and similar music. This release will not bore me for the rest of 2010 and beyond. And I know most of you will love this collection of music as much as I do. Recommended!!! © Oscar Quintero ***** © http://www.cdbaby.com/cd/ChrisNalbandian

A great debut jazzy instrumental progressive metal album from the talented Canadian and L.A based drummer Chris Nalbandian with some wonderful solos and accompaniment featuring keyboard superstar Derek Sherinian, guitarist Joop Wolters, keyboardists Vivien Lalu and Alex Argento and bassist Gary Jibilian. HR by A.O.O.F.C. The SQ on this album is not great. Maybe I got a bad copy.Watch out for further releases by Chris [All tracks @ 320 Kbps: File size = 77.8 Mb]

TRACKS

1. Apesh!t 3:34
2. Analogic 3:25
3. Chosen One 3:48
4. Solace 3:18
5. Paralysis of Analysis 5:42
6. Powertrip 4:28
7. Relativity 3:46
8. Turbulence 4:24
9. One Thought 3:04

All tracks composed by Chris Nalbandian

MUSICIANS

Joop Wolters - Guitars (all tracks)
Gary Jibilian - Bass (all tracks)
Vivien Lalu - Keyboards (all tracks)
Derek Sherinian - Keyboards (tracks 3, 5, 6)
Alex Argento - Keyboards (tracks 5, 7)
Chris Nalbandian - Drums, Keyboards (all tracks)
Sir Millard Mulch - Extra Vocals/Whispers (track 5)

ABOUT CHRIS / ALBUM

"Paralysis of Analysis" is definitely an understatement for Chris Nalbandian, who has been singing out melodies for songs for his debut solo record as far as 10 years ago. "It all started when I was waiting for the subway in my hometown of Montreal during a Christmas visit". Always a thinker of projects ahead, he wondered why he couldn't think correctly at that moment. That's when the title "Paralysis of Analysis" came out. "I quickly tried to think about some working song titles that were somewhat relevant to the album name. I wanted the order of the titles to kinda show what we go through when we think too much...which is maybe the story of my life, and the perfect name for my solo album which I always wanted." Driven by rhythm and simplicity, Chris is always learning with music. He always wanted to chronicle his songwriting as a soundtrack to his life. "This is a very personal record for me. I remember seeing some amazing drummers and musicians come to the Montreal Drum Fest every year, and each time I would promise myself that THIS would be the year where I would sit down and write my ideas for a record". However, his move to Los Angeles was the right energy that was needed in order to complete his efforts. Surrounded by amazing talent all over LA, especially long time good friends and world-renowned musicians Virgil Donati and Derek Sherinian, the inspiration was definitely set. "I've always loved the flow and intricacies of instrumental music. However, I've always loved the simplicity in music too. This was my ultimate goal. I wanted to incorporate all my favorite styles of music of Rock, Metal, Industrial Metal, Pop & Drum & Bass....all in one." Featuring keyboard superstar Derek Sherinian (Planet X, Billy Idol, Dream Theater, Alice Cooper), Vivien Lalu, Joop Wolters, Alex Argento and Gary Jibilian, this album surely delivers some moments of musical shredding all by countering with simple listenable moments. "I'm always listening, learning and creating. I plan to keep writing as some songs will be meant to be written in the many years to come". © Chris Nalbandian © http://www.chrisnalbandian.com/about.html

Octopus (Chile)

Octopus - Octopus - 2004 - Ind.

Independently released, and by now out of the market, Octopus's eponymous debut album is an amazing showcase for the band's main fortes: fiery sounds, tight interplaying and amazing dynamics. Even though they're yet to solidify their sonic storm in a cohesion exhibited as in their excellent sophomore effort "Bonsai", this album males a splendid entry in the realms of prog metal. The influences of Dream Theater, Spiral Architect and early 90s Fates Warning are clear to see, as well as the psychedelic defiance of King Crimson and the hard jazz-rock of Attention Deficit and LTE. The final result is based on teh robust interplaying between the dual guitars and the fluid dynamics of the rhythm duo. 'Litio' kicks off the album with a slightly constraint energy that eventually gives room to a full frontal metallic explosion for the last two minutes. This momentum is effectively maintained by the following track 'Z.O', one of the fiercest pieces in the album. 'Panning in, Tempo out' is more focused on the elaboration of psychedelic ambiences very much a-la KC, although the band is determined to not let go of their metallic ideology, anyway, as it is shown is some dramatic interludes strategically placed during the development of the main motifs. The management of these constrasts is so polished that it would be fair to regard this number as one of the most successful examples of well-crafted interplaying in the album. 'Z.O' and these one - two highlights in a row. 'Ignición' is pretty much similar to 'Z.O' in spirit: energetic prog metal with interesting choices for the twists that go on appearing along the way. A third highlight... As if there wasn't enough rocking power so far, 'Pasajes' displays a bigger dose of electrifying energy, and so will do 'O/zon', the impressive closure. On the jazzier side of things, 'Claroscuro' makes a surprising shift toward the realms of jazz- rock, in this way, allowing the rhythm section to assume some sort of leading role due to the fact that the elaboration of the track's special swing takes a special place in the mix. Of course, the band couldn't resist the temptation of installing a few metallic interludes, besides the energetic closing theme. 'Colores' digs deeper in the jazz factor, this time creating a playful Latin atmosphere seasoned with jazz-rock flavours. And again, some metallic interlude appears in order to stir thing up quite a bit. Let's go back to the closure 'O/zon'. This piece creates an exciting KC-meets-Tool mood on a 7/8 tempo, with things getting at their wildest from 5'30" onwards, before the opening theme reappears as a coda. Two minutes of silence anticipate the emergence of a brief "Discipline"-inspired dual guitar counterpoint. Not an original trick, but really an attractive way to finish a very good album. Prog metal South America deserves more recognition and dissemination: Octopus is a perfect example of this. Let's just wait for a time in which this album gets a proper re-release. Review by & © Cesar Inca ****/5 © Prog Archives, All rights reserved http://www.progarchives.com/album.asp?id=13778#buymusic

Octopus is a potent and highly talented, if largely obscure Instrumental Technical Prog Metal band from Chile formed in 2001 by four musicians from Projazz Professional Institute of Music , Santiago. Chile. Guitarists Fernando Daza and Jorge Benavides, bassist Braulio Aspe, and drummer Christopher Orozco, comprise the main band and though their sound could arguably be described as a hybrid of bands in the vein of Gordian Knot and Liquid Tension Experiment, their style is very unique and with great skill Octopus manage to be experimental, complex, and melodic all at the same time. The band has released four albums ,"Octopus" in 2004, "Bonsai" in 2006, the EP "Coda" in 2008, and "Into The Void Of Fear" in 2012. Excluding the first s/t album, these albums were released in Europe and very well received by the public and the music press which allowed the band to carry out major tours in North America and Europe including the Crescendo festival at Saint-Palais - Sur-Mer, France and the Baja Prog Festival at Mexicali, Mexico. This first s/t album is very impressive, all instrumental, progressive, technical metal. If you like effective and exciting prog metal/fusion with high calibre musicianship pushed to the edge then this album may be right up your street. Little has been heard from this band since 2009/2010. There is scattered info available about the band, but nothing solid. Also, it is difficult to find info on the band as there are so many other bands with the same name. Listen to more of Octopus @ https://soundcloud.com/octopus-band and check out Octopus’ “Bonsai” album If anybody can help me out with more detailed info about this band, I would be most grateful. TVM...Paul [All tracks @ 320 Kbps: File size = 102 Mb]

TRACKS

1. Litio (6:00)
2. 2.0 (5:51)
3. Panning In Tempo Out (8:00)
4. Ignición (5:49)
5. Claroscuro (5:24)
6. Pasaje (5:07)
7. Colores (5:44)
8. O/zon (13:07)

MUSICIANS

Fernando Daza, Jorge Benavides - Guitars
Braulio Aspe - Bass
Cristobal Orozco - Drums

SHORT BIO

Chilean instrumental act OCTOPUS got started in the year 2001, formed by drummer Cristóbal OROZCO and bassist Braulio ASPÉ. Guitarists Sebastián LAVÍN and Fernando DAZA joined in, and then the foursome was ready to fulfill their broadening vision of rock. All four musicians had academic training at the Projazz School of Music. A CD demo comprising 4 tracks was released in the following year: it was recorded in one day on a stage environment (without an audience). After LAVÍN left, he was replaced by Jorge BENAVIDES. At the time, the band's repertoire had been augmented, and with the new ideas brought in by the new guitarist, the band eventually went to the studio to record their official debut CD, titled after the band itself - it was 2004. In the last two years, OCTOPUS gained a cult following in their country's underground rock audiences, mesmerized by their exciting and complex prog metal offering. Concerts gradually became more frequent. In late 2005 the band was signed to Mylodon Records with an eye on their following album "Bonsai", which was recorded between Dec'05 and Feb'06, released in mid 2006. Their Myspace blog is very recurrently visited, with public accolades from big names of the worldwide progressive/experimental scene. Especially recommended to fans of prog metal (DREAM THEATER, LTE, CANVAS SOLARIS), experimental prog with an attitude (GORDIAN KNOT, BOZZIO LEVIN STEVENS, BILL RIEFFLIN) and the harder side of current South American prog (TRYO, AUTÓMATA, QUAKER, EXSIMIO). - © Cesar Inca © Prog Archives, All rights reserved. http://www.progarchives.com/artist.asp?id=2694

Devils Slingshot

Devils Slingshot - Clinophobia - 2007 - Mascot Records

What happens when you have three of the most successful and technique-based musicians in the same studio? Just like that, they can create wonderful music from nothing. Tony McAlpine (Steve Vai, PLANET X, RING OF FIRE, Vinnie Moore), Bill Sheehan (MR. BIG, RING OF FIRE, David Lee Roth, TALAS) and Virgil Donati (PLANET X, RING OF FIRE, SOUL SIRKUS) joined forces and DEVIL'S SLINGSHOT came to existence. Maybe Clinophobia is SLINGSHOT's first instrumental album but this 'trio' worked together again in a number of deferent projects, mostly on stage. Maybe to some ears instrumental rock music is boring, but these guys really know how to attract the listener's interest. From the first song Nederlands the guitar intro and the alternate rhythm changes it seems like we have a progressive album to our hands. But as the music flows McAlpine drops in a melodic guitar riff, just like the ones that JOE SATRIANI creates. Then the 80's clean, delayed guitar gives him the chance to star a shredding solo and this is were the song passes to jazz fusion for a little while so that it can return on the melodic riff to close. This is the way DEVIL'S SLINGSHOT produced this album. With no particular style: because of their unbelievable skills they can pass from progressive metal to melodic hard rock and then to jazz improvisations. Ballade De Bastille has again the main melodic guitar line with an excellent bass solo in the middle from virtuoso Bill Sheehan. Def Bitch Blues steps in with a thunderous drum break, Virgil Donati produces a great steady rhythm for McAlpine and Sheehan and sets the solid foundation for each song to build on. In this song Bill Sheehan has a great tapping bass moment (that is why they call him the 4-string Eddie Van Halen). Every song has the melodic riff that characterizes SLINGSHOT's music direction. JOE SATRIANI with Surfing With The Alien opened the doors for a bigger audience on instrumental hard rock music and McAlpine produces some very similar melodies and sound. But DEVIL'S SLINGSHOT use a variety of ingredients to make their music more palatable. On the song Hourglass that McAlpine and Donati co-wrote, Bunny Brunel (C.A.B., Chick Corea) comes in for a special guest appearance to give an even more that jazz/fusion style with his incredible improvisation solo in the middle of the song. I must say, the first time I heard Clinophobia didn't realized how soon time passed by, because the music flows smoothly. I know it is hard to hear great musicians soloing one after the other throughout an album but there is a great deal of ideas musically unique. DEVIL'S SLINGSHOT just finished touring Europe. Let us hope that after their individual projects these three amigos will join forces again for a second DEVIL'S SLINGSHOT album. I know that I'll be waiting. - By & © Yiannis Zervos at 20 November 2007, 2:58 PM 8/10 excellent © Metal Temple © 2000-2014 Yiannis Mitsakos http://www.metal-temple.com/site/catalogues/entry/reviews/cd_3/d_2/devils_slingshot.htm

Devil's Slingshot are truly a supergroup, featuring renowned instrumentalists Tony MacAlpine (guitar), Billy Sheehan (bass), and Virgil Donati (drums). MacAlpine made his name in the '80s as a neo-classical shredder. In recent years, he's explored jazz fusion, particularly in Planet X alongside Donati. Sheehan's cameo on Planet X's MoonBabies probably helped spawn this trio. For all its firepower, it's surprisingly restrained. Most songs feature a perfunctory rock intro that leads to more limber fusion workouts. The rock riffs are heavy and bland, but the fusion parts are tasty. MacAlpine soars up and down the fretboard with ease, evoking a less flashy Steve Vai. Sheehan provides a supple, supportive low end, though he uncorks a blinding two-handed tapping break in "Def Bitch Blues." Donati contributes his trademark tasty, precise grooves. The lack of ego here is admirable, but the players could stand to let loose more. When they try to rock, they sound leaden. Funk and fusion, however, fit them quite naturally. MacAlpine, in particular, excels at laying lyrical lines over glistening, abstract chords. This debut feels like stretching before a workout. Hopefully the next outing will run with the devil, so to speak. © Cosmo Lee © 2014 AllMusic, a division of All Media Network, LLC. | All Rights Reserved http://www.allmusic.com/album/clinophobia-mw0000795414

This album has received many more negative than positive reviews. Many critics have used the terms “weak, unimaginative”, “run of the mill”, “mundane”, “nothing new”, “going through the motions”, “not letting go”, “not realising their true potential”. All music says, “This debut feels like stretching before a workout. Hopefully the next outing will run with the devil, so to speak”. The facts are that this album was recorded by four legends of fusion/jazz fusion and rock, guitarist Tony MacAlpine, bassists Billy Sheehan and Bunny Brunel, and drummer extraordinaire Virgil Donati. These guys don’t go out of their way to deliberately record a weak or bad album. It is rare that a band can record a “Revolver” followed by a “Sgt. Pepper's Lonely Hearts Club Band”. This is not a great album, but it most definitely is a very good album recorded by four giants of the music world. Check out any of the work that these four musicians have been involved in. You will find many music gems. Never let critics put you off listening to an album. Who said that “Those who can...do. Those who can’t...criticise”.? And this snippet of wisdom does not exclusively relate to this album. I’m not setting myself up as a great musicologist or expert on music, but I do know the kind of music I like and what many followers of this blog like. To reiterate, not a classic rock or fusion album, but one that I have listened to again and again, and admired the brilliant musicianship and skill of world class musicians.There is no rubbish posted on this blog! LOL. Give it a spin! [All tracks @ 320 Kbps: File size = 95 Mb]

TRACKS / COMPOSERS

1 Nederland - Virgil Donati 6:13
2 Ballade De Bastille - Tony MacAlpine 4:05
3 Def Bitch Blues - Tony MacAlpine 4:27
4 Lay Off - Virgil Donati 4:24
5 Injustice Line - Virgil Donati 4:24
6 Ocean - Tony MacAlpine 3:24
7 Flamed - Virgil Donati 4:11
8 Hourglass - MacAlpine, Donati 4:46
9 Aerial Perspective - Tony MacAlpine 4:13

MUSICIANS

Tony MacAlpine - Guitar
Billy Sheehan - Bass
Bunny Brunel - Bass on "Hourglass"
Virgil Donati - Drums

BIO

DEVIL'S SLINGSHOT is a progressive-instrumental metal band from the United States. The band is formed by three legendary musicians: Tony Macalpine (guitar, keys), Billy Sheehan (bass), and Virgil Donati (drums). Tony MacAlpine is an outstanding musical virtuoso. "Whether performing as a solo artist, band member, session player, touring hired-gun, or as a producer, he continues to prove that he truly is one of rock's most amazing and versatile musicians." His style incorporates classical and jazz influences within the hard rock forum on both guitar and keyboards. In addition to his brilliant solo career which spans 20 years, from which these selections have been culled, MacAlpine is also known for his collaborations with progressive artists CAB, Planet X and Steve Vai. Billy Sheehan is one of the most respected bass players. "Rising to cult status in the 80's with his Buffalo, NY based band Talas, Billy was recruited by David Lee Roth when Roth left Van Halen in '85. He recorded two platinum selling albums with the former Van Halen front man before setting out on his own. Forming Mr. Big in 1989, the band achieved a Billboard 1 single in the US and 14 other countries with "To Be With You". While developing his trademark style of playing he has performed over 4000 live gigs on every continent except Africa and Antarctica. Voted the "Best Rock Bass Player" 5 times in Guitar Player magazines Readers Poll, an honor which placed him in their "Gallery of Greats" (alongside Jimi Hendrix, Paul McCartney, Geddy Lee and Eddie Van Halen to name but a few), he has also won readers polls in Germany, Japan, Korea, Italy, and many other countries. Virgil Donati has raised the bar in drum playing with his faster chops, innovative use of the instrument, more complex rhythms, more creative phrasing, and in general, his influence on a new generation of drummers. Recording and touring with the likes of Planet X, Steve Vai, CAB, Scott Henderson, Steve Walsh, Tribal Tech, Frank Gambale, Derek Sherinian, Mark Boals, Dave Stewart, Mick Jagger, Josh Stone, and many others, he continues to push the limits of the instrument to astonishing new levels. - (Partially taken from the band's website) © Prog Archives, All rights reserved http://www.progarchives.com/artist.asp?id=3683

Eric Johnson

Eric Johnson - Bloom - 2005 - Favored Nations

Bloom is Eric Johnson's fifth studio release, released in June 2005. It was the first studio release since his 1996 album Venus Isle almost nine years prior. However in these nine years he had released a live album by his side-project Alien Love Child entitled Live and Beyond in 2000 as well as an album of previously unreleased material titled Souvenir in 2002. The album is split into three sections, 'Prelude' (tracks 1-6), 'Courante' (tracks 7-12) and 'Allemande' (tracks 13-16). The album was nominated for a Grammy Award in 2006 under the category of Best Pop Instrumental Album. - Wiki

It's no secret that the time gap between albums by guitarist Eric Johnson is on par with such notorious 'hibernators' as Boston. And the arrival of his fourth all-new studio release, Bloom, was no different, as it appeared nearly nine years after the release of 1996's Venus Isle. Whereas most guitar heroes of the late '80s and early '90s were all about reeling off a zillion notes per second, Johnson was the exception, as he penned songs that saw his guitar supplying the melody where a voice could have been. This 16-track release (his second for Steve Vai's Favored Nations label) is split into three separate sections -- 'Prelude,' 'Courante,' and 'Allemande' -- which are supposedly "grouped together in terms of vibe and style." Highlights include "Summer Jam" (which does a splendid job of showcasing his guitar tone), the chicken'-pickin' ditty "Tribute to Jerry Reed," and the almost Steely Dan-esque "Magnetized." If you like your sounds raw and gritty and music off-the-cuff, Bloom isn't the place for you. But for die-hard fans, Johnson delivers once more, as all his trademarks are well represented -- chops, tone, and extremely fluid playing. © Greg Prato © 2014 AllMusic, a division of All Media Network, LLC. | All Rights Reserved http://www.allmusic.com/album/bloom-mw0000343771

Eric Johnson is known as a great guitar virtuoso and also he is known as a perfectionist, who constantly rewrites his songs when something doesn't make him pleased.That's one of the reasons why it took him more than 4 years to finish recording the album.He also changed his record label.This album was written on "Favored Nations", which was founded by his friend and a guitar-god Steve Vai. Eric said that while working on the Capitol records he felt constant pressure because of the bosses.On Favored Nations he felt free and released a great album. Eric is the guitarist who sings and he does it quite good, in my opinion even better than Steve Vai. Also Eric is a good composer. All of his albums are full of songs of different styles,you can hear him play jazz or rock, or blues or even country. So he's the man whose albums are full of songs of different genres. As for his guitar playing... I think the fact that he played on G3 with Joe Satriani and Steve Vai speaks for itself. But his guitar playing changed a bit. His tone is recognizeable as  always. He just doesn't shred so much on the album like in the previous ones. His solos became even more melodic than they were.He just knows where to shred and where not. As for the album,it's really good, but it has got some weak points.And I suppose fans who liked "Zap" and "Cliffs of Dover" will be a little disappointed, because they won't find songs like those on the album. However, the album has got its highlights. The album is divided into three parts: Prelude, Courante, & Allemande.The first part is a "rock part", the second -a "blues part", the third- a "jazz part". 1.Bloom. An instrumental song. Quite a good one, starts with a good riff. It's a good mid- tempo song with good solos and a very beautiful bridge. Sometimes you may hear Eric's voice in the background. In the end of the song Eric starts to shred. On the whole I think this song is a very good start to the album. 4/5: 2.Summer Jam. Well, I've read one review about this album and the author of the review called this song the highlight of the album. As for me, I don't find this neither a highlight nor even a good one. It's just an average song of Eric. He's written a lot of such stuff though, I have to admit that Eric's guitar work is good on the track. By the way, it's also an instrumental track. 2,5/5: 3.My Back Pages.This song was originally written by Bob Dylan. Eric did a great cover. His singing is good here. The guitar work is also great, and the solos he plays are really good. And, of course, the lyrics written by Bob Dylan are definitely great. Eric did his best. I like his version of the song even more than the original. 5/5: 4.Good to Me.An instrumental track.This song reminded me of some stuff of Jeff Beck. It has some electronic voices.The riffs are great. So are the solos,very melodic ones. Good song. 4/5: 5.Columbia. It is also an instrumental song. Eric shows his beautiful tone in this song, a very nice piece. Nothing to add.4/5: 6.12 to 12 Vibe. I find this song somehow similar to Summer Jam. Also an instrumental piece, and also an average Eric's piece. Nothing special. Though the guitar work is really good, it doesn't save the situation. 2/5: Courante: 7.Sea Secret. Here Eric plays an acoustic guitar.The guitar playing is really beautiful on this track. It has got a relaxing atmosphere. You can hear the sound of the sea. I wish it was a bit longer, but still a nice piece. 4/5: 8.Sad Legacy. Eric sings on this track. I really like the lyrics of the track. It's about peace and love. He says he'd like he'd like to throw the screams, guns and pain away.The song is beautiful and so are the solos. Eric also plays the piano and does it quite good. 4.5/5: 9.From my heart. I was a little bit bored with the track, maybe because it's also a ballad as "Sad Legacy",and it's also the longest track on the album.This track is not that bad. It's just a little bit boring. Though the arrangement is as good as Eric's singing and everything else, it just doesn't make me feel anything. 3/5. 10.Cruise the Nile. Eric plays electric sitar here. It's also an instrumental track. It has some eastern feel, and it's something I haven't heard from Eric before.There's also something like a dialogue of an electric guitar and a sitar.Great track 5/5: 11.Tribute to Jerry Reed.An instrumental country song. Eric doesn't solo in this. Adrian Legg, a guest guitarist, solos here. I'm not a fan of country but this song is definitely good.4,5/5: 12.Your Sweet Eyes. It's a song about love and reminds me of some stuff of Richard Marx. It starts off with an acoustic guitar, then the drums begin to play, and Eric starts singing.This song also features Grammy-Award winner Shawn Colvin, who sings in the background.The solo in the middle and in the end are great, and the song itself is great. 5/5 13.Hesitant. A jazz instrumental song. Here Eric's playing with octaves just like Wes Montgomery, the guitarist who influenced Eric's guitar playing. Eric often shows his admiration for Wes Montgomery, as he did in "Manhattan"and "East Wes". Eric doesnt even sound here like he usually does, but anyway a good track. 3,5/5 14.Sonnaround you. Eric sings here about love, but it's a little bit similar to the previous track. I really like Eric's piano playing in the song. The diminished chords he plays are really beautiful.3/5: 15.Magnetized. An instrumental track and one of the highlights of the album. Everything is just great on the track.Nothing to add.5/5: 16.Ciel.The last track of the album, a relaxing one. For the most part of the song Eric plays an acoustic guitar,and in the end he accompanies it with sitar and piano.A good end of the good album: What I really liked is: 1.Eric's guitar work.He's just proved that he's one of the great guitarists ever. 2.The variety of musical genres on the album. 3.His lyrics are also good. What i disliked is that some songs are really repetitive and sometimes it becomes really boring to listen to the album: The Highlights are: My Back Pages, Sad Legacy, Cruise the Nile,Your sweet Eyes, and Magnetized. In conclusion, I'd like to say that Eric released a record which is very easy to listen to. Also, it isn't worse than his previous albums, "Ah Via Musicom" or "Venus Isle". I really recommend it to anyone, because everybody will find something to his liking on this album. - Review by & © CoverHit September 4th, 2005 [4.0 excellent] © 2005-2013 Sputnikmusic.com http://www.sputnikmusic.com/review/3440/Eric-Johnson-Bloom/

Guitar maestro, Eric Johnson has been called "A perfection-driven, genre-bending axe slinger from Texas with one of the most distinctive electric guitar tones in music". Guitar Player Magazine called Eric “one of the most respected guitarists on the planet”, and called his album, “Tones” a majestic debut. Eric also made the cover of Guitar Player magazine after “Tones” release. Eric has been criticized for being too much of a technical musician and not playing with his heart, but he takes great pride in his technical mastery of the guitar and sees himself fulfilling a different role in the guitar world. He says "you have to start out slowly and develop your “ear theory” before you worry about the “book theory” of playing guitar. Eric may be a perfectionist but his albums are worth waiting for. On “Bloom”, the songs' structures are mostly progressively influenced. The album has Latin, jazz, Beatlesque, and even classical influences but all these elements are embedded in beautiful bluesy fret runs and jazzy fusion grooves. A great album and HR by A.O.O.F.C. Listen to Eric's stunning "Ah Via Musicom" album. [All tracks @ 320 Kbps: File size = 143 Mb]

TRACKS

Prelude

1. Bloom 3:10
2. Summer Jam 2:11
3. My Back Pages 3:47
4. Good to Me 4:31
5. Columbia 2:22
6. 12 to 12 Vibe 2:21

Courante

7. Sea Secret 1:57
8. Sad Legacy 4:06
9. From My Heart 7:26
10. Cruise the Nile 2:13
11. Tribute to Jerry Reed 2:27
12. Your Sweet Eyes 6:08

Allemande

13. Hesitant 6:28
14. Sunnaround You 3:07
15. Magnetized 3:21
16. Ciel 3:26

All tracks composed by Eric Johnson except "My Back Pages" composed by Bob Dylan

MUSICIANS

Eric Johnson - Electric Guitar, Acoustic Guitar, Classical Guitar, Pedal Steel, Electric Sitar, Bass, Rhodes Electric Piano, Piano, Synth, Vocals
Adrian Legg - Guitar
Chris Maresh, C. Roscoe Beck - Bass
Tony Phillips - Bass, Synth, Drums
Steve Barber - Acoustic Piano, Moog Synth, Vocals
Rich Harvey - Acoustic Piano
Tal Bergman, Tom Brechtlein, Barry "Frosty" Smith - Drums
Tommy Taylor, Bill Maddox - Drums, Percussion
Tom Burrit, Brad Evilsizer, James Fenner - Percussion
Salvatore Banzai La Rocca - Harp
Shawn Colvin, Lisa Tingle, Jody Lazo - Vocals

BIO

Very few musical artists achieve a true signature style -- one that makes comparisons to other musicians impossible. But Texas guitarist Eric Johnson arguably comes as close to this echelon as any musician from the past quarter-century. Like fellow Lone Star State guitarists Johnny Winter, Billy Gibbons, and Stevie Ray Vaughan, Johnson blends the rock style of Jimi Hendrix and the blues power of Albert King. Yet Johnson's wide array of additional influences (from the Beatles and Jeff Beck to jazz and Chet Atkins) makes for a guitar sound as unique as his fingerprints. "When I first heard Eric," Winter recalls, "he was only 16, and I remember wishing that I could have played like that at that age." Former Doobie Brothers guitarist Jeff "Skunk" Baxter says, "If Jimi Hendrix had gone on to study with Howard Roberts for about eight years, you'd have what this kid strikes me as." The Austin prodigy appeared on the cover of Guitar Player magazine while working with Texas jazz/fusion band the Electromagnets and as a session player (Cat Stevens, Carole King, Christopher Cross), and a 1984 performance on the TV show Austin City Limits set his recording career in motion. Johnson's 1986 debut album, Tones, certainly proved that the hype was warranted. Playing with the ace rhythm section of bassist Roscoe Beck and drummer Tommy Taylor, Johnson mixed blazing instrumentals ("Zap," "Victory") with Beatles-influenced vocal tunes like "Emerald Eyes" and "Bristol Shore." Johnson used the same half-and-half format on the 1990 follow-up, Ah Via Musicom, but a trio of the album's tunes surprisingly made him the first artist to have three instrumentals from the same album to chart in the Top Ten in any format (with "Cliffs of Dover" earning Johnson a Grammy for Best Rock Instrumental). But, if Johnson had a perceived weakness, it was the perfectionism that caused four years to pass between recordings. Even in concert, he would painstakingly tune his guitar between songs, by ear, for minutes on end. With the success of Ah Via Musicom, the guitarist admitted to feeling pressure to raise the bar again. But Johnson's studio nitpicking delayed Venus Isle until 1996, and the disappointing CD contained fewer instrumentals and sounded forced. A stint on the 1997 G3 tour with fellow headlining guitarists Joe Satriani and Steve Vai, and its resulting live release, breathed new life into Johnson and sparked the idea of a live album. Overhauling his band for the 2000 CD Live and Beyond, Johnson brought in bassist Chris Maresh and drummer Bill Maddox, and concentrated on more of a blues feel. The guitarist still blended instrumentals with his vocal tunes ("Shape I'm In," "Last House on the Block"), but perhaps realized that his thin voice was too one-dimensional for guttural blues or R&B. Guest vocalist Malford Milligan ignites "Don't Cha Know" and "Once a Part of Me," helping Johnson's blazing debut on Vai's Favored Nations label and reestablishing the versatile virtuoso's status for the 21st century. As Vai himself testifies, "Eric has more colorful tone in his fingers than Van Gogh had on his palette." Souvenir, an album available only through Johnson's website, appeared in 2002, followed by CD and DVD versions of New West's Live from Austin, TX and Bloom, the second album for Vai's Favored Nations imprint, in 2005. Johnson returned in 2010 with Up Close, a studio album that slightly emphasized the guitarist's Texas roots. © Bill Meredith © 2014 AllMusic, a division of All Media Network, LLC. | All Rights Reserved http://www.allmusic.com/artist/eric-johnson-mn0000188261/biography

Leo Badinella

Leo Badinella - Beyond Consciousness - 2009 - Ielo

This album is comprised of songs that were composed over an extensive period of time. In between the different projects that I’ve done, I always make time to write music for guitar. Luckily, with every project I get involved in, I acquire different perspectives from where to look at art, music and life in general - these experiences and viewpoints are then naturally reflected in the music I write, as you will notice and enjoy… I hope! Also.. I had the awesome Michael Manring play Bass on the track "Ritual".- Leo

Leo’s personal vision of music intertwines most divergent styles into a most harmonious soundscape. Taking a “Instrumental Progressive Metal” approach for the most part on “Beyond Consciousness”, he has coloured his compositions from many points on the musical compass: Atmospheric Synths that have much in common with Electronica or even a delicate movie soundtrack; mixing Folk rhythms and harmonies that have seeped into the album organically from the music that surrounds Leo in the variety of culture that surrounds him in Chile; Stunning Acoustic Guitar fusion occurs, with elements of South American Folk, Flamenco and the Classical realm which all combine to give form to the truly beautiful Acoustic Guitar passages featured on this album. © http://www.reverbnation.com/leobadinella

This debut lends the listener a chance to enthral in a new musical landscape and heralds the arrival of a humble, likable, yet virtuosic Guitarist and Composer and very possibly the guitar hero tomorrow, today. There is little doubt that Leo Badinella will provide inspiration for many aspiring guitarists and composers with his ground breaking debut album “Beyond Consciousness”, and this will be seen in the future, as, just the beginning… © http://www.reverbnation.com/leobadinella

Well above average instrumental rock, quite heavy at times but it’s quite a varied album ranging from Classical and Latin to acoustic, hard and prog rock, funk, metal, jazz fusion, and experimental. His musical career encompasses Rock, Orchestral, Folk, World, and Electronica. Leo’s musical influences include Jimi Hendrix, Igor Stravinsky, Tchaikovsky, Pink Floyd, and Al DiMeola. This is not an earth shattering album but all the music was composed by Leo, and in general, the compositions are good and original, with the guitar and keyboards beautifully played by Leo. In fact most of the music was written for guitar. Other great musicians appearing on the album include Michael Manring on bass guitar. Read more about Leo @ http://leonardobadinella.com/about/ and http://www.soundclick.com/bands/default.cfm?bandID=578782 See can you locate his 2005 “Prologo” Demo E.P [Tracks @ 273-289 Kbps: File size = 115 Mb]

TRACKS

1. Prologo 4:15
2. Infinite Substance 5:06
3. Ritual 5:28
4. Kat Kat Katan 5:05
5. Contrastes 5:17
6. Mirando Al Cielo 6:01
7. Escape 4:43
8. El Reto 5:48
9. Balance 7:41
10. Elypse 7:51

All tracks composed by Leo Badinella

MUSICIANS

Leo Badinella - Guitar on Tracks 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, Bass on Tracks 4, 6, 8, 9, 10, Keyboards on Tracks 1, 5, 6, 9, 10, Programming
Sebastian Munoz - Bass on Tracks 1,2
Michael Manring - Bass on Track 3
Martin Ahm Nielsen - Bass on Tracks 5,7
Rodrigo Rua - Drums, Percussion on Tracks 1, 2, 3, 4, 5, 6, 7, 8, 9, 10

BIO

Leo’s background is varied, making a successful living as a commercial musician, but his album is his true passion and a pure expression of his individuality – “Beyond Consciousness” has been written and composed over an extensive period of time, 8 years in total! In the 8 years of writing his debut album, Leo has worked on TV commercials in styles ranging from Techno, Rock hybrids, Jazz, and mood Electronica. The success of the commercial tunes lead to work for multimedia productions, most notably the PC Video Game mod “The Nameless Mod”, which stylistically featured Ambient music blended with Acoustic instruments, thundering Drumbeats and fully Orchestral scores. After gaining many skills and success, Leo branched out to work more on the Production side of music, working for independent musicians and bands Engineer, Mixer and Producer, recording more than a dozen bands/artists, including six full albums. His passion as a guitar fan saw him show up to a meet & greet / signing event for legendary guitarist Steve Vai with a Mini-Disc player and a copy of his demo. Vai, upon listening to the demo that became the first track on the album “Beyond Consciousness”, “Prologo”, commented; “I really like the guitar tone, very nice.” Amusingly, Vai was calmly listening, as the security at the event yelled and gestured, “Hey, you can’t do that!”, with Vai seemingly ignoring them! The praise from Steve Vai found Leo amazed, and he replied honestly to Mr. Vai; “that he was my biggest inspiration.” Being fluent in English, Technical Guitar and Bass, as well as the language of his homeland Chile – Spanish, has lead Leo to some interesting experiences amongst the Hard Rock Royalty and Virtuoso Elite; having served as interpreter for both, Billy Sheehan the Legendary Bass player for David Lee Roth, Mr. Big and Steve Vai, and for Bruce Kulick formerly of Hard Rock Icon’s Kiss, and noted Guitar hero. During Billy Sheehan’s clinic the organiser announced a spur-of-the-moment surprise Jam Session for Billy and his guitar playing interpreter, Leo! Recovering from the shock of the offer, Leo’s drummer Rodrigo Roa, who was luckily in the audience, joined them onstage and proceeded to kick into Sheehan’s classic song “Shy Boy” (as recorded by David Lee Roth with Sheehan and Vai), to the surprise of the audience (and indeed, Billy!!). Giving a note perfect rendition, and having the rare opportunity to play with a musical inspiration, made an already great day “timeless” for Leo. The attention from this rollicking off-the-cuff performance at the clinic resulted in the welcome surprise of considerable airplay of Leo’s demo on the Hard Rock stations in Chile. After assisting Bruce Kulick, formerly of Kiss, with interviews, press, and a concert/clinic while in Chile, Leo gave Kulick a copy of his demos that were to become “Beyond Consciousness”. Bruce contacted Leo through his email to comment that having listened; “liked all of the songs on the demo, most especially the slow melodic parts.” Leo’s personal vision of music intertwines most divergent styles into a most harmonious soundscape. Taking a “Instrumental Progressive Metal” approach for the most part on “Beyond Consciousness”, he has coloured his compositions from many points on the musical compass: Atmospheric Synths that have much in common with Electronica or even a delicate movie soundtrack; mixing Folk rhythms and harmonies that have seeped into the album organically from the music that surrounds Leo in the variety of culture that surrounds him in Chile; Stunning Acoustic Guitar fusion occurs, with elements of South American Folk, Flamenco and the Classical realm which all combine to give form to the truly beautiful Acoustic Guitar passages featured on this album. Michael Hedges being a stand out influence in the acoustic playing of Leo’s, Leo sought the multi-faceted genius of Hedge’s frequent Bass player, Michael Manring, to play on the entrancing and inspired track, “Ritual”. Along with Manring, a small, but stellar line up of international musician’s join Leo to contribute to the album. Among the featured is; Martin Ahm Nielsen, Danish Bass player and composer of commercials and computer game themes, as well as the bands “Metz” and “Superband”, contributing a nimble, though at times devastatingly heavy Bass performance on 2 tracks on the album; “Contrastes” and “Escape”. Rounding out the guests on Bass, is Sebastian Muñoz (Como Asesinar A Felipes, Brain Damage) who provides a rip-roaring Bass performance on the opening two tracks of the album; “Prologo” and “Infinite Substance”. Rodrigo Roa (Hic Sunt Leones, Awen) played the Drums on the entire album – a friend and a musical foil, Roa accompanies Leo, with both brutal instinct and delicate finesse, throughout the album with unforgettable performances. Leo used a choice line of gear to create the many guitar textures on “Beyond Consciousness”, his Guitar-Rig for the album included; an Ibanez J-Custom 7-string, an Ibanez Universe UV777BK, a Gibson Les Paul, an Ovation Acoustic and an Ibanez Masa Acoustic. Amplifiers used include; a Peavy 5150, and a Mesa Boogie Rectifier preamp going into the 5150’s poweramp. Pedals used were; a Digitech Whammy pedal, a modified Boss DS-1, a Bad Horsie Wah and a Boss PS-5 Pitch Shifter. Outboard gear was a Korg A3 preamp and an Eventide H3000. And finally; an E-Bow, “used here and there. :) ”The fact that Leo enthuses so openly, with heart-felt excitement and admiration about his numerous experiences with some of his musical heroes may seem misleading, he is in fact already quite successful and well known in his native Chile as a Studio Guitarist, Commercial Composer (he earns a living from these two!) and a freelance Producer and small Studio owner. This debut lends the listener a chance to enthral in a new musical landscape and heralds the arrival of a humble, likable, yet virtuosic Guitarist and Composer and very possibly the guitar hero tomorrow, today. There is little doubt that Leo Badinella will provide inspiration for many aspiring guitarists and composers with his ground breaking Debut album “Beyond Consciousness”, and this will be seen in the future, as, just the beginning… Special thanks to the awesome Chris McMahon for lending his considerable writing skills to this section… ©2010 Leo Badinella http://www.leobadinella.com/blog/?page_id=23

7for4

7for4 - Contact - 2001 - MGI Records

7FOR4 are four very talented guys from Munich/Germany. Maybe talented is not the right term here because all four dispose of experience and know-how. Wolfgang Zenk who impresses with his virtuos guitar playing was a member of the German prog metal band SIEGES EVEN (which can also be found in the Prog Archives) as well as leader and lecturer of MGI München (Munich), Germany's best known institute for professional guitar education. Markus Grützner played bass for several Jazz/Fusion bands and did so on several European tours of the well known Broadway musical "Hair". Klaus Engl also is a lecturer, he works for the drum-institute "Drummer's Focus" and played together with Markus Grützner in a Heavy-Rock band. The keyboard player Markus Froschmeier has his roots in the classical genre and adds some of his influences to the general sound of the band. Speaking about general sound I have to mention that it is quite difficult to find a term describing the style applicatively. Besides the fact that the music is all instrumental, you can say that it is a mixture of Prog Metal and Jazz Rock/Fusion, sounding as if LTE and the MAHAVISHNU ORCHESTRA get together. But nearly every song seems to have different influences so you can find tunes with a country, "gypsy music" or Brazilian samba flavour, most of it played incredibly fast. The band released two albums so far. The first one called "Contact" was released in 2001. Their current album is called "Time" and was released in 2004. Both albums are incredible and feature the quite unique sound I described above as well as awesome cover artwork. You can't say which of them is the better one. My suggestion is that you purchase both. With that said I can end with mentioning that I really recommend checking out this terrific band. If you have the chance to get one of their albums, don't wait and grape it. If you even have the chance to see them live, don't falter, I can tell you that it's really worth the effort, I've seen them and they really blew me away. © Martin Dietrich, GERMANY © Prog Archives, All rights reserved http://www.progarchives.com/artist.asp?id=1279

The level of musical proficiency shown by the individual band members in 7 for 4 is astonishing and it is amazing that 7 for 4 is not a better known band in the jazz rock/fusion genre. This is a brilliant mostly instrumental progressive jazz rock fusion album with too many influences to mention here. Wolfgang Zenk is a highly underestimated guitar virtuoso and composer and plays sterling guitar on this album which is HR by A.O.O.F.C. Read an interview with Wolfgang Zenk @ http://www.guitar9.com/interview137.html Buy the band’s “Diffusion” album and support real music. Check this blog for more info [All tracks @ 320 Kbps: File size = 120 Mb]

TRACKS

1 X-Dreams 5:14
2 Tokamak 3:57
3 La Provence 6:06
4 E-Gyptian 5:05
5 Highlands 7:11
6 Rushian 5:15
7 Rockalaxy 4:50
8 Catking 7:46
9 Subspace Distortion 6:07

All tracks composed by Wolfgang Zenk except Track 8 by Wolfgang Zenk & Greg Keller

MUSICIANS

Wolfgang Zenk - Guitar
Markus Grützner - Bass, Fretless Bass
Markus Froschmeier - Keyboards
Klaus Engl - Drums
Greg Keller - Vocals on Track 8