Schooltree | Heterotopia A Metaphysical/Paranormal Rock Opera – Album Review August 2017
Label: Independent/Unsigned Release Year: 2017 Country: USA Genre: Paranormal/Progressive Rock
Band Members – Current
Lainey Schooltree – Lead Vocals/Keyboards/Creator Tom Collins – Drums Peter Danilchuk – Synth’s/Organ Ryan Schartzel – Bass Sam Crawford – Lead & Rhythm Guitar’s
Band Members – Album Recording Personnel
Lainey Schootree – Vocals/Pianos/Synths Brendan Burns – Guitar’s Derek Van Wormer – Bass Tom/Tod/Tad Collins – Drums Peter Danilchuk – Organs/Synths Peter Moore – Nylon Guitar/Additional Vocals/Keyboards/Programming
CD 1 Overture Rocksinger The Big Slide Cat Centipede The Abyss Radio Walk You Through Edge of a Dream The Leitmaiden The Legend of Enantiodromia Specter Lyfe
CD 2 Dead Girl Turning into the Strange The Edge Annihilate Power of the Ghost You and I Into Tomorrow The River Bottom of the River Enantiodromia Awakens Zombie Connection Keep Your Head Day of the Rogue Utopia
* Writers Note* I want to apologize to Lainey Schooltree for this review taking so very long. It was not intentional. Hopefully the review below will validate me.
Ever since the middle 1990’s the Urban Fantasygenre has taken the literary world by storm. Novels such as The Mortal Instruments by Cassandra Clare,Twilight Trilogy by Stephanie Myer, Nightworld/Vampire Diaries by L. J. Smith, Vampire Academy/Frostbite by Rachel Meade, etc .. Most of the very successful Urban Fantasynovels go on to become either ‘Television Series’ or ‘Hollywood Blockbusters’. Now the Urban Fantasy genre has grown tentacles into the world of the traditional progressive rock opera.
Lainey Schooltree becomes one of the very many successful women to shatter the typical ‘male stereotype’ and create her own ‘Urban Fantasy’, however this is set to the traditional progressive rock opera. Her new project Schooltree Heterotopia is a melodic adventure of absolute paranormal and metaphysical proportions. Most progressive rock or metal opera’s have dealt with subjects as science fiction, world history, comatose people, or people with disabilities, end of the world scenario’s , etc .. Schooltree’s Heterotopia deals with the classic cliche or subject “Be careful what you wish for, you just might get it.”
Schooltree’s Heterotopia comes in the tradition of The Who’s Tommy & Quadrophenia,Meatloaf’s Bat Out Of Hell Trilogy on the Rock Opera end. On the conceptual end it comes in the tradition of Yes’ Tales From Topographic Oceans, Pain Of Salvation’s BE & In The Passing Light Of Day with some psychedelic structures reminiscent of The Doors and Jefferson Airplane.
There are six distinct and very different characters involved in the story and visual Lainey Schooltree has painted on this exquisite tapestry. There is the Greek Chorus – Narrator, Suzi – Our Hero, Zombuzi – Zombie Suzi, Metanoia, Shadows and Enantiodromia. Much like the ‘Urban Fantasy’ novels and films, these characters also have their own significance within Schooltree’s Heterotopia. The landscape of the project is well over 100 minutes and two CD’s worth of music that totally and completely seamlessly transition beautifully from track to track.
CD 1 – ACT 1
Overture opens up the album almost in the way a soundtrack or score would open a movie and/or film. It leaves a lot to the imagination and increases the anticipation opening up the epic opera. This is also a track loaded with various symphonic and progressive rock elements. The keyboard and guitar stringed section also adds a layer of distinct orchestration that gives the project a very unique sound.
Rocksinger & The Big Slide displays a very dark side of the main character Suzi. Lainey Schooltree really does a great job both lyrically and instrumentally showing the listener the true desperation Suzi has reached as to how far she will go to obtain her dream. Lainey Schooltree being the only vocalist on the album also allows for depths of various emotions to come forward in the narrative of the story.
Much like Alice In Wonderland,Lainey Schooltree incorporates a centipede like creature in this modern day urban fantasy, paranormal rock opera, however it is a Cat Centipede. The instrumental half of this track certainly lends a great picture on the screen of the theater of the mind. The band does a great job here building towards a climax, a transition. They do this through the incorporation of various progressive and psychedelic elements. Suzi the main character follows this abnormal creature into The Abyss.
With The Abyss the band utilize very heavy psychedelic elements in the intro leading in. The blend of vocals and psychedelic elements certainly create a otherworldly and strange journey into the progressive psychedelic harmonies. The drums also lend a firm melodic and rhythmic melody as well.
Radio starts off exactly like the title suggests. There is a heavy effect of a actual radio tuning in and out. When the vocals kick in the story narrative holds fast to the objective of storytelling. Lainey Schooltree’s vocals and the instrumental in radio are almost within the alternative rock parameters. The vocal harmonies and instrumental harmonies together remind me a lot of Dolores O’Riordan of The Cranberries meets Christina Booth of Magenta. Radio is one of two very well written transitional tracks the next being Walk You Through.
Walk You Through is more of a straight up rock song. The vocal harmonies certainly allow the rhythm section to be front and center playing off of one another. This track is very guitar driven and bass/drum rhythm section driven. Both of those elements allow for the psychedelic style vocals to serve as a beacon of light in Walk You Through.
Edge of a Dream starts out with a deep piano stringed section that serves as a melancholic melody. It is this melancholic approach that conveys the correct emotion of Suzi now Zombie Suzi to have a heavy dose of the blues since she is now exiled out on the streets from her home. The alternative to our main character Suzi, now as Zombie-Suzi faces her first real conundrum when she encounters Metanoia ‘The Leitmaiden’. Metanoia informs her that the longer she stays in ‘TheGarden of The Architype’ the more at risk she is in returning home and securing her human earthly form again. Lainey Schooltree depicts this perfectly with layers upon layers of psychedelic elements. This is met with various keyboard progressions blended beautifully with psychedelic vocal passages.
These atmospheres would continue through the rest of Act 1 or CD 1. The Legend Of Enantiodromia & Spectre Lyfe continue the psychedelia vibe. The psychedelic elements are that of more of a 1960’s style blended beautifully with 1990’s alternative rock elements. This is very rare in progressive rock and allows the entire story to really rest in the metaphysical and paranormal word Lainey Schooltree is conveying both melodically and harmoniously. Think Grace Slick Jefferson Airplane meets Delores O’Riordan meets Yes & Genesis. The vocals are warm and the instrumental portion allows the vocals and story to breathe through eloquently. The guitar solo’s shine through as well.
CD 2 – Act 2
The second half of this double conceptual metaphysical/paranormal rock opera starts off with a epiphany or transition if you will. This is where Zombie-Suzi has her first confrontation with three ghosts who taunt the hell out of her for her ‘ghostly’ condition. Ghosts who speak a curse over her to be dead thus the title of Dead Girl becomes appropriate here. Dead Girl opens up with a deep smooth rhythm section that is closely accompanied by the vocals that lyrically come out of the narrative of the three ghosts who taunt Zombie-Suzy.
Metanoia once again reaches out to Suzy- Spectre and lets her know that there is a way to adapt to her new condition. She teaches Suzy that she can bend her new condition and shape it by her will. She teaches Suzy that she can use all this strange to her advantage thus the title of the next track, Turning Into The Strange.Lainey Schooletree once again uses heavy psychedelic elements vocally and lyrically that are met with some very fluent hard rock elements in and out of the chord progressions. The band does very good work lyrically and instrumentally to articulate the story in such a matter.
Perplexed by her ‘Ghostly‘ self, Suzi begins to really take inventory on her path and progress in life both in her physical human form and her supernatural ‘Ghostly’ form. Initially unsure where she is going and even how to get there, Suzi once again is visited by what seems to be her only friend now Metanoia. After Metanoia weighs both the pros and cons of her ‘Ghostly’ form, Suzi finally gets a moment of clarity as to what path and how she must progress forward. This is all covered over the period duration of the songs The Edge Annihilate and Power Of The Ghost. It is during these two songs Suzi has some real introspection of her life. The instrumental and lyrical approach nails this down very well.
You & I sees Suzi in a confrontation with her Zombie body over taking a trip down by the river. This is only further irritated by the returning ‘Cat Centipede’ from the beginning of the journey who Suzi barely recognizes anymore. Against her better judgement Suzi follows the ‘Cat Centipede’ down to the river where trouble awaits Into Tomorrow. The instrumental portion remains on point with all the heavy psychedelic effects to portray Suzi into a otherworldly situation. The psychedelic element is now met with a thick and heavy neo progressive element as well.
The River & Bottom Of The River sees Suzi seduced by a sirens song to the river’s edge. Suzi knows full well to keep her resolve intact to be reunited with her physical earthly form she must jump all the way into the river. It has to be deliberate or else Suzi will fall into the river’s abyss and drown. These tracks are once again very heavy on the atmospheric effects of keyboards. Those effects serve as a heavy paranormal aesthetic throughout both of the tracks. The vocals are very heavy on the psychedelic elements as well. This allows a paranormal vibe to breathe here.
Beyond the “wall,” Suzi finds and awakens Enantiodromia, and asks her to take her fair hand and make her whole again. But awakened Enantiodromia is changed from her former self; looking around at the darkness arisen during her slumber, she is the black-handed reaper now, bringing balance to the land once more, now by using her black hand to annihilate that which does not belong in this world, and attempts to begin with Suzi. Suzi pleads with her to stop, explaining she is only half of what she’s supposed to be, telling Enantiodromia of her quest though endless night outside of time to wake her. “I am not a shadow, just a girl; an exiled soul in the wrong world.” Enantiodromia tells her that she’s been in this world too long and is no longer just a girl; she cannot return her home. But as repayment for awakening Enantiodromia, she allows Suzi the chance to go back to take control of her zombie body, and return as one to her, at which point she’ll take them both together to the next place. (Enantiodromia Awakens). That is achieved instrumentally through the staple psychedelic atmospheres both instrumentally and vocally.
Zombie Connection, Keep Your Head, Day Of The Rogue all see Suzi able to control her earthly body, zombie body all with her mind there is a reconciliation of sorts going on here even if it is not what Suzi imagined. The piano classically driven instrumental section really allow the lyrical side to breathe through so the listener can easily learn Suzi’s fate as she goes out in a ‘Blaze Of Glory’.
Utopia sees Suzi having achieved mastery in both worlds, Suzi is able to use her mind to grow her body from her head like a seed in the air downward to the ground. NeoSuzi glimpses what utopia could be for the first time, as something that can never be possessed, but experienced. The instrumental section beautifully wraps this story all up in a very coherent matter for the listener.
I did enjoy this journey. In a world of another dimension we can all find ourselves yearning and craving acceptance willing to do everything including mortgaging our own soul to obtain our ultimate goal. Suzi is a reminder of the absolute lengths we will go through to attempt our own Utopia. Lainey Schooltree certainly articulated this story beautifully on both lyrical and instrumental fronts.
Where some people usually enlist multiple vocalists to play parts of various characters and even multiple musicians, Lainey Schooltree enlisted a specific core both in studio and with a active band situation, thus to two different lineups in the rider of this review. Lainey Schooltree created a product that can be easily adapted to the live stage within reason. When listening to Schooltree’s Heterotopia think more The Who’s Tommy or Meatloaf’s Bat Out Of Hell trilogy as far as Rock Opera’s are concerned. I can not wait for Lainey Schooltree’s next adventure for us. After much deliberation I have given Schooltree’s Heterotopia a strong 5/5.
Dutch vocalist Anneke van Giersbergen is easily one of the hardest working people in music, and an artist that defies being pigeonholed by genre. She will forever be known as the vocalist for melancholic metallers The Gathering, but since striking out on her own in 2007, she has solidified a solo career, recorded and performed multiple times with Canadian metal genius Devin Townsend, launched the prog rock band The Gentle Storm, and recorded an album with Icelandic folk group Árstíðir. This has provided Anneke with a huge catalog to choose from as a live performer, but it has also created a certain amount of confusion amongst her fans which have led to the creation of a new band, VUUR, a new band that features some of the best heavy metal players in the Netherlands.
In early 2016, Anneke decided for the sake of clarity to narrow her musical focus, choosing to go in a folk acoustic direction as a solo artist and in a heavy progressive metal direction as a band vocalist. The name VUUR – translated from Dutch as “fire”, which can also be interpreted to mean “passion” or “drive” – was chosen as a moniker to represent Anneke’s metal side, with the idea that when fans buy a ticket with the VUUR name on it they will be getting her heavy progressive music, while an Anneke van Giersbergen show will be entirely different.
“It’s like I’m searching for contradictions,” Anneke says of splitting her focus in two. “I want the heavy to be really heavy, and the soft acoustic stuff that I can do can be almost silent and inward. I’m trying to find those outer limits. I’m still writing and collaborating with different people, so VUUR’s style is still kind of different from The Gathering and The Gentle Storm. You could say VUUR’s music has the melancholy of The Gathering and certain elements from The Gentle Storm, but it’s darker with fewer folk elements. It’s still melodic and warm, but heavy.”
The Gentle Storm proved to Anneke that fans have been waiting for her to go back to the heavy progressive style of music, which is why VUUR came to be.
VUUR will release their full-length debut in the fall of 2017 produced by Joost van den Broek, who will also be involved in some of the writing and arranging. From there the band will hit stages across Europe and beyond. Make no mistake: VUUR is a band and not a project, meaning that Anneke will focus on new material as well as the heavier side of her previous outings.
“I will always play songs from The Gathering and Devin Townsend because I love them,” she says. “I also know for a fact that people want to hear those songs, so I’ll never leave them out. I also have my absolute favorite songs from The Gentle Storm that I will keep playing. I have such a big outlet to choose from nowadays, it’s such a luxurious position to be in. We should look at VUUR as my ultimate heavy outlet. It’s not a project, which is why when we make the setlist it will include the new stuff and my favorites from my catalog.”
Anneke van Giersbergen – vocals
Ed Warby – drums
Jord Otto – guitars
Ferry Duijsens – guitars
Johan van Stratum – bass
01. My Champion – Berlin
02. Time – Rotterdam
03. The Martyr And The Saint – Beirut
04. The Fire – San Francisco
05. Freedom – Rio
06. Days Go By – London
07. Sail Away – Santiago
08. Valley Of Diamonds – Mexico City
09. Your Glorious Light Will Shine – Helsinki
10. Save Me – Istanbul
11. Reunite! – Paris
Date Venue Location Tickets
Nov 09 Klub Studio Cracow, Poland
Nov 10 Masters Of Rock Cafe Zlin, Czech Republic
Nov 12 Kesselhaus Berlin, Germany
Nov 13 Markthalle Hamburg (Altstadt), Germany
Nov 14 Essigfabrik Cologne, Germany
Nov 15 La BAM Metz, France
Nov 17 Stereolux Nantes, France
Nov 18 Krakatoa Mérignac, France
Nov 20 La Riviera Madrid, Spain
Nov 21 MEO Arena Lisboa, Portugal
Nov 22 Hard Club Porto, Portugal
Nov 24 Razzmatazz Barcelona, Spain
Nov 25 Le Moulin Marseille, France
Nov 26 LE TRANSBORDEUR Villeurbanne, France
Nov 29 Backstage Munich, Germany
Dec 01 Estragon Bologna, Italy
Dec 02 Z7 Pratteln, Switzerland
Dec 03 L’Aeronef Lille, France
Dec 07 Le Trabendo Paris, France
Dec 08 Biebob Vosselaar, Belgium
Dec 09 The Dome, Tufnell Park London, United Kingdom
Dec 10 Tivoli Vredenburg Utrecht, Netherlands
Throughout my adventures into writing reviews of albums here at Power Of Prog, it is no secret that I do reviews on bands that are fronted by women. I believe that women have just as much a equal contribution into progressive rock, progressive metal and just music in general. Therefore when I met Insatia’s Zoe Marie Federoff on Facebook I was highly interested in their new release for 2017 Phoenix Aflame on Pitch Black Records. Insatia are a North American powerhouse with members from both the USA and Canada. Although they are from North America they provide the listener with a more European flavour of progressive power metal.
Insatia are like a Second GenerationNightwish meets Lacuna Coil with heavier power metal elements found in Blind Guardian, Avantasia and Gamma Ray. This is a type of band that could easily play a Female Metal Voices Festivaland turn around and play at Wacken Open Airwith the right circumstances. Now a little track by track analysis of Insatia’s Phoenix Aflame.
IntroLand Of The Living opens up almost in a traditional world music vocal. Zoe Federoff certainly channels the inner Enya with chat style vocals. Soon the rest of the band joins her and the vocals along with the instrumental half serve a heavily pastoral purpose.
Act Of Mercy transitions quite seamlessly and smoothly with a spoken word section before the instruments kick in again. With a mid range in speed the band utilizes various chord changes to craft together a balance of both progressive and power metal passages. The vocal echoes also are allowed to breathe where the listener can hear them come through. The chord progressions rest more in progressive metal than power metal in the latter parts of this track.
Memory Of A Sapphire explodes with a fury of strings between the really heavy rhythm guitar riffs and the beautiful crystallize keyboards of Ivan Moni Bidin. At times it sounds like a blend of Blind Guardian on the power metal end meets Vanden Plas on the progressive metal end. This is loaded with various guitar solos, rhythm guitar portions that are all anchored by the bass/drum rhythm section. Zoe Marie Federoff does a wonderful job here singing on perfect time to both the stringed sections and rhythm sections. Kaelen Sarakinis – Guitars really channels his inner Emppu Vuorinen (Nightwish) on the rhythmic side to the guitar.
Sacred opens up with a violin induced classical metal chord progression. This is soon accompanied by the crunchy raw rhythm guitar section. Soon the entire instrumental half kicks in and makes this a more neo classical delight. The rhythm section is very heavy handed while the keyboard lends a beautiful atmosphere perfect for a power metal style track. There are some progressive metal elements with various time signatures and frequent changes in the rhythmic section. The violin section adds a symphonic flare to the song a well.
We Are The Gray opens up with a nasty tuned down drum based rhythm section that is accented perfectly with a classical keyboard atmosphere to accompany it. The rhythmic portion of this one is very clean and easy to follow. The keyboard and other stringed atmospheres allow for actual emotion to come through and be shown. The band uses overdubbed backing tracks to really make the vocals feel warmer. The guitar solo is also allowed to breathe in its various stages.
Phoenix Aflame is obviously the namesake track to the entire album. It starts out with a furious fury of really heavy guitar chord progressions. The entire opening passage is seriously blistering. There is a beautiful Hammond Organ style keyboard running parallel to the blistering guitar and rhythm led passages. This is one of the heavier songs on the album. It is also very progressive in nature with various time changes and chord progressions much in the vein of Kamelot or SymphonyX . The bass really bleeds through as well.
Not My God starts off with a heavy classically based piano section. The opening really leads the listener into a very beautiful power ballad full of emotion. I stress ‘Power Ballad’ because it is both really heavy with the various progressions and very much a ballad at the same time. This is a more modern ‘Power Ballad’ instead of one you would find in 1980’s to early 1990’s AOR/Hard Rock. It rests more in a song like Kamelot’s The Haunting.
Captor And The Captive is another song that opens up with a lush classical piano melody much like a ‘Power Ballad’. Soon it opens up much like a heavy progressive metal chord progression. I hear a lot of influence from a Dream Theater’s Another Day at the start. Soon this levels out into more of a power metal melody that is met with a light pop sensibility. This is a ‘Gateway’ song for a newer listener or fan to power metal or progressive metal. This is a song that is excellent for live sets to draw more newer fans as well is retaining the current fan base.
Velvet Road opens up with a beautiful acoustic passage that is met with very angelic vocal inspired opening passage. This song reminds me a lot of what you would hear out of the singer-songwriter community. This has a beauty about it due to its unplugged nature. This also allows the lyrical story to be front and center due to its unplugged nature and emotion. This even has a 16th Century Renaissance style about it.
Healer Of Hatred starts off with a very blistering opening chord progression. This is also the final track on the album. The band does a great job with this finale to Phoenix Aflame. This is blistering straight away neo classical power metal in its very essence. With heavy charging rhythm guitars that follow beautiful drum blast beats this is a true headbanging tour de force on all levels. The rhythm section in harmony to the guitar solos add to the beautiful atmosphere to this song.
There is obviously no doubt that Insatia have all the tools and talent for a steadfast career in this style of heavy progressive power metal. With the right promotional mechanism and time they will be major players on the world scene. They are also proof that this kind of metal will be around for at least another generation to come. Another thing that I like about this album was that the band made it short and sweet and to the point. That is something they will benefit from due to this being a sophomoric effort. Considering all this I give Insatia’s Phoenix Aflame a very strong 4.75/5 .
Haken Release New Video ‘Lapse’ In Advance Of North American Tour
Haken are set to hit the road in North America later this month for their Haken 10th Anniversary Tour. In advance of that, the band have released a brand new animated video for the track ‘Lapse’, taken from last year’s critically acclaimed album ‘Affinity’ and created by Miles Skarin at Crystal Spotlight.
Continued Below Video
The band comments:
“Lapse was one of the first tracks we wrote for Affinity. Now more than a year since the album’s release, it’s great to finally give this song a chance to stand out on its own, as it’s one of our favorites!”
The band continues
“Visually, we wanted to maintain a consistency with our videos for ‘Initiate’, ‘Earthrise’ and ‘The Endless Knot’, so we returned to Miles Skarin at Crystal Spotlight to complete the series. The video incorporates a 3D motion capture technique (previously used on Frost*’s ‘Numbers’ video) to tie in with Affinity’s themes of artificial intelligence/consciousness.”
‘Haken X’ Tour North American dates
with special guests Sithu Aye (except Atlanta and Mexico)
AUG 23- DETROIT, MI @ THE SHELTER AUG 24- TORONTO, ON @ LEE’S PALACE AUG 25- MONTREAL, QC @ CLUB SODA AUG 26- QUEBEC CITY, QC @ SALLE MULTI AUG 27- BOSTON, MA @ BRIGHTON MUSIC HALL AUG 29- COLUMBUS, OH @ SKULLY’S MUSIC DINER AUG 30- CLEVELAND HEIGHTS, OH @ THE GROG SHOP AUG 31- PITTSBURGH, PA @ REX THEATER SEP 01- PHILADELPHIA, PA @ FOUNDRY @ THE FILLMORE SEP 02- NEW YORK, NY @ HIGHLINE BALLROOM SEP 03- WASHINGTON, DC @ ROCK & ROLL HOTEL SEP 05- DURHAM, NC @ MOTORCO MUSIC HALL SEP 06- ATLANTA, GA @ PROGPOWER USA XVIII SEP 10- MEXCO CITY, MX @ EL PLAZA CONDESA SEP 12- ANAHEIM, CA @ THE HOUSE OF BLUES SEP 13- SAN FRANCISCO, CA @ SLIM’S SEP 14- W.HOLLYWOOD, CA @ THE ROXY THEATRE SEP 15- LAS VEGAS, NV @ BACKSTAGE BAR & BILLIARDS SEP 16- SALT LAKE CITY, UT @ URBAN LOUNGE SEP 17- DENVER, CO @ MARQUIS THEATER SEP 19- ST.PAUL, MN @ AMSTERDAM BAR & HALL SEP 20- MILWAUKEE, WI @ SHANK HALL SEP 21- INDIANAPOLIS, IN @ THE EMERSON THEATER SEP 22- ST.LOUIS, MO @ DELMAR HALL SEP 23- CHICAGO, IL @ BOTTOM LOUNGE
Electric Violinist & Singer Joe Deninzon Amplifies Muse’s Passionate Song
HYSTERIA is a Wagnerian/Queen-esque cover of Muse’s 2003 hit. The song is going to be on the upcoming Stratospheerius album, GUILTY OF INNOCENCE, out September 29 on Melodic Revolution Records, the leading North American progressive rock record label.
The Video was Directed by musician Dave Milone (of Radio 4), the video for HYSTERIA features a dramatic performance of the band punctuated with explosions. Deninzon says the explosions represent “Someone who has had enough! Feeling hopeless frustration with the current state of the world, breaking out of a bad relationship, or someone held back from their dreams and ambitions, a prisoner in their mind or in a literal sense…or both!”
Joe is a huge Muse and Queen fan, and pays tribute to both bands in their version of this song, “The original was so perfect that we wanted to reimagine the song entirely!” The single features singer Melanie Mitrano, the first time Stratospheerius has ever had an operatic soprano guesting on any of their recordings.
Fusing influences by artists as diverse as Tool, Tom Morello, Jean-Luc Ponty, and Jack Bruce, Joe Deninzon & Stratospheerius are contenders for being the biggest deal in prog that you’ve never heard! Writes Cleveland.com’s Peter Chakerian, “He may not be a ‘household name’ (yet) but he’s kind of a big deal.” Adds Progressive Rock Central’s Angel Romero, the group “combines solid songwriting and tradition with extraordinary electric violin work and the sounds of the future.”
Special guests on GUILTY OF INNOCENCE include guitarist Alex Skolnick (Testament, TSO), keyboardist Rave Tesar (Renaissance), and vocalist/guitarist Randy McStine (The Fringe, Stu Hamm).
For updates on digital store links such as iTunes, Amazon, visit both the Melodic Revolution Records and Joe Deninzon & Stratospheerius’ Facebook and YouTube pages.
For the past few months, rumors have been circulating about a new secret project including former Dream Theater members Mike Portnoy and Derek Sherinian. Now, the time has come to make the grand and highly anticipated introduction to their new band, SONS OF APOLLO.
Reuniting to form SONS OF APOLLO, Portnoy and Sherinian have joined forces with Ron “Bumblefoot” Thal (ex-Guns N’ Roses), Billy Sheehan (The Winery Dogs, Mr. Big, David Lee Roth) and Jeff Scott Soto (ex-Journey, ex-Yngwie Malmsteen’s Rising Force).
Their debut album, PSYCHOTIC SYMPHONY, will be released 20th October on InsideOutMusic/Sony Music. An album teaser can be seen on InsideOutMusic’s YouTube page here: https://youtu.be/kPN2DttzlZQ