Melodic Revolution Records is proud to announce that they have just struck a multi-album deal with West Cost Christian Prog Band Time Horizon.
Time Horizon gained international attention with their debut release “Living Water” (2011) and caught the attention of Nick Katona at Melodic Revolution Records
Time Horizon has spent the last four years writing and recording “Transitions” their follow up to the highly praised debut album by both critics and fans alike. The band had also gone thru some personal changes during the writing and recording process thus the meaning behind the name of the new album.
Time Horizon released their debut album “Living Water” via their own label Angelic Noise and dedicating the first run of 1000 CDs to help people in third world countries by raising funds for clean water. One of the bands founders Keyboardists Ralph Otteson chose to partner with Living Water International, hence the name of the first album. Time Horizon continues to be committed to helping the thirsty around the world.
The band knew they were capable of more and desired to raise the bar on the new album so they brought in Billy Sherwood (Yes, Circa) to help in production and mixing the songs. Sherwood wanted to see the production all the way through the mastering phase, so he brought it to Grammy nominated mastering engineer, Maor Appelbaum. Ralph also brought in some very special friends to guest on the new album, Tony Kay (Yes, Circa) Lang Bliss (Michael W. Smith, Rick Cua) David Wallimann (Glass Hammer, Dweezil Zappa) Jake Livgren (Proto-Kaw) as well as Jeff Garner, Michael Mullen, Dan Eidem and Gary Gehman.
Time Horizon is… Ralph Otteson (Keyboards & Vocals), Allen White (Electric & Upright Basses), Dave Miller (Lead, Rhythm and Acoustic Guitars).
Guest Artists… David Wallimann (Lead, Rhythm and Acoustic Guitars), Lang Bliss (Drums & Percussion), Tony Kaye (Hammond B3), Billy Sherwood (Guitar), Jake Livgren (Vocals).
Additional Contributing Musicians… Bruce Gaetke (Drums & Vocals), Jeff Garner ( Guitar), Michael Mullen (Violin), Dan Eidem (Drums), Gary Gehman (Backing Vocals).
Recorded by: Ralph Otteson , Bruce Gaetke Additional recording by Billy Sherwood, Lang Bliss, David Wallimann and Engineering staff at Rundown Studios Topeka KS. “Love is Here” Mixed by: Billy Sherwood Mastered by: Maor Appelbaum
For well over the last 15 years I have been amazed with the female fronted metal scene out of the Russian Federation. It is 2006 and I just joined Myspace at the time. I was searching for obscure independent music from the Russian Federation for a article I was writing. The very first precious gem I discovered was the all female symphonic metal band Blackthorn. I was totally blown away by what I heard in Blackthorn, therefore I continued to search and investigate other bands.
I came across two more female fronted bands. The next one was the epic folk metal band Alkonost. Their use of 16th century Celtic and renaissance elements really caught me by surpirse. The third one was the band from Moscow Russia named Arkona. Now Arkona kept with much the epic folk metal theme as Alkonost. After all that my musical radar was up for Russian Federation bands.
It is now 2015 and a new jewel of Russia has emerged on my musical radar. This would be EmeraldMind. Unlike their early predecessor’s who had a heavy epic folk viking influenced sound, EmeraldMind has decided to go with a more power progressive metal orchestral sound. These influences and sound are very present on their new album Civilization.
Civilization is a concept album about mankind’s role on earth and the significance of it. The album is makes up nine different stories about human beings in their day to day lives. It is a album about thought and reflection. The listener can easily relate and identify with the various characters inside Civilization. The concept of Civilization is the brain child of two people, Alexey Vaulin and SvetlanaVysotskaya out of St Petersburg Russia. Now a breakdown of Civilization.
Another Life opens up with a spoken word passage. It is as if the character is in morning traffic during the daily grind of a routine day. The keyboards creating the melodic atmosphere before the track takes a heavy speed power progression. At about the :40 mark the track takes a progression of ascension. Svetlana’s beautiful operatic soprano voice comes into the scene at about the 1:00mark. The track weaves in and out with various time signatures and progressions that are wonderfully orchestrated by Alexey Vaulin. At the 3:00 mark the track takes a twist with the effects of a police car siren with the instrumental progressions involved.
Secrets opens up with a special effects of a person getting into a car and taking off that is subsequently following by the opening instrumental passage. The is a nice break at the 1:00 mark and the vocal and drum rhythm are in harmony before once again being joined by the heavy rhythm guitar and keyboard stringed section. We see two very different beautiful guitar solos going in and out between the 2:00 to 3:00 marks. The drums have a great even continuity throughout Secrets.
Astronaut In Her Space begins with a heavy bottom bass guitar that is followed in harmony with various drum fills. This is all followed by a power metal lead guitar going in and out with a heavy distorted rhythm guitar section. The vocal stays consistent throughout the track as the instrumental takes on various breaks and progressions. The drums are times isolated before the lead guitar solos take the track in various directions.
Theater starts off as if the listener is being drawn in by the various time signatures. The instrumental soon takes off with a fierce power metal signature. Svetlana’s register and range continue to get more powerful as the album progresses from track to track. The keyboard has such a laid back yet subtle atmosphere carrying the various guitar solo portions before going to a full piano at the 3:00 mark. At the 3:40 mark it is a straight away shred fest going in and out of various scales. Svetlana tastefully double tracks her voice as if there are more than just her in the background.
Civilization starts off with a neo progressive keyboard passage. This is followed by a steady rhtyhm section with a beautiful semi electric semi acoustical guitar passage. At the 1:24 mark the track breaks into a nice harmony of the vocal playing off both stringed and rhythm sections. The band also explores more keyboard layers. At the 3:00 mark the track has a nice guitar solo before breaking again into a steady rhythm beat portion. There is a nice chorus towards the end.
Save Me For The Moon opens with a nice isolated guitar solo before taking a power progressive approach. The band have a uncanny ability to hook you into every track on Civilization and Save MeFor The Moon serves as a perfect example of that. The band have clearly used the power and progressive elements to forged their own unique sound by time this track comes. They begin to find their identity here at this point. Lyrically this appears to be a love letter.
When Storm Clouds Talk opens like a melodic thunderstorm rolling in. Thick keyboard atmospheres with a thick guitar and rhythm sections speak volumes. The band uses both female operatic and clean male vocals. There are some great keyboard atmospheres isolated as Svetlana is singing the chorus part. Once again the band does a good job with double tracking of Svetlana’s vocals making them appear to echo off her lead vocal portions.
Early Morning opens up with a very unusual yet appropriate jazz progression. Konstantin Stukov appears on the trumpet. This is a very deep trumpet throughout the track. Early Morning is definitely a departure track from the power metal elements to more experimentation with the heavier progressive passages. There is a nice jazz fusion guitar solo to compliment the jazz backbone the trumpet has set through the track. Early Morning sounds much like a Alan Parsons and Chicago vibe.
Neverend treads softly as it opens up with a beautiful orchestration of all the elements that have been heard on Civilization thus far. The band continues with various hooks, progressions and time signatures bringing the listener comfortably into the compostion. At the 1:55 mark Svetlana’s comes into perfect alignment with Alexey’s orchestral compositions. Neverend displays the bands entire potential and talent. It is perfectly arranged on the album as to give the listener anticipation for future releases.
After listening to Emerald Mind’s Civilization, I see great potential that can make the Russian Federation a future stronghold for metal and progressive rock oriented music. Emerald Mind is proof that there is untapped potential within the Russian Federation. I believe with the right promotion and live show exposure Emerald Mind will be a band a lot of people will be talking about and many bands will want tour with for years to come. I give Civilization a 4.25/5 for the diverse direction the band sought on Civilization.
When we start talking about female fronted progressive metal acts or metal acts in general the parts of the world that come to mind are the Scandinavian Countries in Northern Europe, with Nightwish , Italy with Lacuna Coil, The Netherlands with Epica and the now defunct After Forever and Belgium with Virus IV. However France has certainly established itself as a mecca for good quality female fronted dark progressive metal with Pnumbera just over a decade ago and now the dark metal opera band Adrana.
Adrana have a new conceptual release for 2015 called Foreshadow. Adrana another proof that women actually taking the lead in heavy metal and progressive music has not been a phase nor trend. Adrana are proof that women can certainly lead in this genre and lifestyle of music that is not about to fade away any time soon. Much like their French predecessor’s Pnumbera, Adrana have a well balanced mix of female operatic vocals blended with male growling death vocals and male clean vocals through the filter of Dark Progressive Metal. Herein is a breakdown of Foreshadow.
A Cursed Shadow opens up with a beautiful chamber style orchestral section. This is combined by a rich acoustic baby grand piano carry the flow in this intro track
Black Blood starts with a symphonic black metal style section. This contains some heavy rhythm work with double drum blast beats in harmony with a heavy bottom on the bass. It is soon quickly followed up by a male death metal vocal. At the :31 mark Anae’s operatic vocal comes into play and she is eloquent with it. About the 1:15 mark the track goes through a series of rapid fire time signatures. Throughout the rest of this track there are sharp multiple time signatures and progressions in harmony with a male clean and death growl and female operatic vocal.
Eleventh Hour rips right into a fast and fierce rapid fire thrash rhythm section with heavy dark crunchy blast beats. The is followed in harmony by a clean nice lead guitar. Soon the vocals kick in and the track takes many very sharp hooks and time signature changes. The vocals are orchestrated in a manner where it sounds like a melodic dialouge between three people. About the 2:15 mark the track takes a very unusual and wicked break into a jazz progression before taking off in the dark heavier signatures. 3:45 mark it takes another break where the female vocal is overdubbed interchanging in and out of different octaves.
Time To Win, Time To Cry begins with a heavy piano before the male clean vocal comes in. About :50 mark Time To Win, Time To Cry ascends with a nice hard rhythm section. At the 1:00 mark there is a slight acoustical section before returning back to the heavier dark prog metal. The double bass drum blast beats are the total backbone all the way through the track. This track takes on a lot of thrash metal elements as well. At the 3:40 mark there is a cool guitar solo.
No More starts out with a sound element like a music box followed by a keyboard solo. At the :40mark the track explodes. There is definitely a pattern forming on Foreshadow where the tracks start of with subtle soft sections before giving wa to a heavy wall of rhythm sections, time signatures and progressions. At the 3:00 mark there is some nice sharp breaks in and out. The clean male vocal towards the end is more in the vein of a power metal vocal.
Crimson Conspiracy starts with a soft gentle piano in harmony with a great rhythm core. This goes on for about 1:00 mark before the track starts ascending to the dark progressive progressions. Crimson Conspiracy contains a lot of various breaks and sharp hooks in progression scales. About the 2:00 mark it drops to a heavy bottom bass guitar section in harmony with the melodic operatic vocal. This track is very unpredictable as to what progression or hook is coming next due to the sharp transitions.
The Falling Song opens with a gentle piano in harmony with the opera vocal. It has a heavy chamber progression as if it is part and parcel to a stage play opera. The piano serves as the definite backbone here. If there is a ballad on Foreshadow than The Falling Song is it.
Draconian Wind starts out with a blistering heavy distorted rhythm section. This is followed by a brief heavy bass bottom again in harmony with a clean vocal. Draconian Wind definitely takes more neo classical progressive metal elements. About the 2:22 mark the track has a heavily bass induced rhythm section. The keyboards on this one are much more out front than developing a atmospheric progression.
Echoes Of Time serves a a thunderous drum crashing transition before Fight For Revenge.
Fight For Revenge begins with a brutal rhythmic assault on the listening experience. The time progressions are blistering in and out in a ebb and flow manner. Fight For Revenge is heavily laden with epic progressions featuring the entire sum of the instrumental parts where each are very present and accentuated within the track.
Demon’s Run reminds me of Nightwish elements between Century Child to Once. There are several twists and turns in this track. Meanwhile the track maintains a continuity in its complexity. The beauty and beast, male death growl and female operatic are present in the middle of Demon’sRun. About the 2:45 mark it takes on elements much like a symphony orchestra. The keyboard creates a heavy eerie dark portion towards the end.
Foreshadow the title track to the album opens with a symphony orchestral element in harmony with a choir style vocal. At the 1:00 mark the track hammers down and a heavy rhythm section quickly takes the track into another progressive portion. Towards the middle the rhythm section takes on some galloping elements as if Iron Maiden where backed by a symphony. The guitar solos are everywhere on this track. The track switches sharply between the heavy rhythm backbone to the guitar solos. The end goes out with a verse choral section.
You need not to worry Andra’s Foreshadow is not another clone of say Nightwish or Epica. If you really listen Andra have developed their own quality sound. The band focuses more on darker more developed progressive elements and only uses the typical neo classical metal elements seldom. Andra have created a well written masterpiece. I anticipate Andra being on festivals such as FlightOf The Valkeries and Female Metal Voices Festival. A band like Andra will assure the future and validity of dark progressive metal for years to come. I give this a 4/5 score.
Label: Independent Release Year: 2014 Country: USA Genre: Instrumental Progressive/Fusion Guitar Rock
Band Members
Gregory Bachman – All Guitars, Bass, Effects, Keyboards except where noted. Tooltrack– Drum Sounds
Guest Musicians
Marvin Craft – Bass Guitar on ‘Positive Flow’ James Lee Humes – Guitar Solo on ‘Light Of Luna’ From 3:30-4:20
William Malone – Sax Solo on ‘Positive Flow’
Greg Shumake – Piano on ‘Positive Flow’
When it comes to a instrumental musical composition some artists will have the assistance of a vocalist to try and convey the story they are trying to depict. They have to be more creative. They have step out of the conventional wisdom that is afforded when you have a vocalist in the band to paint the picture in the mind of the listener through song and lyric. Essentially the instruments have to have an effect or vibe that moves the listener towards a vivid imaginary listening experience.
Some current examples of this are Neal Schon, John Petrucci, Michael Romeo and Tony McAlpine. However another one has joined these same ranks. It is Colorado’s own Gregory JBachman. His 2014 offering Fly To The Land Of Z is fully of emotion, jams, shredding and out of the box creativity. Gregory J Bachman is beginning to create his own little niche in the Instrumental Progressive Rock And Jazz Fusion community. It is not ‘if’ Gregory will make it but a matter of when and when the right audience connects to his brilliant craftsmanship on the guitar. Let’s explore the project that is Fly To The Land Of Z.
Fly To The Land Of Z opens with a straight away shred session. This is combined with a nice open fuzz effect. About the 1:35 mark their is some spoken word effects as if NASA are communicating with astronauts. There is a space fusion progression like that throughout this track. About the 3:00mark he explodes into some serious finger scale work. About the 3:40 mark more spoken word progressions come from nowhere.
Positive Flow starts off with a heavy bass progressive fusion set. It sounds rather more on the jazzy side with a hint of funk. This is all combined with more craft work on guitar. About the :47 mark there is a nice keyboard passage followed by a Sax solo at the :50 mark. Around the 2:10 mark there is a tasteful spoken word countdown effect. The rest of this track has various fusion based time signatures. There is one hook right after another hook. The bass surely shows up towards the end.
Summer Rain opens with a nice flow from the keyboards followed by a thunderstorm effect that you can hear throughout the track. About the 1:15 mark Gregory takes it almost in a bluesy progression that stays fluid through the track. The bass in the track sounds more percussive and complimentary to the special storm effects embed inside track. This gives the listener of a storm like atmosphere. Summer Rain continues to progress by layers as the track moves forward.
Innocent Sorrow begins with a lush subtle keyboard atmospheric effect that is followed in the backdrop by a guitar solo. About the 1:00 mark a nice piano enters the mix along with guitar and bass. Innocent Sorrow conveys both emotion and movement in its make up and engineering. About the 2:50 mark there are some easy surround effects. The bass in the appears to be slapped, plucked ans strummed. This track reminds me of elements Joe Satriani employed on 1987’s Surfing With The Alien.
Land Of Z serves as a transition track to the next part of the album. With slight drum roll effects and lush keyboard sound, it is as if you entered Act 2 of a stage play or musical.
Magic Dream Dust opens with a very deep rich keyboard synth passage that is complimented with a side by side piano overdub. This track is as if the listener woke up in a dream. At the 1:40 mark a subtle less abrasive guitar harmony enters into the composition. The guitar sounds like both a modern blues and jazz metal fusion element. There is some really cool progressions after the 4:00mark before settling down again at the 4:40 mark.
Light Of Luna opens up like a classic AOR track in the vein of a Journey, Toto, Passenger or JimiJamison era Survivor. About the 1:00 mark the track often reminds me of Journey’s Send Her MyLove off 1983’s Frontiers album. About the 2:00 mark there are some heavy elements of NealSchon of Journey meets Jim Peterik of Survivor. At the 3:30 to 4:20 marks guest guitarist JamesLee Humes explodes with a solo. Then the track settles in and Gregory handles a long fluid solo through the rest of the track. The track has a nice piano outro.
Ancient Mystery starts off like the listener is traveling through space and time thus continuing the journey in the album structure itself. The thunderstorm effects are back briefly in this one. At the 1:20 mark track takes on many guitar and instrumental progressions and time signatures. AncientMystery has so many progressions the listener is transported in the mind in a altered state of continuity. The time signatures manipulate the listener in thinking the track is longer than its actual 8:51 structure. Gregory overdubs so eloquently on guitar it seems like there is two lead guitars and a offset rhythm guitar all in tandem with one another. Ancient Mystery starts to make the listener realize there is a grand concept on the album.
Tidal Force is another wonderfully produced transition track. This is a straight up jazzy funk fusion track that seems to transport the listener to another act of a musical or stage production. Tidal Force is well done as not to make the listener complacent.
Ocean Sunrise reminds me of elements of The Who on Quadrophenia where they opened and closed the album with wave effects of the ocean crashing on the shore. About the 1:50 mark the track takes a heavy rhythmic turn and starts to ascend in progression. At the 2:58 mark there is some great neo progressive elements that come into play especially on the keyboard. The neo progressive elements give the album another turn in the journey that is Fly To The Land Of Z. At the 4:00 mark you can get lost in the emotion and progression of the lead guitar elements. OceanSunrise overall is probably one of the heavier tracks on the album. About the 6:30 mark there is some nice scale work on the fret board.
Little Hero starts with a nice settled atmosphere as if the listener is about to arrive to their final destination in the theater of the mind. Little Hero sounds much like a welcome home anthem. The listener has time to digest the album and the journey thus far in the melodic story. There is a sense of fullfilment and reflection. The track takes a series of jams at the 3:00 mark.
Yellow Rocket Boots starts off with the sounds of children playing in a playground. This is soon followed with a heavy progression of all the sum of the instrumental parts coming together. About the 1:00 mark it takes many twists and turns like a roller coaster of progressive riffs. It is constantly changing in and out of various hooks and keys. It is as if the listener has arrived to a harmonic feast of progressive absolution.
Although this did not have a narrative in it lyrically, Fly To The Land Of Z still manages to take the listener on a melodic journey. This album is structured for the more instrumental minded progressive or fusion listener. This also succeeds in allowing the listener their own journey in the theater of the mind. This album is not for everyone. It is for the discretion of a specific niche audience. I give this a 4/5.
Just when I thought everything that can be done with progressive rock and metal concept albums, comes along a band that challenges contemporary wisdom. Abstrakt are one of those bands that come along and totally shatter pre conceived notions on how a concept album should be made in the world of progressive metal and rock.
Their 2015 album Limbosis is definitely a 74 minute journey as one wakes up one morning into a nightmare. The 8 tracks are different yet concurrent stories where the individual in the story makes sense of it all. The listener can easily find themselves in a situation such as this. Limbosis has a little bit of everything you would expect from a concept album yet completely against the grain of traditional progressive rock and metal. It is as if Riverside, The Sisters Of Mercy and Tool created a modern day melodic Frankenstein.
Teratoma begins with a nice melody of keyboards backed with a nice rhythm section with a drum roll style of beat. Soon a very deep barotoned style vocal comes in that reminds me a lot of PeterSteele of Type O Negative meets Maynard James Keenan of TOOL. This vocal dynamic is followed by some great post rock progression with bottom heavy bass and detuned rhythm guitar. Krzysztof Podsiadło’s vocals are very different from most progressive vocalists today. At he 4:50mark there is some strange special effects like somebody is working in a garage preparing something with a very dark atmospheric keyboard passage. Throughout the rest of track there are deeper heavier progressions with the rhythm section with a neo progressive keyboard passage. There is a segway pause that allows the album to flow and transition smoothly to the following track The Bus.
The Bus picks up where Teratoma left off with a neo progressive keyboard opening that is perfectly complimented by a smooth rhythm section. This followed by a nice rhythm guitar section that displays a deep bottom progression. There are some nice breaks around 2:50 to 4:00 marks. Michał Fiałka has some wicked guitar parts both rhythm and lead. At the 5:40 mark there is a very odd punk sensibility much in the vein of early Black Flag. At the 6:42 mark there are more hooks that keep the listener locked in. Nice ebb and flow between bass and rhythm guitars and drums for those who love detuned progressions.
Clockhouse opens up almost like a chamber music style progression. Once again the bottom rhythm is very heavily brooding and groove laden. Some polished keyboard passasges are sprinkled. The vocal about the 1:29 mark goes in a ghostly wicked whisper. Jakub Puszyński appears to be strumming the bass instead of plucking it. About 2:59 mark the band employs and incorporates a children’s choir that serves as a more haunted style of background. Towards the 4:00 mark there are even some subtle spoken word sections. Maciej Dados seems to envelop the listener with a linger surround style of keyboard passage.
Wolf starts out with such a heavy handed brooding rhythm section that appears to be stalking the listeners senses. Łukasz Simiński has a heavy drumming section that sounds like it is trying to portray fear into the main character of the concept story. The rhythm section in Wolf reminds me a lot of Univers Zero’s dark passages . About the 3:00 mark the band takes this to a whole new level with a simple yet perplexed 4/4 progression followed by a sick haunting hammond organ style keyboard passage. About the 6:00 mark Wolf takes a heavy progressive metal progression and return to the same progression as they hit at the 3:00 mark. There is a very fluid piano running with the doom laden progression between 7:00 mark to the end of the track.
Bloody Mary starts out with a heavy fuzzy distortion rhythm section with a neo progressive keyboard effect in harmony. about the 1:17 mark the track takes a blistering approach before breaking at the 1:39 mark. The bands concept really begins to tighten up on this track and the listener can clearly see that Abstrakt have done something pivotal here with Limbosis. The vocals carry some of the old odd metal metal signatures that Chris Cornnell did with Soundgarden which is very distinctive from their peers in the prog community. The heavy post rock vine certainly taps into that left indie side that TOOL opened up 20+ years earlier. From the 6:00 mark towards the end Bloody Mary takes on some familiar doom metal elements that bands like Pentagram or Candlemass are known for. Just with a neo progressive post rock twist.
Liars Symphony once again solidifies the bands purposeful dark nature of Limbosis. Liars Symphony is laced with neo progressive atmospheres combined perfectly to the post rock doom references that Abstrakt seem to be making a point of in the concept itself. There is a very articulate spoken word passage in the middle like a storyteller. About the 5:38 mark the whole track take a more Deep Purple vibe with the hammond organ combined with the hard post rock notations.
Greatnot has a Floydian opening much like Dogs Of War where it sounds like a working mans track. Soon after it explodes into a doom like sludge progressive progression. The bass is very fuzzy giving this a darker and dreary effect. The drums are non stop give the track a fluid rhythmic continumn. The band seem to be channeling krautrock style passages and the keyboards in this at times sound a lot like Krafwerk.
Journey the final track on the concept, opens up with Abstrakt’s signature progression. At this point Abstrakt have certainly carved a unique and distinctive sound all their own. The band take this track in another unexpected turn and tap into psychedelic signatures with the rhythm section. At about the 4:30 mark there is even a slight but subtle Radiohead vibe in the vocal. At the 6:40 mark the band adds yet another hook in this concept and presents a post rock/ djent metal vibe. This is in a endless line of hooks, progressions and effects already present within the concept itself.
From the time the Prog Doctor, Marty Dorfman over at House Of Prog Radio played a track off of Abstrakt’s Limbosis, I knew somewhere and sometime I would be reviewing it. Limbosis is a front runner in the evolution of the next generation of progressive concept albums. Abstrakt have definitely re wrote, recorded and engineered how I view progressive concept albums. If this is any indication of the future of Polish Prog or Prog Rock in general the genre will continue. I give this a 4.75/5 .
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Time Horizon gained international attention with their debut release “Living Water” (2011) and caught the attention of Nick Katona at Melodic Revolution Records
