Sunshine and Bullets are a Tampa, Florida based rock band with male and female lead vocals, experimenting within the hard rock genre, creating atmospheric hard rock with a mixture of progressive metal, hypnotic harmonies and dark driving groove.
Sunshine and Bullets
Rich Keane Jr // Vocals & Guitar
Amanda Hamers // Vocals & Bass
Kyle Wolfram // Drums
Glass Hammer |Valkyrie
Label: Arion Records/Sound Resources
Release Year: 2016
Country: USA
Genre: Symphonic Progressive Rock
Band Members
Susie Bogdanowicz – Lead & Backing Vocals
Fred Schendel – Keyboards/Guitars & Backing Vocals
Steve Babb – Bass Guitar/Keyboards & Backing Vocals
Kamran Alan Shikoh – Electric, Acoustic & Classical Guitars/Electric Sitar
Aaron Raulston – Drums
Contact Links
Glass Hammer Official Facebook Page
Glass Hammer Official YouTube Channel
Glass Hammer is perhaps one of the most consistent progressive rock bands over the last 50 years. With nearly 17 albums since 1993, Glass Hammer has managed to maintain their cult like status while adding new members to their fan base. Glass Hammer were formed by Steve Babb and Fred Schendel and have grown since then. Many of Glass Hammer’s albums are conceptual pieces rooted and inspired by the writings of J.R.R. Tolkien’s The Lord of the Rings, or the works of C.S Lewis. Glass Hammer’s concepts are meant to be listened to in one sitting for the desired effect that band intends on accomplishing with the listener. This is very evident with their new 2016 offering Glass Hammer Valkyrie.
Glass Hammer’s Valkyrie is rooted within the latter 1960’s to 1970’s style of progressive rock notable influences being ELP, Yes, Genesis, Amon Dull ii and Renaissance. With the exit of Carl Groves on vocals and Susie Bogdanowicz stepping up to the forefront, Glass Hammer now joins the ranks of their contemporaries such as Joann Hogg IONA, Christina Booth Magenta, Olivia Spamenn Mostly Autumn and even a twist of Candice Night with Blackmore’s Night and Liselotte Hegt of DIAL. And join company with legends as Annie Halsam of Renaissance and Renata Knaupf of Amon Dull ii.
Glass Hammer’s Valkyrie according to their press release, tells the story of a soldier trapped in an endless war, and of the girl he left behind. As with most GH albums, deeper meanings abound for those who take the time to digest the lyrics which are, according to the liner notes, “dedicated to those who battle the effects of trauma, and to those who love and support them.” It is a very compelling story that requires the listener to set aside just over one hour of their time to get immersed in the journey of Valkyrie. Musically the band takes a very vintage and traditional progressive rock approach with heavy Hammond organ style synths, beautiful straight away rhythm sections with gentle lead vocals now done by Susie Bogdanowicz that are supported and sung with great conviction.
If you decide to follow the story through the CD booklet you will find Susie Bogdanowicz, Steve Babb and Fred Schendel uniquely and subtly interchange the vocals from narrator to character in the story and still maintain a harmonious balance with interchanging between the lead and backing vocals.It is a love story between a very spiritually damaged war veteran and the woman at home waiting to love him again. Valkyrie certainly solidifies this with great accuracy and timing. Meanwhile Fred Schendel – Keyboards/Guitars & Backing Vocals, Steve Babb – Bass Guitar/Keyboards & Backing Vocals , Kamran Alan Shikoh – Electric, Acoustic & Classical Guitars/Electric Sitar , Aaron Raulston – Drums all execute great instrumental chord progressions instrumentally and alongside the vocal narratives in balanced harmony.
There are some highlights from every track I would want to explore at this time.
The Fields We Know sees us introduced to the loving couple of the war soldier and his sweetheart waiting back home for him to return. This opens with very traditional progressive rock elements with Hammond style synths meeting a tight layered lush rhythm bass/drum section. The big rhythm section reminds me of the heavily bass induced classic by Yes called Roundabout. Steve Babb reminds me a lot of the late Chris Squire with his spot on timing. The female vocal of Susie enters in in a very angelic ethereal delivery. This is the start of this love story and with great consideration the band delivers the emotional and spiritual narrative instrumentally. The keyboards provide for appropriate breaks so the song can be digested within the concept.
Golden Days begins with a total percussive clinic with the drum work Aaron Raulston. Soon the female vocal of Susie takes this track to the depths of the soul of the listener. Not only is she on time but she has such a grace behind her voice in both the female narrator and female lover waiting for her soldier. At times the entire band who is playing most of the instrumental portions live in studio take this to a more progressive hard rock edge much like King Crimson or ELP. The keyboards are a constant flow of layers upon layers that help the other instruments transition from passage to passage easier. At times the female vocal takes on beautiful chant like effects.
No Man’s Land begins in a very haunting style between the keyboards and synth guitars. Soon the drums enter in but more as a percussion instrument. The whole instrumental narrative gives the listener the total illusion of something building , something coming. The percussion continues to add layers and flavors with the chimes meanwhile the semi acoustic guitars are right in harmony with the percussive portion. This track is almost like a film track or film score with the band transcribing foely style effects on to actual instruments. Susie’s vocals are like none before her or currently out there. She certainly has her own unique register and signature where you know it is her when she is singing. The same goes for Steve Babb and the rest of the band instrumentally. Lyrically the soldier is thinking heavily about the woman at home who he loves. At the 7:15 mark the track really takes on some progressive hard rock passages. You can tell the band are playing live in the studio and there is not much overdubbing going on. It is organic that requires talent and Glass Hammer have that. Towards the 9:50 mark the song takes a darker sound both instrumentally and vocally. This perhaps to show the result of the soldier’s experience. A great underlying spoken word line gives this a distinct sound.
Nexus Girl is the only instrumental on Valkyrie. This starts out very heavily with a electronica sense in the vein of Kraftwerk. The minimalist approach of less is more really dominates the landscape of this track quite nicely. This track builds layer upon layer in real time as the band really had a live in studio approach on this album.
Valkyrie this is both a tender story of the woman who loves and misses her soldier. Her emotional nuances to comfort and protect her soldier is some of the most compelling and breathtaking story lyrically. The soldier likewise yearns for her embrace. The band really does a great job emulating this melodic love letter back and forth. The Hammond synth is very vintage yet modern sounding. By this point the band should have the full attention of the objective listener of traditional progressive rock both new and old.
Fog of War begins with such density and intensity with a heavy thunderous rhythm section. The bass/drum rhythm section relentless. The guitar comes in like a fuzzy distorted progressive space rock chord progression to probably give the listener the effect of a fog around the soldier. This comes about the time his woman back home is starting to observe a change in both behaviour and mood as a result of the war. The rhythm section is really tight about this time. The band also has more complex time signatures and changes in this one. It is is really loaded with these signature changes throughout the duration of Fog Of War. The emotion and concern in the woman is so powerful both lyrically and instrumentally.
Dead And Gone begins with a beautiful piano that doubles both as a piano and violin. The woman character has great concern for her soldier. At some point she develops a reservation about him bringing home the wounds of war where she may not recognise him. This is the true ballad of Valkyrie. About this time it seems that there are melodic letter exchanges between the two. The bass plays very well off the lead of the Hammond style synth on this one. There are typical questions of life through this one.
Eucatastrophe means happy ending. The track starts as a ballad type track . The woman is ready to be united together with her soldier and begin to build a life with him. She is ready to help him with the wounds and scars of war. Soon the track takes on a very heavy disposition with hard rock guitars that accompany big bass/drum rhythm sections. Glass Hammer display that they can be a little aggressive when the situation is right to be.
Rapturo the final track on Valkyrie ends the album with what I would call a part love letter part prayer for both the soldier and his sweetheart. It is a very haunting song with deeper piano passages that are almost in the style of Mozart or Bach playing in a live acoustic hall. The vocals seem to take on a very heavy ambient atmosphere. Sometimes a little psychedelic however the band remains on point. The band through the filter of the female character seem to make the case that no matter how much baggage or wounds a person incurs during a lifetime there is still hope, faith and love.
This is a true love story for the ages set to melody. Glass Hammer have managed to make a motion picture film and show it on the screen within the theater of the mind.With 23 years and now 18 albums to their credit, Glass Hammer still proves they are a relevant force in the progressive rock world. I give Glass Hammer’s Valkyrie a 5/5 .
[youtube https://www.youtube.com/watch?v=VWEGdhJ9OQQ]
Video Courtesy of (Glass Hammer Official YouTube Channel )
Written By: (Robert “Uncle Prog’ Brady)
Watchtower | Concepts Of Math : Book One EP
Label: Prosthetic Records
Release Year: 2016
Country: USA
Genre: Progressive Technical Metal
Band Members
Rick Colaluca – Drums
Ron Jarzombek – Guitar
Doug Keyser – Bass
Alan Tecchio – Vocals
Contact Links
Watchtower Official Facebook Page
Watchtower Official Prosthetic Records Profile
Watchtower On YouTube (Ron Jarzombek’s Official YouTube Channel)
Watchtower Official YouTube Channel
Prosthetic Records Official Website
Prosthetic Records Official YouTube Channel
You do not have to have a lengthy library of albums to be a pivotal influence in the area of music or entertainment in general. As a matter of some of the most influential bands or artists may only have one or two albums out but the influence and legacy they have lives through other bands or artists.
This is the very case with the Texas based progressive metal band Watchtower. Although Watchtower had Energetic Disassembly in 1985 and the pivotal yet influential album Control and Resistance in 1989, the band as a collective would not be heard again in a full collective form of songs until 2016’s EP Concepts of Math : Book One. To be very honest as I write this review I thought this would simply never happen. Well there are times when we are to never say never because the unexpected can and on some occasion’s happens.
Much like Queensryche, Fates Warning, Crimson Glory and Savatage Watchtower rank right up their as the class of pioneers of progressive metal. Watchtower took a much more thrash approach to progressive metal however with far more time signatures and chord progressions. As a matter of fact Watchtower’s chord progressions can and are felt and heard today’s progressive metal landscape. Bands like Tesseract, Leperous, Contortionist, Between The Buried And Me, Anciients Dillinger Escape Plan and Zero Hour can all trace those chord progressions Watchtower were doing 30 years prior to their very sound today. Watchtower’s sound was very much pre ‘Djent/Math’ metal.
Watchtower’s Concepts Of Math: Book One sees one of Prog Metal’s founding fathers return stronger than ever with such savage ferocity. Although it is only made up of five tracks they still knock the listener right on their audio ass. The fierce rhythm sections and complex time signatures confirm that the bands I mentioned above can trace their melodic heritage and DNA back to Watchtower and Concepts Of Math : Book One solidifies and galvanize’s this. I would like to point out a few highlights from Watchtower’s Concepts Of Math: Book One.
M- Theory Overture opens up with a progressive thrash shred frenzy with the guitar. The frenzy is blistering in its very nature. Soon it drops off then the band go to work with the natural complex and intricate time signatures that formed their unique sound from day one. The time signatures definitely are not for the faint of heart if you are into music that is written in 4/4. The bass takes a complimentary percussive direction along side the drums to make up the distinct sound of Watchtower.
Arguments Against Design begins with a thunderous yet very melodic bass line with the drums and guitar coming in and out with breaks. Soon the towering vocals come in such clarity considering the heavily thrash nature of the rhythmic time signatures and heaviness. The lead guitar gives the illusion their could be more than one guitar at times without it obviously sounding like it was overdubbed. The band sounds as if they wrote this track on the bass to get the desire rhythm effect.
Technology Inaction picks right up where Arguments Against Design off. The thunderous and brutal complex time signatures within the rhythm section continue the beautiful assault of the senses of the listener. The guitar serves both as a shredding lead and thunderous percussive rhythm instrument. With the thrashy speed metal backbone the band also continue the time signatures with intricate progressive interchanges within the passages. The lyrical content keeps with the common theme gracefully throughout the EP. The vocals at times even follow in step with the rhythm sections.
The Size Of Matter is not a original for the EP Concepts Of Math: Book One. This particular track was originally released on its own back in 2010 as a single. I believe the band released it perhaps to overwhelming demand for something new or the fact the band wanted to remind their fans and the people that they were still around. Instead giving a analysis of this track I have embedded the original.
[youtube https://www.youtube.com/watch?v=eyCXRvwdFQk]
Video Courtesy of (Watchtower Official YouTube Channel)
Mathematica Calculis sees the band continue with its own unique time signatures and chord progressions. This is the mini epic of the EP clocking in at 9:25. However the band does more in 9:25 than some progressive bands do in a 15:00 to 20:00 epic. The chord progressions remind me a lot of NWOBHM with galloping progressions. The band totally assault the senses very wonderfully. This track is a melodic roller coaster going in and out of various progressions and passages without it sounding like the band are taking the listener on the same sonic rail or track. There are some wicked backing vocals that run in perfect time with the lead vocal. The rhythm sections are almost as if the band are writing a mathematical equation and transcribing it to instruments.
Watchtower have certainly added more to the foundation of its influential legacy with Concepts Of Math : Book One. My only hope could be a follow up to this and perhaps some live dates. The band have also reminded people who they are. I also see this Concepts Of Math : Book One as a project that the band have made to attract newer fans to its already cult like status. Watchtower’s Concepts Of Math: Book One gets a 5/5 and will be the first EP ever to enter my Top 10 of Albums of the Year for 2016.
[youtube https://www.youtube.com/watch?v=DO-UuL2jlnI]
Video Courtesy of (Prosthetic Records Official YouTube Channel)
Theocracy |Ghostship
Label: Ulterium Records
Release Year: 2016
Country: USA
Genre: Progressive Metal
Band Members
Matt Smith – Vocals
Val Allen Wood – Lead Guitar
Jonathan Hinds – Guitar
Jared Oldham – Bass
Shawn Benson – Drums
Contact Links
Theocracy Official Facebook Page
Theocracy Official YouTube Channel
Ulterium Records Official Website
Ulterium Records Official YouTube Channel
Since 2003 Theocracy have worked to establish themselves as one of the premiere prog/power metal bands in the world. Started as a one man project by Matt Smith – Vocals, Theocracy began to gain both critical acclaim and started to grow its audience. As a result the band also grew to include Val Allen Wood – Lead Guitar, Jonathan Hinds – Guitar, Jared Oldham – Bass, Shawn Benson – Drums. Starting off with their first self titled release Theocracy in 2003 the band would gain such praise with its power progressive metal and positive lyrical message that it would even result in a performance at Prog/Power Festival USA in their own backyard in Atlanta, Georgia.
Throughout the years since they have released a powerful body of work to include 2011: As the World Bleeds – Ulterium Records 2008: Mirror of Souls – Ulterium Records , 2003: Theocracy -Metal Ages. Their success would even place a high demand on a reissue of their self titled 2003 release Theocracy which was reissued by Ulterium Records in 2013. On the heels of their last release in 2011 As The World Bleeds, Theocracy make a long awaited and anticipated return to the global prog/power metal stage with the soon to be released Ghostship in 2016.
With Ghostship the band has shortened things a bit in the length of their songs while maintaining the integrity and focus of the band’s signature sound. The compositions stand alone yet never lose the main objective nor focus the band has always aimed for with their fans. It is with the shorter more gritty and heavier compositions that will also have appeal to a listener that is a newcomer to the work and sound of Theocracy. With that all said let’s take a look at some highlights from Theocracy’s Ghostship.
Paper Tiger opens up with thunderous rhythm section that blisters the ears wonderfully. Soon Matt Smith comes in with a powerful vocal presence. This is full of rhythm based hooks and melodies that are matched perfectly with well timed vocal harmonies. This track is a very power metal based track much in the vein of a Blind Guardian or Gamma Ray. The guitar solos are a total shred fest and will appeal to those fans of virtuoso style playing. The guitar solo’s have some various different time signatures.
Ghostship the title track of the album once again continues the bands streamlined objective with thunderous rhythm riffs and sections. The vocals really maintain with the same intensity and muscle ans the instrumental melodies. The vocals also really maintain wonderful lead and backing harmonies that exchange in and out of one another. The double blast beats also reinforce the muscular melodies. The guitar solo’s also have the hallmarks of prog/power metals past and remind me much of Crimson Glory’s work.
The Wonder Of It All totally blisters into a monster rhythm section of big double drum blast beats matched by a thunderous bass that is utilized both as a melodic instrument and a percussive instrument. This track has some serious Iron Maiden style with the galloping rhythm based progressions. In the midst of the thunderous rhythm section there are some very beautiful vocal harmonies that accent this track. The band establishes more of a European sound than that of a American sound on this track.
Wishing Well begins with a nice keyboard passage that is soon met by a more traditional progressive metal rhythm passage. This track slows things down a bit and stays more progressively based with more time signatures and changes instrumentally. It is met perfectly by traditional progressive metal vocal harmonies. The vocals set wonderfully in sync with the double blast beats with the drums. The guitar solo’s go in and out from crunchy muscular rhythm based to atmospheric chord progressions.
Around The World And Back starts out with a music box effect. The clear vocal soon comes in with a warmth soulful presence. The vocal harmonies anchor this one to a more streamline somewhat commercial sound. This track is very appealing to most progressive/power metal audio pallets. It also reminds me a radio friendly track much like Dream Theaters Another Day from Images and Words. This track has potential to be a live set staple for the band going forward.
Stir The Embers returns to the bands main streamline focus on Ghostship with gritty strong muscular rhythm based sections. The guitars really add to the muscle of this track and stay in a more rhythmic fashion. The vocals stay in step with the rhythmic backbone to the album. The solo’s also continue to shred as well. at the 3:10 mark there is a nice break with isolated drum passage in harmony with the lead vocal.
Call To Arms starts out almost in a old school heavy metal fashion with just a isolated guitar met by a very intricate rhythm based time signature. There is some interchange in the entire rhythm section. The vocals are almost a anthem and call to arms. This has such vocal harmonies that it has potential to be sung by audiences in the band’s live sets. It is also confirmed by the lyrical content.
Currency In A Bankrupt World takes off with a very easy to follow passage of instrumental and vocal harmony balancing one another. The band has really established the interchange between the instrumental and vocal in harmony by this point. It has some nice breaks instrumentally to allow room for the lead vocal to have room to breathe so the listener can follow the lyrical message as well.
Castaway starts out extremely blistering and is almost a power thrash metal intro. It is much in the vein of a Iced Earth rhythm section. This track is a straight away deliberate heavy track. The vocals even have more bite on them in both the lead and backing vocal. The band is able to accomplish this while staying on track with their main objective and focus. The guitar solo’s are totally insanely furious as well.
Easter sees the band somewhat return to the longer epic with its 10+ minute length. This starts out with a beautiful acoustic guitar that is subtly met with a electric guitar. Meanwhile in the midst of that passage the lead vocal takes a brief isolation before all instruments fire up on all cylinders. The track goes in and out of heavy power chord progressions with more slower balanced progressive passages. The vocals harmonies are absolutely stunning and really carry this track to the soul of the objective listener. The stringed section solo’s are obviously a little longer making the track a true journey to the inner audio portions on the listeners mind.
I believe Theocracy have certainly returned with a very powerful statement with Ghostship. This album will open more doors for the band to attract newer listeners and fans and reinforcing the fan base already in place. Although Ghostship is their forth offering it will bring newer people to the fan base where they will go back and start to discover their previous albums. This album is also a testament that the band can make something different that will be more appealing on a bigger scale. I give Theocracy’s Ghostship a 4.5/5 .
[youtube https://www.youtube.com/watch?v=VUHiIEbIY7M]
Video Courtesy of (Ulterium Records Official YouTube Channel)
Fates Warning | Theories Of Flight
Label: InsideOut Music
Release Year: 2016
Country: USA
Genre: Progressive Metal
Band Members
Jim Matheos – Guitars
Ray Alder – Vocals
Joey Vera – Bass
Bobby Jarzombek – Drums
Frank Aresti – Guitars
Contact Links
Fates Warning Official Website
Fates Warning Official Facebook Page
Fates Warning Official Twitter
Fates Warning Official Youtube Channel
Inside Out Music Official Website
For well over 30+ years Fates Warning have time and again proven why they are one of progressive metal’s staples. Not only are they pioneers of progressive metal, they are the apostles of the genre. There influence is undeniable. Many would agree that without Fates Warning there may not of been a Dream Theater and Symphony X from the USA, Vanden Plas from Germany, Threshold from the United Kingdom, Circus Maximus from Norway and Evergrey from Sweden.
Throughout its history Fates Warning has certainly endured with many line up changes. At the center of the various changes has always been two constants, that being Jim Matheos and Ray Alder. It is almost very certain that Jim Matheos and Ray Alder have not lost any vision for Fates Warning. Even before Dream Theater’s Change of Seasons, Symphony X’s The Odyssey and even Green Carnation’s Light of Day, Day Of Darkness, Fates Warning would yield progressive metal’s first true epic in Ivory Gate Of Dreams from 1988’s No Exit album.
In 2016 Fates Warning still have a hand on the banner of progressive metal. This is very apparent with their brand new album and second on the Inside Out Music label called Theories Of Flight. With Theories Of Flight, Fates Warning continue to influence and grow as a band and prove why they are still a standard in the progressive metal community. Theories Of Flight has a little bit of everything Fates Warning has done as a band collective and its various side projects such as OSI, Redemption, Engine, etc ..
Theories Of Flight has a vast collection of elements from straight away progressive metal to avant garde and even ambient elements. The band seems much more rested than they did with their 2013 offering Darkness In A Different Light. The band appears to get right to the point and still allow for the individual compositions to breathe and stand on their own merit. Nothing seems compressed nor hurried in anyway whatsoever.
From The Rooftops opens the album with a very deep ambient tone between the rhythm section and the guitar effects along with the warmth of the vocals of Ray Alder. The intro is definitely filled with emotion before breaking and taking off with a very fierce yet brutal in your face progressive passage. The track definitely has a Jekele and Hyde personality about it. Bobby Jarzombek has added a vicious rhythm intensity at the drums as well.
Seven Stars continues where From The Rooftops left off with a blistering intro before going into a more melodic and harmonic balanced track. The harmony between the vocals and the instrumental portions is as tight as it gets. This track reminds me very much of Fates Warning past with Silent Cries from 1988’s No Exit album. This track is very heavy in its conviction on the vocal harmonies as well.
SOS starts with a crunchy distorted guitar intro before once again going with a all out assault to the audio senses. It also contains some very light thrash elements to it before going into various time progression passages. The bass/drum rhythm section is insanity.
The Light And The Shade Of Things is a more traditional progressive metal track both for its 10+ minutes and its extended intro. The vocals start out very warm to hook the listener into a mini journey throughout the composition. The guitars are very ethereal and ambient in their deliberate nature. The Light And The Shade Of Things is like two tracks going on at once. It is a song of both self reflection and just a straight up kick ass progressive metal track. This is also a ‘gateway track’ for a newer generation of listener and potential fan. It has a tender side and a very aggressive side.
White Flag begins with a very heavy intro before going into a blistering progressive passage. This track is a truly tradition Fates Warning track and a song that can easily translate to visual form for a video if the band chooses. White Flag is very essential to who Fates Warning have grown into song wise. The guitar solo’s are very aggressive.
Like Stars Our Eyes Have Seen continues the deliberate assault on the senses. The bands aggressive vision continues for Theories Of Flight. Among all the aggression the band allows for the song to breathe and beautiful melodies to be on display. The band also ventures towards newer time signatures and various effects as well.
The Ghost Of Home opens up with a very non traditional spoken word intro. It is as if a person is changing stations on a television or radio. The vocals draw you in with ease. The Ghost Of Home is the second 10+ minute track on the album. This one certainly has a very heavy OSI influenced progression on it. It reminds me a lot of The Thing That Never Was from OSI’s 2003 deluxe 2 CD edition Office Of Strategic Influence meets a earlier Fates Warning album Disconnected married together. There are areas where their is a ambient element running with perfection with the vocal harmonies.
Theories Of Flight the self titled namesake track begins with some special interstellar space effects. The intro opens in a almost Pink Floydian nature. It also has a deep underlying spoken word effect again. Theories Of Flight is the more eclectic track in tone and nature on the album. It contains very heavy experimental and ambient elements before coming to an sudden end.
In a year where a lot of bands are making ambitious conceptual pieces to remain relevant, or Astonishing, Fates Warning have chosen to make a direct more to the point progressive metal album. This is to satisfy both long time fans and even newer ones. Theories Of Flight is another reminder of who Fates Warning truly are and embody as a band. This album gets a 5/5 for excellence. It also proves why Fates Warning have been fixtures in the progressive metal community over the last 35 years.
[youtube https://www.youtube.com/watch?v=8kkJ8qtgLBY?wmode=opaque]
