Reflects all the paths Tricia has explored…”Thought You Was The One” is a funky blues number in the vein of Little Feat and Bonnie Raitt…”Time To Call A Friend” showcases Freeman’s vocal talents as well as her imaginative writing skills.” BMANS BLUES REPORT “You put this CD in a player, and lo and behold, you instantly have to be impressed…this voice jumps out from the speakers, and it has so much sass, so much grit, so much personality, that you instantly have to be sold. That’s how I felt when I first heard the voice of Tricia Freeman.” MUSIC NEWS NASHVILLE

“One thing is readily apparent when you put this album on. This woman can sing. Her raspy vocals in “Thought You Was The One” not only remind me of Janis Joplin, but also are perfect for the blues she sings. Everyone Can See is an album you should add to your collection.” OC MUSIC EXAMINER

<Tricia Freeman Live In Concert At House Of Blues/Hollywood – Sat., May 12> (HOLLYWOOD, CA) – Check out one of the hardest-working ladies in the Southern California live music scene, Tricia Freeman, when she comes to the House of Blues, Crossroads Room, 8430 Sunset Blvd., West Hollywood, Saturday, May 12. 8-11 p.m. Free. Info: (323) 848-5100 or http://www.houseofblues.com/venues/clubvenues/losangeles/. The talented vocalist blends elements of rock, blues, country, and even soul in her repertoire, while gigging on average of five-six times a week with the Tricia Freeman Band. Freeman’s distinct gravelly-edged vocals have been favorably compared with both Bonnie Tyler and Bonnie Raitt. She is nominated for a 2012 Los Angeles Music Award in the “Best Blues/Americana/Roots” category and will be performing at the Real Blues Festival Of Orange County 3 later this Summer. Freeman has just released the well-received, independently-produced album, Everyone Can See. From the ballad-like “Blind Man Wandering” and Little Feat-esque rock ‘n’ funk feel of “Thought You Was the One” to the uptempo boogie-woogie urgency of “Mama He Treats Your Daughter Mean” and the sexy jazz feel of the title track, the twelve-song record encompasses a myriad of sounds sure to satisfy. Listen closely and you’ll hear strains of The Motel’s Martha Davis in the lovely “Going Back” and Heart’s Ann Wilson in the equally serene “Let It Go” – both not bad company to be in, to be sure! Check out a great interview with Tricia in the latest issue of All Access Magazine here – http://allaccessmagazine.com/2012/01/26/tricia-freeman/ Tricia Freeman – Bio

Raised in Kansas and Texas, Tricia’s earliest memories of music go back to her mother’s love of jazz and blues, flooding the house with the likes of Nat King Cole, Ella Fitzgerald, and her favorite, Dinah Washington. Her father loved it all, from the Latin American to classical. As she started developing her own taste in music, she began to lean more to the local country/bluegrass sound mixed with a rockin’ blues flavor that was prevalent in her college town of Lawrence, Kansas. Tricia made the big move to California at the age of 19 and immediately bought a guitar and a “how to” chord book. The rest just came naturally, from singing those country / blues songs at the local saloons, to performing in the stage production of “Godspell”, to performing at all sizes of venues, from local taverns to major festivals up & down the coast. Freeman has toured Europe from Finland to Germany several times, with different line ups, performing songs from her own CD’s and a blend of cover tunes that she makes completely her own with her bold original sound, that can only come from living the songs she sings. Her studio work has brought her performance credits in 3 movies from Disney, Time Warner and Indigo Films. She also appeared on the television show, “Your Big Break”, paying tribute to Janis Joplin. Tricia traveled to Memphis several times to sing back up vocals on 2 CD’s of Walter Trout, the amazing blues guitarist from “Canned Heat”. While there, she had the honor of working with producer, Jim Gains, of Santana fame, as well as, many other bands. Besides Walter Trout, Tricia has also shared the stage with the likes of Spencer Davis, The Little River Band, Olivia Newton John, Missing Persons, Eric Burdon and The Animals, Eddie Money and in 2007, she opened for Al Green & John Fogerty at the Doheny Blues Festival in Dana Point, California. Freeman has a bold, humorous stage presence that will have you rolling with laughter between songs. This is why being compared to Janis Joplin, Stevie Nicks, Linda Ronstad, and Melissa Etheridge, among others, has been “trumped” with other fan’s and critic’s opinions that she is much more like the multi-talented Bette Midler. Indeed, Ms. Freeman has that “Midler” appeal. This singer/songwriter puts on a great show, no matter what size the venue or the audience. You will always get the “real thing” with Tricia Freeman. Tricia Freeman Review CDs, Interviews, And Shows Passes Available. BMANS BLUES REPORT CD Review ROCKWIRED RADIO FEATURE OC MUSIC EXAMINER CD Review SOUTHLAND BLUES CD Review

The Skys

“Colours of the Desert”
www.theskys.com
Style (Indie / Psychedelic)

If your bucket list includes a tripped out psychedelic zombie apocalypse Tarantino / Peter Weir ‘esq experience out at Burning Man smoking hash from a hookah with other wayward desert transients seeking enlightenment and bath salts than I guess this is for you.  From my personal freelance photography experiences, having this CD playing while I’m out at the Salton Sea would make for an interesting sound track.  But if I’m in a bar and this band starts playing these songs I’m leaving to get a chili cheese dog from Pinks.  In a nutshell, the listening enjoyment for this band’s latest CD is all about finding the right listening environment.

Rating 2 ½ (trippy to say the least but I’m not discounting it)

Jimmy Nash

“The Road to 33”
www.jimmynash.com
Style (Singer Songwriter)

A couple things strike me with this CD and not in a good way.  For starters I’m put off by Nash’s musical prowess, which languishes torpidly limp and non-descript.  His acoustic guitar playing, vocals, and overall song writing are about as interesting as a Wonder Bread wish sandwich.  Singer songwriting style, which is how I would categorize this CD, is a spot light style that highlights the positives and negatives, but I really want to know where the emotion, the passion, and the conviction are.  If this is 100% effort I’d really hate to hear what phoning it in sounds like.  Thankfully there were only nine songs to endure.  As for that ninth song, I’m not a fan of the old Bread song “Make It With You,” but after hearing Nash’s version I hate this song even more.   Outstanding decision to end the CD with this dreadful remake.

Rating 1

The Mobbs!

“It’s the Mobbs!!”
www.themobbs.co.uk
Style (Punk / Rock)

There’s a lot to be said for a band that can bang out music that’s charismatic, has a great sense of humor and style, sounds like they’re having fun playing music, and makes having a pint in the pub with live music a fun experience.  Aside from digging the overall production, what I really like about this trio’s sound is the fullness within each instrument.  Each musician’s ability and style stands out uniquely and they bring it all together wonderfully.   I’m looking forward to checking out the band’s two previous releases to hear how they progressed to this point.

Rating 3 ½

Supercuts, one of the nation’s largest hair salon chains, has selected award-winning Country-Pop recording artist Eileen Carey as one of their newly-named “Rock The Cut” Artist Ambassadors. As a “Rock The Cut” Artist Ambassador, Carey gets to share up-to-the-minute news, tour dates, and music with both her current fans and new ones via Supercut’s vast worldwide Social Media Network. Log onto Eileen Carey’s Supercuts Rock The Cut page here and download her song “Faith” for free. Carey will make a special appearance at the 4th Annual Summer Fest concert in Venice Beach this July and the Sawdust Art Festival in Laguna Beach in August, as well as releasing the follow-up album to her critically-acclaimed “Movin’ On.

“ What The Press Is Saying About Eileen Carey And Her CD “Movin’ On:

“Eileen Carey’s voice is a droplet of honey dangling from a hive: glistening, all natural, and inviting…but don’t be fooled by the coating because the woman beneath is strong, confident, and just a little bit sassy! Lyrically Carey is smart, to the point, and colorful. Potent lines such as ‘Your lips have lost their poetry’ from the title track deliver her message with absolute focused precision and flair. Eileen has something to say and she says it dynamically. An upbeat, empowering twirling dance that relishes life in the moment and celebrates the wonder, joy and excitement of what comes next.”

SONGWRITERS MONTHLY “Upbeat, easy on the ears, blue skies and country sunshine – that’s the sounds of Eileen Carey!! I must admit – although I’m from Texas – I somewhat tend to favor rock and pop music over country music. But I also must admit that I thoroughly enjoyed listening to several of Eileen Carey’s songs when I received them. They got my attention and kept my attention throughout each of the songs. The bright acoustics, clever lyrics and crystal clear sounds of Eileen Carey may just be the type of country music I could really become a BIG fan of. Send me more Eileen!!”

SONGWRITERS WEBCAST The bi-coastal Carey blends a winning combination of smart, from-the-heart lyrics with a radio-friendly blend of Pop and Country. One of those songs, the playful, upbeat “Out With the Girls,” won “Dance Single of the Year” at the 2010 Los Angeles Music Awards and was successfully remade into a country/dance song to accompany a nationwide dance club promotion

Watch a video of Eileen’s song “Faith” here:

Eileen Carey- Upcoming Live Shows & Special Events Itinerary July 28 (Sat.) 4TH ANNUAL SUMMERFEST Venice Beach,

CA August 4 (Fri.) SAWDUST ART FESTIVAL Laguna Beach, CA

EILEEN CAREY INTERVIEWS AND PROMOTIONAL MATERIALS AVAILABLE.

www.eileencarey.com
www.myspace.com/eileencarey
www.themusicmom.com

To release their 12th studio album, Serpent Sermon, on June 5th in North America! See below for the exact release dates by territory.

Serpent Sermon street dates: GERMANY / AUSTRIA / SWITZERLAND / NORWAY: Friday, May 25, 2012 UK / BENELUX / FRANCE / GREECE / DENMARK / PORTUGAL / REST OF EUROPE: Monday, May 28, 2012 SPAIN / ITALY: Tuesday, May 29, 2012 SWEDEN / FINLAND / HUNGARY: Wednesday, May 30, 2012 AUSTRALIA / NEW ZEALAND: Friday, June 1, 2012 USA / CANADA: Tuesday, June 5, 2012

The band is now giving fans their first preview of Serpent Sermon with the premiere of the album’s first track, “M.A.M.M.O.N.”, on Metal Hammer Germany:

http://www.metal-hammer.de/video-audio/premieren/article286629/premiere-des-neuen-marduk-songs-m-a-m-m-o-n.html

Serpent Sermon will be available in both physical and digital formats, with an LP and limited-edition mediabook CD available exclusively via www.cmdistro.com. The track-listing for the album is below.

Serpent Sermon track-listing 1. Serpent Sermon 2. Messianic Pestilence 3. Souls For Belial 4. Into Second Death 5. Temple Of Decay 6. Damnation’s Gold 7. Hail Mary (Piss-Soaked Genuflexion) 8. M.A.M.M.O.N. 9. Gospel Of The Worm 10. World Of Blades ** The limited-edition mediabook CD will also include the studio bonus track “Coram Satanae”.**

There will also be a CD single for the song “Souls For Belial”, which will include a cover of WOVEN HAND’s “Oil On Panel”. This CD will only be available in the May issue of Sweden Rock Magazine (#92) that is due out on April 17th– but don’t worry! If you miss out on the CD version, there will also be a limited-edition 7″ EP with the same songs that will be released in late May through www.cmdistro.com.

In support of Serpent Sermon , MARDUK will be playing headlining shows in Chile, Puerto Rico, and North America starting May 31st. Joining them on the road will be 1349, WITHERED, and WEAPON, so be sure to attend! A list of all upcoming tour dates is below.

“Serpent Sermon” North America tour dates feat.

MARDUK with 1349, WITHERED, WEAPON May 31 – Santiago, Chile @ Club 334 **MARDUK only**

June 1 – Puerto Rico, PR @ La Respuesta **MARDUK only**

June 2 – Baltimore, MD @ Sonar

June 3 – Brooklyn, NY @ Williamsburg Music Hall

June 4 – Montreal, QC @ Les Foufounes Electriques

June 5 – Toronto, ON @ Wreck Room

June 6 – Ottawa, ON @ Maverick’s

June 7 – Columbus, OH @ Alrosa Villa

June 8 – Chicago, IL @ Reggie’s

June 9 – St Paul, MN @ Station 4

June 10 – Winnipeg, MB @ Park Theatre

June 11 – Regina, SK @ The Exchange

June 12 – Calgary, AB @ Distillery

June 14 – Vancouver, BC @ Venue

June 15 – Seattle, WA @ Studio Seven

June 16 – Portland, OR @ Bossanova

June 17 – San Francisco, CA @ DNA Lounge

June 18 – Fullerton, CA @ Slidebar **MARDUK only**

June 19 – Hollywood, CA @ House Of Blues

June 20 – San Diego, CA @ Ruby Room

MARDUK online:
www.marduk.nu
www.myspace.com/truemarduk
www.facebook.com/mardukofficial

Nektar is one of those important bands that found success during the classic progressive rock period of the 70’s then lost some ground once the decade ended. Roy Albrighton is the band’s longtime leader, vocalist, and lead guitar player. He has gone through various incarnations with the band.

Cleopatra has reissued two albums and one EP from the Nektar catalog, Man In The Moon (1980) / Evolution (2004) and the bonus EP Always (2005). Perhaps these releases have been overlooked due to all of the classic releases during the 70s. The two CD’s come housed in trifold cardboard case with the magnificent artwork of both albums on the cover, pictures of both bands on the inside, and a nice write up in a booklet.

Roye Albrighton, Allan “Taff” Freeman, and Ron Howden reunited with recently enlisted bassist Randy Dembo and put out the excellent Evolution in 2004 which was most certainly a return to the form the band enjoyed at the very height their success when they released a string of outstanding recordings in the 70s. Man In The Moon is an entirely different story.

Man In The Moon’s lineup was Roye Albrighton (Guitar, Lead Vocals, Background Vocals), Allan “Taff” Freeman (Keyboards), David Prater (Drums, Background Vocals), and Carmine Rojas (Bass, Keyboards). If anything what was accomplished with these two releases is the fact that it presented two different versions of the band and consequently two different sounds and styles. One of the things that really kept Man In The Moon sounding like Nektar is Roye’s trademark vocals. He does an admirable job within a decidedly commercial sounding recording in comparison to any other release.

Make no mistake this is Nektar, just different people and sounds surrounding the main man. The Nektar faithful would be on two sides of the fence with this release. The ardent collector would have a copy and the old school progheads would not consider it a true Nektar release. It is not a bad album, it’s good, just not great like you would expect from this exceptional band. “Too Young To Die” is a fine opening track and “Far Away” sounds like it could have been a hit single. The rest of the album is adequate but not something that really gets under your skin and keeps your attention for a sustained amount of time. There are some moments where the guitar runs will get your attention like on “Torraine.” There is also a bonus track added to sweeten the sour taste you may have had in your mouth titled “Straight Jacket.”

Evolution is return to form and quickly makes you forget about that somewhat unwelcome change you just heard. I do not want to trash Man In The Moon, as I said it was not a bad album it just did not give you much to hang onto and reason to revisit. Evolution was perfect timing after the band’s back catalog had been remastered and released again after a 20 year absence. This proved once again that Nektar were the quintessential prog rockers and it has carried them with plenty of momentum and excitement to present day.

“Camouflage To White” kicks starts the proceedings in typical classic Nektar fashion followed by the thought provoking and beautiful ” Old Mother Earth,” which has its high points that rock, reaching crescendos of sounds and atmospheres appropriately dedicated to our life sustaining planet. Roye peels off some magnificent licks on the track and it is a full bodied composition that really shows off the talents of all the band members. That is the one factor that makes this band what they are. Granted Roye is the core of the Nektar planet however where would he be without the other members? It is special kind of magic they make on this recording. “Child of Mine” is emotive and colorful and definitely one of the best tracks on the album. After soaking up the beauty and innocence of a child you then are brought back to a classic Nektar rocker called “Phazed By The Storm.” The lead vocals and harmonizing is excellent and the music driving this piece is spectacular.

Nektar has not lost their touch, they still can stimulate with their music, make you think and reflect with their lyrics, and take you to places that only great bands can. The transitions, colors and textures of their music are what make them so unique and one of my favorite prog rock bands. I realize it has been a few years since a new studio release has arrived however if you watch any of their DVDs or video footage featuring live performances you will see that they still know how to turn it on and bring an audience to prog rock nirvana.

If you think about the title, Evolution, it is quite appropriate as the band and its individual members do evolve and coalesce to make a powerful statement on the album. Prog on Nektar!

www.nektarsmusic.com

3/5 Stars-Man In The Moon

4/5 Stars-Evolution

Key Tracks: Camouflage To White, Child of Mine, Too Young To Die

Keith “MuzikMan” Hannaleck-Founder MuzikReviews.com

My first reaction to Thick As A Brick 2 otherwise known as TAAB2, was where is Martin Barre? He has been playing with Ian and Jethro Tull forever! Well Martin is busy recording a two disc solo album. I do not think he has ever missed a Jethro Tull studio album because of a session he was involved in due to solo work. There may be more to this than meets the eye and there probably is. Irregardless Anderson soldiers on to bring Gerald Bostock, the main character in the story up to date, now 40 years later at 50 years old and what his story would sound like now.

Intrigued yet? If you are a lifetime fan of the band such as I, well of course you are, if not you probably could care less, then again if you are progressive rock fan certainly your outright curiosity will get the best of you and then you must listen!

The 40th Anniversary of the original album is celebrated with Thick As A Brick 2 and a lineup that includes Ian Anderson at the helm providing all the writing, vocals, flute and his mini acoustic guitar, John O’Hara (Hammond Organ, piano, keyboards), David Goodier (bass guitar, glockenspiel), Florian Opahle (electric guitar), and Scott Hammond (drums, percussion). Some of you may recognize guitarist Ophale from Ian’s solo work or his orchestral projects back in 2003. He is no newcomer to the world of recorded music and performing. Considering he received master class instruction from the legendary jazz-rock-fusion guitarist Al Di Meola, it comes as no surprise to me that he was a more than an adequate replacement for Mr. Barre. Barre is a great player and it is disappointing to see him absent from this album however you have to give credit to all the musicians involved as they did a superlative job with Ian’s new incarnation of the album.

This is an excellent album offered in two formats, the one CD package and the 2 Disc Special Edition, which I received for review. This version comes in a tri-fold out CD case with the regular CD and a DVD featuring 5.1 stereo mixes, 24-bit stereo mix, video making of the album, interviews with the musicians and Ian reading the lyrics in various locations, and a booklet. If you pop the 5.1 DVD in your stereo system connected to your TV or PC each song displays the words as they move down the page to lead you. A pretty cool feature I thought. What was nice about the in studio footage was that it is a very rare occasion as Anderson never allows that to happen. So all of you JT fans can enjoy this and take advantage of the opportunity and get the special edition.

Ian Anderson is a bit eccentric and his words that make up his music and song are direct reflection of his personality and experiences. He does have a vivid imagination and is a gifted songwriter and musician. So how does this second version stand up to its forerunner? Firstly the vocals are a few notches down as they have been over the last several years but that is just fine. Ian has adapted to his lost range and brings a new found resonance and a poetic sense to his delivery. He has a defined talk-sing type of voice now that actually suits the music quite well. The energy is entirely different on this album, there are flashes of brilliant musicianship and Ian and the boys cut loose here and there but the overall atmosphere is one of reflection with an added pensiveness as Mr. Bostock makes his way through all the pitfalls of society today. It becomes obvious that this is a man living out of time and would have been better suited in old England sipping tea in the garden. I gave TAAB2 several spins along with a listen to the 5.1 surround sound (mixed by Steven Wilson) and it all sounded crisp and clear. Anderson’s voice is punctuated by well-placed instrumentation as you would expect and the story rolls along in stride with every note. This will be the kind of album that grows on you with each listen and I think many folks will agree this is some of Ian’s best work in the last decade. Tull’s last studio album was the 2003 The Jethro Tull Christmas Album, which was excellent I might add. And actually the last normal JT studio release was J-Tull Dot Com in 1999, the only release in their entire catalog that I did not care for.

TAAB2 offers up tasty treats such as ”Upper Sixth Loan Shark” and “What-ifs, Maybes And Might-have-beens” and “Banker Bets Banker Wins,” which has an extremely catching guitar riff running through it. It all sounds familiar, in a comforting way if you are a fan, and most importantly sounding like something Ian would write. He spins a yarn like no other in music today and is the true minstrel in the gallery once again.

TAAB2 will not go down as a classic like its predecessor or albums like Aqualung or Passion Play but it can be appreciated as a solid release for Jethro Tull 2012 with an entirely different lineup. Even without Martin Barre playing guitar it still sounds like a Tull album because let’s face it, Ian Anderson is the man that makes it all tick. This entire album most definitely is a “Change of Horses” and it works out all very well making this a welcome addition to the Jethro Tull catalog.

Key Tracks: Upper Sixth Loan Shark, Banker Bets, Banker Wins, What-ifs, Maybes And Might-have-beens

Keith “MuzikMan” Hannaleck-Founder MuzikReviews.com

Cadaveria formed in 2001 soon after they rounded up the musicians they knew would suit their band’s musical style and inspiration which lead them to release several releases, tour, and of course write and record even more. Now that a new era is upon them a fourth album is spreading faster than the plague itself and it is called “Horror Metal” the all new beginning to an all new realm of horror and darkness known only as Cadaveria! Frontwomen Cadaveria herself spoke to me about the band’s latest achievement and what was said about the process of it and where the band will be throughout this current time and year.

All Access Magazine (AAM) Where did a name like Cadaveria come from?

Cadaveria: My nickname testifies my love for all what is obscure and unknown and my attraction to what is forbidden.

AAM: What can you tell me about your latest release Horror Metal?

Cadaveria: It was released on January 31st 2012 on Bakerteam Records and we are very excited on how it has been welcomed by fans and critics. Feedback is 100% positive and we must agree with this, as we think Horror Metal is the best album we have ever released. The album features eleven brand new songs composed along the past years and recorded during 2010. We have been in the recording studios for a long time, since we have produced the album by ourselves, caring about all aspects. In 2011, after a premix, we entered the studios again to add some keyboards parts and to re-record some vocal parts I didn’t like. Finally, after a long mastering, the album is now in stores, ready to kill.

AAM. Why did you want to name your album that and what does it symbolize?

Cadaveria: Since our first release The Shadows’ Madame, people have always defined our style as Horror Metal This time we thought no other words could better describe the evil and horror atmosphere you can breathe by listening to this album. So in this case Horror Metal represents more a mood than a genre, dealing with the cryptic sensations coming from these new songs.

AAM What’s the music scene like in Italy are there any band’s you’d recommend?

Cadaveria: I don’t follow the scene so much and I don’t know if there is any rising star in the Italian underground. Our panorama is still “monopolized” by historic bands like Necrodeath, Sadist, CADAVERIA, Death SS, and Lacuna Coil. I hope some young talent will be able to break the schemes, otherwise in ten years the Italian scene will be dead.

AAM. When did you get signed to Bakerteam Records and what was running through your mind when you got signed?

Cadaveria: After the experience with Season of Mist, that released our third album In Your Blood, we were looking for a label that had the right enthusiasm to promote our new album in the proper way. Bakerteam is a division of Scarlet Records, for which our first two albums were released; we already knew the guys working in it, so it has been like a return to home. Together with Worm Hole Death, our publisher, they are doing the work we were expecting.

AAM. What are your songs about? (What specific themes do they cover?)

Cadaveria: Basically the lyrics deal with personal experiences, dreams and nightmares and sometimes take inspiration from literature, cinema (“Apocalypse” lyrics is the transcription of a monologue from Mel Gibson’s movie Apocalypto) or art in general. I write about sensations, state of mind, fears, wishes… Dark and sad lyrics sometimes enlightened by flashes of the unexpected. I often speak about death, but I also think about life, inner force, pride, energy, desires and pleasures. The places inspiring our lyrics are plunged into fog. They are the places where we I live, the places that influence what I am and what I write.

AAM. Do you write your own songs? (Discuss the songwriting process in detail.)

Cadaveria: I continually take note of things I’m interested in. When it is time to start composing a new album I reorganize these notes in a lyric and so, lyrically, a new song is born. Dick Laurent, our new guitar player, wrote the most part of the riffs for Horror Metal. The first work we always do when we meet each other in the rehearsal room is to fix which lyrics better suit with the musical parts. Then we build the songs structure, choose the rhythm and so on… After a pre-production we usually revisit the tracks, changing melodies, adding arrangements and guitar harmonization’s.

AAM. Who are your musical influences?

Cadaveria: The band’s members have a different musical background that crosses from the Seventies Hard Rock to Black Metal. Our music is the result of these variegated musical tastes. Horror Metal is full of influences coming from Death Metal, Black Metal, Gothic and Heavy Metal in general, passing through Black Sabbath and the Eighties New Wave…

AAM. How do you describe your music to people?

Cadaveria: Well, finally we too can use this definition: Horror Metal, of course! A personal mix of extreme Metal music, spiced with ghosts, darkness and zombies coming from cemeteries. It’s a cry of forbidden passions and terrible anguishes.

AAM What image do you think your music conveys?

 Cadaveria: Our music communicated emotions, power, elegance and precision. Close your eyes and you will see crows in the fog, stale blood, wild beasts, wind and fire. Pump up the volume and let yourself be enraptured by fear!

AAM. How about touring when will you guys be hitting the road and will you be making your way to the U.S.?

 Cadaveria: We are playing some live dates in Italy and we are receiving offers to play abroad in Europe this autumn. Unfortunately to tour the US is still a far hypothesis.

AAM. What is one thing everyone should know about Cadaveria?

Cadaveria: I would like everyone know our new album entitled Horror Metal is out now! You can get it in your local music stores or directly on www.cadaveria.com/. Follow us on www.facebook.com/cadaveria for any update. Thanks a lot!

Virtuoso ensemble, ten-piece horn section and a full orchestra string section help propel the eclectic mix of jazz due June 5th

27 March 2012 (Sherman Oaks, CA): Grammy nominated bass maestro Brian Bromberg continues to blaze his own audacious path through the jazz kingdom on “Compared To That,” which will be released June 5th by Artistry Music/Mack Avenue Records. For his 20th solo collection of kinetic and combustible jazz of various forms, Bromberg produced, composed eight new songs, and herded a ten-piece horn section, a full orchestra string section and a prodigious collective of prominent musicians. The first track to go to radio is his swinging take on the snappy Chicago hit, “Does Anybody Really Know What Time It Is?”

It’s been a while since Bromberg recorded an album that swings so he primarily maintains a fast cadence on “Compared To That.” Although the record leans towards straight ahead acoustic jazz, Bromberg refuses to color between the lines. His visionary, multihued jazz palette swirls hard-charging swing, contemporary sheen, deep-fried funk, and touchingly beautiful balladry. Throughout the album, Bromberg’s basswork is like a master’s class with the astute musician playing acoustic, electric and piccolo (both acoustic and steel string) basses. With his piccolo basses tuned to sound like guitar, all of the lead melodies and solos throughout the collection that sound like guitar are actually piccolo bass. An accomplished cadre lent their talents to the two days of live tracking including Alex Acuna, Gannin Arnold, Charlie Bisharat, Randy Brecker, Vinnie Colaiuta, George Duke, Bela Fleck, Mitch Forman, Larry Goldings, Jeff Lorber, Gary Meek and Tom Zink. Bromberg’s tongue-in-cheek humor was deftly deployed when it came to titling his original compositions – “Rory Lowery, Private Eye,” “If Ray Brown Was A Cowboy?,” “A Little New Old School” and “I’m Just Sayin’” are a few examples – and his flair for choosing unexpected songs to cover shines brightly on an imaginative, toe-tapping rendition of the Rick James signature hit “Give It To Me Baby.”

“One thing I feel that makes ‘Compared To That’ a unique project is that it is a live jazz recording that also has a ten-piece horn section on many tracks, a full orchestra string section on two cuts, and the production of a much bigger project. Essentially, it really was a two-day live jazz recording session along with 3-1/2 months of the kind of production used on big pop records. I truly blended the best of both worlds: live acoustic jazz with the audiophile of a major production,” explained Bromberg, who previewed the album at a Sunday brunch performance at the Berks Jazz Fest in Reading, Pennsylvania this past weekend (March 25). “I went more to my jazz roots on this CD with a lot of swing and walking bass. All in all, I think it is a fun listen for a true jazz CD and I am very proud of it.”

On July 3rd, Bromberg will release a couple more inspired recording projects: “Bromberg Plays Hendrix,” a tribute to iconic guitarist Jimi Hendrix previously released in Japan that was made without any guitars, again playing the piccolo bass to the tune of a guitar, and “In The Spirit of Jobim,” which pays homage to Antonio Carlos Jobim on a collection of tunes made famous by the fabled Brazilian and original songs penned by the bassist emulating Jobim’s style.

A native of Tucson, Arizona who recorded and mixed “Compared To That” while comfortably ensconced in his suburban Los Angeles home studio, Bromberg is respected as a musician with integrity who is gifted with a unique ability to make music at a scholarly level accessible and digestible to the mainstream masses. He landed his breakthrough professional gig at age 18 when tapped to tour for nearly a year playing in legendary jazz saxophonist Stan Getz’s band. Bromberg released his solo debut, “A New Day,” in 1986. To date, he has scored handfuls of top 10 hits and a pair of #1 singles as a soloist and as a writer and producer for other artists. Recognized as an innovator, he has played acoustic and electric bass on recordings and performances with a luminous encyclopedic list of musicians that spans the spectrum of jazz and popular music ranging from Dizzy Gillespie , Sarah Vaughn, Herbie Hancock, Dave Grusin and Nancy Wilson to Sting, Elvis Costello, and Steven Tyler, and from Michael Buble, Josh Groban, Dianna Krall, Andrea Bocelli and David Foster to George Benson, Bob James, Lee Ritenour, Kenny G, Chris Botti, Boney James and Dave Koz. He also played on many major motion picture soundtracks such as “The Fabulous Baker Boys,” “The Preacher’s Wife,” “Fat Albert” and “Hope Floats.” Additional information is available at www.brianbromberg.net.

The songs contained on Bromberg’s “Compared To That” are:

“Compared To That” “Rory Lowery, Private Eye” “If Ray Brown Was A Cowboy?” “Hayride” “A Little New Old School” “Forgiveness” “Does Anybody Really Know What Time It Is?” “I’m Just Sayin’” “The Eclipse” “Give It To Me Baby”

Jim Ledger (lead and backing vocals, bass, acoustic and electric guitars) and Glenn Little (keyboards, flutes, charango, ukulele, guitars) met in junior high and soon found out they shared a love for acts like Genesis, which is the first band that came to mind while listening to the opening track “Crows in the Field.” Then there was Jethro Tull, Strawbs, Anthony Phillips, Mike Oldfield, Supertramp, Renaissance, Cat Stevens, and Elton John that peaked their interest as well. So how is it that you can hear all of these artists in their music? It is not very difficult actually, much easier than you would think, well for Balloon Astronomy anyway.

Along with Ledger and Little they get a little help from their friends including Nick D’Virgilio (drums and percussion), Jason Smith (drums and percussion), Mike Keneally (acoustic guitar) and Max Werner (clarinet).

What I found so appealing besides the fantastic music was Ledger’s vocals. They are clear, expressive, and right on point. I can actually understand every word. Many times I hear great music but really struggle to understand what the vocalist is trying to say.

“The Odyssey” is a good example of the multifaceted sounds that this duo produces. And believe me it is very prog, they go through several transitions in one track. By no coincidence this is the longest track clocking in at 6:37. The atmospheres range from epic apexes, like a volcano erupting, to the beauty of a pristine stream babbling that calls to you offering a passage of serenity. All of this is accomplished within six and half minutes. It echoes the band’s name in many ways. If you can envision going up in a hot air balloon on a clear night to observe the constellations, think how expansive and wondrous that would be. That is what their music is all about. It does not get any more expressive than that when it comes to recording prog rock with an impact.

Another track that sets the tone is “Eagle,” it soars as high as its namesake, particularly with the keyboards. I would earmark this one to be looked upon as a fan favorite and remembered as a classic for as long as the band is around and many years thereafter. If you take a look at all the instruments that come into play on this recording (see credits above) it’s no wonder it sounds as good as it does. ”Sigmoid Fletcher” is another slice of pie from the world of early Genesis. It is a rollicking good tune that brings a smile to your face and your heart. The way they end this album is very interesting with some instrumental classically influenced keyboard and guitar licks. It sounds like something from one of Rick Wakeman’s solo albums – The Six Wives of Henry the VIII comes to mind in the front end of the track. Leave it to a prog band to end an album this way after hearing 11 tracks full of tremendous vocals. To leave you pondering with some instrumental virtuos ity that would give any prog head his money’s worth on the way out the door is appropriate.

This band is unsigned right now, but not for long. I am willing to bet this album makes many top ten lists this year. Music is a form of art at the highest level and this is a masterpiece of the progressive rock genre.

5/5 Stars

Key Tracks: The Odyssey, Eagle, Sigmoid Fletcher

Keith “MuzikMan” Hannaleck-Founder MuzikReviews.com

Artist/Band Website: balloonastronomy.com

and CraveOnline.com Unveil New ‘BRENDON SMALL’s GALAKTIKON’ Track Today New Album Coming April 2012!

CraveOnline.com and BRENDON SMALL are thrilled to finally unleash a brand new track from the METALOCALYPSE co-creator’s new side project, BRENDON SMALL’s GALAKTIKON. The new track, ‘On My Way’, is the closing track on the upcoming concept album. BRENDON SMALL’s GALAKTIKON hits stores in late April 2012. “I’m thrilled to finally give people a taste of what I’ve been blabbing about doing for months,” states Brendon. “’On My Way’ is the last track on the record, where our hero confronts the villain and saves the girl, while complaining the whole time! Enjoy, and stay tuned for more tracks emerging soon.” BRENDON SMALL’s GALAKTIKON: “A High Stakes Intergalactic Extreme Rock album”, will coincide with the Season 4 premiere of METALOCALYPSE. Brendon Small is responsible for writing and performing all of the music on METALOCALYPSE, as well as the Billboard chart-topping albums DETHKLOK: THE DETHALBUM and DETHALBUM II, released by Williams Street Records. The latter album is now known as the fastest-selling death metal album to date. For all up-to-date information and to purchase BRENDON SMALL’s GALAKTIKON,

please visit www.brendonsmall.com: your one-stop-shop for everything involving this new project. You can also catch more intermittent updates on Facebook at www.facebook.com/brendonsmallgalaktikon and follow Brendon Small on Twitter at www.twitter.com/_brendonsmall.