The foundation for the Cherry Hill, New Jersey-based four-piece Dez Childs Release was laid back in 1998 when front woman/guitarist Des Childs met future lead guitarist/producer Steven J. Childs at his studio, Musically Speaking Productions in Blackwood, New Jersey. What makes things all the more impressive was that Des was only twelve years old at the time! The two decided to become songwriting partners and spent the next three years honing their craft. Given the chemistry between the two, Steve and Des decided to form a band. Eventually the duo would add bassist Lou Suppa and drummer Mark Green to round out the lineup that would become Dez Childs Release. What had started off as a solo project had taken on a life of its own!

Since their formation, Release has been winning over fans in the South Jersey/Philadelphia club circuit with their hook-filled mix of melodic hard rock and metal. The band has an impressive range of influences that include Opeth, Black Sabbath, Mozart, Led Zeppelin, Heart, Queensryche, Dio, Iron Maiden, Rush, Tool, Disturbed and Sarah Mclachlan. One listen to this demo will convince you that Release has quite a future ahead of them. Let us listen to the songs now, shall we?

“When I Open My Eyes” kicks into gear driven by a hooky mid-tempo riff, tight drum and bass work, and the powerful and beautiful voice of Des. This song is a killer that has great radio potential! If it does not make you a fan of their work right off, then I suggest you take the cotton out of your ears and listen again!

The hooks come out to play again on “Still Reminder”. A sweet acoustic melody is beefed up by some meaty yet melodic riffage on yet another number that is screaming for a spot on radio playlists everywhere. The vocals on this track are more gentle, but do not lose their power or emotion! OH MY GOD! What a voice! Do not be surprised if I keep repeating that!

I really love the atmospheric heavy riff that adds color and depth to “Fall Into A Grave”. Hiding in the background are subtle keyboard textures that add even more flavor to yet another memorable track! Some very nice soloing near the end of the track by lead axeman Steve. Did I say the vocals were awesome? I didn’t? Well…the vocals are awesome once again! Such an incredible voice! I told you I’d keep repeating that. Don’t say you weren’t warned!

Musically, Dez Childs Release is a very tight and cohesive unit. Not only does Des Childs sound off a powerful, beautiful and emotional sirens’ song that would send many sailors to their doom upon the rocks, she also plays some great heavy riffs on the axe, and some nice keys that fit the music perfectly. Lead guitarist Steven J. Childs adds more great riffs to the mix that give the songs even more power. Bassist Lou Suppa and drummer Mark Green form a knot hard rhythm section that gives a perfect backbone to the songs.

If you are fan of female-fronted metal and hard rock, you would be a fool to pass up this very impressive demo. Dez Childs Release has all the tools for success: great songs, great hooks, solid riffs, and one of the best voices I have heard since RFUSA has begun. Get off of your ass and go to one of their shows. After you are done picking yourself off the floor, make sure you grab a copy of this demo!

“Yo! Back in 2 double-0 4 an entity was reformed playing progressive beats…ENCOMPASS WAS BORN!”

Why did I choose to begin this review in such a fashion? I’m not gonna tell you yet! Just read on as I tell you the tale of the Alexandria, Virginia-based prog band Encompass.

Originally formed in 2001, the goal of Encompass was to form a band featuring members with diverse musical and cultural backgrounds. Sadly, despite some great shows and the building of a strong following, said musical differences caused the band to implode later that year. After a three-year breakup, the band reformed in 2004. This time, the band decided to use those musical differences to their advantage and proceed to write and perform music that, in the words of the band’s bio, was “uncatagorizable”. While each band member had their traditional roots in metal music, they added the influences of bands like Rush, Marillion, Journey, Genesis, Faith No More and many more diverse styles to their sonic brew to create their own brand of progressive rock and metal. Released in 2006, their self-titled “demo album” finally captures the bands’ sound for all to hear.

The Encompass lineup (on the CD) consists of guitarist/vocalist Farhad Hossain, keyboardist Mike Farmer, drummer Tanvir Tomal and bassist Jose Mora (who left in July 2006 and was replaced by Mike Ricci). Ex-drummer Saadi Ashraf plays the drums on two tracks.

“Overture” begins the album with a delicious instrumental display which gives the listener a little taste of what Encompass has to offer. A perfect intro filled with some cool key soloing and some nice riffs.

“Weight Of The World” features guitar, bass and piano in perfect unison creating a perfect sonic background. We are introduced to Farhad’s gentle but powerful vocal delivery before he hits some high notes during the sing-along style chorus. Great guitar solo on this one.

Quiet keys and bass licks clear the way for the upbeat sounds of “Under Lunar Orbit”. The vocal delivery is louder and less gentle, and the overall tone of the music is heavier. Some nice stop and starts on this track, which features another great chorus. Very cool and creative guitar riffs too!

Spacey sound effects and gentle guitars followed by a pretty piano solo lead you into “A Postwar Requiem". Hossain sings with emotion and longing during the verses before belting it out more on the heavier chorus. “I sought you, would you seek me?” he asks. The last quarter of the song becomes an instrumental playground for the boys as Mora melts the strings with his bass licks, Farmer adds great keyboard licks throughout, and Hossain starts off with some sweet notes before letting the shredder in him take over with some mind-blowing soloing! Great stuff.

“Perchance To Dream” takes things down a notch with an ethereal keyboard background, wide open spaced drumming, and the strum of an acoustic guitar. Farhad gives his most emotional performance yet as he pleads for love to someone who does not seem to want to listen. He hits some unexpected high notes on this one that will surely catch you by surprise. This track may make you cry. “Who am I to believe in victory?”

Follow your “Impulse” and dig this great instrumental! Sweet solos and an almost Latin sounding riff will make you want to break out the castanets! I love the feel of this piece as it shows off their world music influences very well.

“The Eyes Of Ankara” shifts moods from the hopeful, to the peaceful, to the heavy madness of a simply awesome instrumental break where every musician gives 110 percent before bringing you back down to a mood of sadness as we follow the tale of a blessed man who has the power to bring peace, but also seems to be searching for peace himself. The sadness slips away in the end as the song builds to an optimistic crescendo at the end. Awesome vocals on this one! Easily my favorite track…but the next one provides stiff competition!

Get ready to HEADBANG! Melodic sledgehammer riffs (is that an oxymoron?) pound your senses while a melodic keyboard line lulls them to a false sense of security. Then the riffs get heavier and cause you to headbang even more! But then it all fades and serenity perseveres…not for long! The heavy riff takes over again as Farhad wails over the madness…what track is this? Well, it is “Balance”, an awesome prog metal monster that could also easily slide onto your radio! IMPRESSIVE! The solos on this track simply rip! “We’re all equal in the end” punctuates one split moment of silence before the riffs kick your ass into next week again!

The epic and emotional tear jerker “Still” rounds off this great collection with pure perfection. A beautiful extended instrumental passage leads to just piano before the vocals take over. The song builds and builds as Farhad reaches vocal ranges that are soaked with power, emotion and feeling as he sings of a relationship that seems to be in the break-up stages. “Don’t you ever say you loved me, don’t you ever say you care!”, Farhad screams as the song builds to some awesome solos on both guitar and keyboard. The mood becomes more gentile for the time being before the song builds to an emotional climax. OH MY F*CKING GOD is the best phrase I can use for this emotional roller coaster!

Hey WAIT! Don’t take the album out yet! Do this instead…fast forward to about 1:55 of the next track and listen to some hilarious rapping by the Encompass guys as they have some fun! After this track you will know why I began the review the way I did! When you see them rocking best get out the way! Don’t make them bitchslap you like the ho that you is!

The musicianship? In a word: Incredible! Farhad Hossain rips out lightning leads, melodic slow leads, heavy riffs, smooth as silk melodies, and awesome vocals with no trouble at all. Mike Farmer shows off great skill on the keyboard without showing off. Jose Mora lets his fingers fly on the bass with some groovy licks. I was at the last performance he did with Encompass and it was a shame he had to leave the band. New bassist Mike Ricci should fill his shoes well, however. Drummer Tanvir Tomal shows off why he earned the nickname “Missletoes” with his superb skills on the kit.

With this album, Encompass proves once again why the mid-Atlantic region could become a progressive metal hotbed. Record companies need to stand up and take notice! The next generation of progressive metal is right here, and Encompass is one of the bands leading the charge! Be sure to add this album to your wish list!

I think I dug this album. You will too!

Gordon Tittsworth had a huge reason to be proud in 2001. He had just released the first Images of Eden record, which was entitled Chapter 1. This record was the culmination of almost two years of hard work and dedication that would force most musicians to check into the looney bin. Not only did GT write the songs and perform the vocals, he also played guitar, bass and keyboards (he had a session drummer). Whew! Now that he had an album recorded, and a name for his new band, he needed one more thing…a band! He found the first piece of the puzzle when he recruited guitarist Dennis Mullin from the progressive rock band Illuvatar. Several drummers, keyboardists, and bassists came and gone while the new band started to play the Baltimore club circuit. Stability on the drum riser would come with the addition of drummer Matt Kaiser, and Brian Gulin from the band Hyperchild joined on bass for awhile. This lineup would last almost a year before Gulin decided to part ways. Although he was now short a bass player, Tittsworth did not let that stop him and his new mates. He felt that he had finally had the musicians he had been searching for all of his life. Armed with his most compelling set of songs yet, the trio headed into the studio to record the follow-up album to Chapter 1, which was titled Sunlight Of The Spirit.

In an interview I conducted with Gordon Tittsworth, he says “The one thing about Images of Eden, and this wasn’t something that I meant to do, it’s just something that kind of started so I’m running with it... Each album starts where the last one leaves off. It’s like an ongoing story and progression through life, told in a positive and uplifting way. The first album began as thematic. It’s about putting the past behind and starting brand new, finding this “estranged”, peaceful world... after the “demons” have all gone away.” He describes it more poignantly than I ever could right there. Now that the past is behind you and you have fought all the problems of the world, it is time to enter Eden again. So, my friends, let’s push play and let Sunlight Of The Spirit be our guide back into Eden.

If you close your eyes and listen to the opening intro “Ascension”, you get the feeling that your spirit (no pun intended) is leaving your body and is escaping the physical plane. Eden awaits!

Well, I say, if Eden is anything like the opening song “Kaleidoscope” , I never want to leave! A punchy mid-tempo riff and the pitch perfect drumming are backed by a subtle keyboard texture, and then GT’s powerful vocals take over. His vocal delivery sounds even better here than it does on Chapter 1, if that was even possible! Awesome chorus harmonies in this one, and Mullin delivers the perfect riff! Musical perfection!

Soothing sounds of the keys and the sweet textures of the guitars are now taking you “Beyond The Horizon”. This song is beauty personified! GT hits some awesome high notes and tells us “Don’t tear yourself apart over things out of your control”. This song is a rallying cry for you to get up and find your own Eden, instead of waiting for Eden to come to you. Beauty and heaviness are balanced perfectly in this song, which would be a perfect single.

“To Live Another Day” talks about the long journey it takes to get to where you want to be in life. Punctuated by Rush-esque guitars and atmospheric keys (and a cool keyboard solo) this song is a short, but sweet track. A testament to the triumph of the human spirit.

A William Blake quote over a military style drum roll, piano, and strings begin the breathtakingly epic journey that is “Dream-Catcher”. The sounds build and the tension mounts…the intensity is about take over! It’s gonna get heavy! Nope..nope…they are maing you wait! A Zeppelin-esque movement begins and acoustic guitars and pianos take over before GT says “You’ll never be in heaven without going through hell”. The calm takes over again as this songs shifts tones once again. Once you have calmed yourself down and the defenses are gone, then the madness takes over with some bad ass riffing and some awesome soloing! A song that tests your patience in a good way! This song is an instant classic.

All of need someone to love in our lives, and if you have one, it is the greatest gift in the world. “A Midsummer Night’s Dream” showcases all the beauty that there is in spending quality time with the person you love. Indulge yourself in the serenity of the acoustic guitars while GT sings of the joy of the moment, of indulging in the fruits that some call sinful, but what I call beauty and bliss. The beauty is disrupted as the acoustic melodies give away to electric riffing and you can sense that the moment is about to get nasty in a good way! Let the party begin!

While the beauty of love is explored in the previous track, the meaty guitar riff and the sleazy rhythm of “Aladdin” suggest that things have progressed to good a good old down and dirty romp in the sheets. This song is about as close to sex, drugs and rock n’ roll as Images of Eden is gonna get. Man, this is a fun track, from the awesome riffs to the nasty snarl of the guitar solo. A heavy rock ode to the sins of carnal knowledge.

We go from celebratory to somber with the first track of the Sunlight Of The Spirit trilogy, entitled “Emerald Rain”. The sound of falling rain is punctuated by the toll of a bell and a lonely guitar as GT’s vocals sing of remembrance of what once was. Later, the song shifts to a heavy riff and GT pouring all the emotion he can muster in to one amazing vocal performance. A perfect song to reflect on lost loves, lost relatives, lost whatever! Get your tissues out because this song will make the tears come.

Part 2, “I Remember When”, is an ode to those lost, but also a testament of strength as the message is “Now I‘m serene, now I’ve found peace. I am whole now and ready to start again“. I love the riff in this track, this song is so heavy! GT’s vocals on this track are incredible as well. A short track, but a powerful statement!

The trilogy concludes with the optimistic beauty of “Through October Skies”. The recovery from our loss is complete, we have beaten the past, and we are ready to take on the world! Another powerful song which showcases GT’s dynamic vocal range and Dennis Mullin’s multi faceted guitar work. A perfect end to the trilogy.

One of the most beautiful piano lines I have ever heard drives the short, but beautiful instrumental “Ethereal”. Short, simple instrumental. Very nice piece!

Reflections abound in the coup de grace, which is “Midnight’s Tide”. By far, the most powerful song on the album, full of awesome riffage, killer drumming, and some arrangements that may make Dream Theater green with envy! Gordon’s vocals are simply superb on this track as he powers us through a recollection of our lives as we look back on our mistakes, our losses, our sorrows, and we use those experiences to help us make our lives the best we can. SIMPLY AWESOME! I have heard few epics that are better than this one!

Production on this album is great! Everything sounds perfect in the mix and nothing overpowers anything. Musically, Images of Eden boasts a powerful trio of musicians. Guitarist Dennis Mullin can play almost any style that the music calls for, whether it be meaty mid-tempo riffs, beautifully crafted solos and acoustic interludes, or even fast paced metal riffs! He can do it all well. Drummer Matt Kaiser is a very skilled drummer, showcasing power and precision on the skins. His style puts me in mind of Mike Portnoy or Neal Peart. Gordon Tittsworth once again wears multiple musician-hats, playing bass with skill, keyboards with beauty and elegance, and belting out phenomenal vocals! I have heard few vocalists that have the power and emotion that GT has. He pours his heart and soul into every single syllable. Even though he is not on this recording, I have to acknowledge and welcome the band’s new bass player Bryan Wierman. A longtime friend of Gordon Tittsworth, Wierman adds another critical piece to the band’s sound. I look forward to seeing him live again and hearing him on future recordings.

Images of Eden should be proud of themselves. With Sunlight Of The Spirit, they have not only made one of the best progressive metal/rock albums of the year, they have re-written the rulebook on progressive metal. I am not bullshitting here: If there is any justice in this world of ours, Sunlight Of The Spirit will go down as one of the greatest progressive metal offerings of all time. Never before have I heard an album with such emotional depth and power! Such a delicate balance of walking the tightrope between complexity and accessibility! It is a REAL record. You feel what the writers are feeling, as if you just took their joy and pain and sorrow and put it into yourself. Images of Eden are more than a band, and Sunlight Of The Spirit is more than an album…it is a spiritual gate to a new awakening. Go out and buy this album and find your own Eden today!

Mayday Pulse was formed in 2006 by vocalist Mike Bashore, drummer Andrew Kapp, guitarists Kevin Leaman and Chris Shay, and bassist Ira Vogel. The band immediately went to work on a batch of songs and started recording at Assembly Line Studios in Vienna, Virginia in November 2006. What came out of those sessions was a set of three skull crushing songs for the band’s debut recording, a three-song EP entitled Order of Self Destruction. Unfortunately, in March 2007, bass player Ira Vogel had to leave the band due to personal issues. Undaunted, Mayday Pulse hired new bassman Juan Rodriguez and hit the club circuit, having the honor of sharing the stage with black metal legends Behemoth and Canadian metal stars 3 Inches Of Blood at the Chameleon Club in Lancaster, Pennsylvania.

Opening cut “Call Me A Cynic” starts off with some impressive drum beats that would seem perfectly at home on a progressive metal song, but then the grind of the string smashing guitars takes over and the intricate drumming morphs into all out percussive warfare! Mike Bashore pukes out some gruesome vocals which are par for the course in this genre, but fit the mood of the music perfectly. This ain’t no love song, but it's perfect if you need something to listen to while demolishing an entire city block!

“Extravagance Of Apologies” is the metal music equivalent of Godzilla and Mothra waging war in downtown Lebanon…complete chaos! Rapid artillery fire disguised as guitars and drums leave you bloody and helpless before the pace slows down to some very nice guitar melodies and a throbbing bass lick before the slabs of concrete riffs and agonizing screams continue to pound whatever is left standing after the initial attack. If this were real…Lebanon would be a federal disaster area.

The final track of the EP is “When In Rome”, and I advise you not to blast this track at full volume if you ever visit Rome because you might inadvertently destroy what is left of the Colosseum! But you can blast it at home on your stereo all you want! Then you just have to worry about shattered windows, blown speakers, car alarms going off, buildings losing pieces of brick, mothers taking their kids off the streets, and of course, the police issuing you a summons for violating noise ordinances! However, at the end of the day you’ll still be happy because you just listened to a short but sweet surgical metal strike!

Guitarists Leaman and Shay deliver no-frills destruction with their heavy handed riffs. Departed bassist Vogel did a fine job on his lone recording with the band with his bowel-trembling bass licks. Drummer Andrew Kapp’s performance is very impressive as he not only can trash his kit with frenetic skin pounding, but can also kick out some very nice odd beats which have a very progressive feel. Mike Bashore’s vocals are the typical fare for this genre as I have mentioned before, but they do the job admirably on this recording as he rips out his vocal cords with his angry delivery.

If you are a fan of slick riffing, epic passages and clean vocals, you may want to look elsewhere. But if you enjoy straight out mosh pit inducing, ass kicking, face punching, gut smashing, crotch kicking thrash and death metal, you will definitely want to add Mayday Pulse’s short but strong debut offering to your CD’s-to-buy list. There’s nothing subtle about it…unless you consider a baseball bat to the head subtle!

Brookins has seen several different members share the studio and the stage with him since the band’s formation. He formed the band with bassist Scott Adley and drummer Troy Ribail in late 2001. Ribail parted ways soon after and was replaced by John Abella, who still occupies the beat seat. This lineup released their first demo in 2003. Keyboardist Craig Moran joined in 2003 and shortly after the band released their first full-length album Driven By Fate. The album saw much critical praise. In mid-2004, Moran decided to part company and the band soldiered on for a brief period as a three-piece. In 2005, the band finally found some stability and a much-needed shot in the arm with the addition of ex-Critical Path axe shredder Rick Pierpont and teenage keyboard phenom Savino Palumbo. Sadly, in mid-2005, founding bass slinger Adley had to leave the band due to career obligations. In his stead, the band hired bassist Craig Jackson, another young and talented musician. Several stage performances of this new lineup proved that the band was more sonically powerful than ever before, and to celebrate the band decided to completely rearrange and re-record a collection of original favorites from Driven By Fate and add some brand new acoustic tracks and unplugged rearrangements of some of the older songs in a brand new collection called ReDriven By Fate.

OK, I hear some of you who probably already own Driven By Fate groaning already. “Why didn’t they just record an album full of brand new tracks?” Well, didn’t you ever have a creative vision that was only partly realized? ReDriven By Fate is the concept of the previous album finally up to its full zenith. If you’re going to do something, do it right, I say! It’s only fair that Pierpont, Palumbo and Jackson get to put their own signature on these great songs.

1. Discretion Rising - The album opens with the soothing calm of this instrumental . The calming keyboard melody and the slight strumming of the guitars leads to a beautiful guitar solo/harmony that sounds like the lonely wail of a stray cat sitting on a fencepost at midnight. You are calm…at peace! Time to settle down for a nap, you think…right?

2. D2C - WRONG! The opening riff of this track begins and soon the gong sounds and you are tossed into the maelstrom of a sea of crunchy riffs and keyboard line that runs counter to the riff. The sea parts and Brookins’ surrealist lyrical talents come to the fold. His vocal delivery is much softer and more controlled than its DBF predecessor. Pierpont adds nice backing vocal harmonies throughout. The song rises and crashes like the sea upon the rocks. Plenty of stop/start riffing and awesome guitar soloing make this track a winner.

3. Shadow Dust - Beautiful piano melodies and the raw heaviness of the guitars do battle in the beginning, then guitars and piano unite to wage war on your senses with an awesome rhythm passage that ends in the manner of an old car trying to turn over on a cold winter morning. Matt’s vocals are also more gentle and restrained on this track as he takes you on a journey which is not of this world. From a world of glass souls and air-filled spines you are transported to a place where the riffs and keys collide once again to make you bang your head until it falls off your neck. From gentle to madness and back again…and some more killer solos to boot! Fall down! Spin Out!…for we all are drowned out in worship of this great track in the end!

4. Surreal Contemplations - Help! I’m trapped in another dimension! I don’t want to leave! Beautiful, hypnotic instrumental that features some awesome axe shredding by Mr. Brookins. I wonder if his fingers were bleeding after recording this one? Great dual harmony on this one too!

5. Utopian Rust - More straightforward than the previous tracks but by no means less complex! A great song for driving music! Brookins unleashes his most haunting vocal yet on this stellar track. Ambience is provided by simple but effective keyboard melody and more awesome riffs and solos.

6. Homecoming - “What did you say to me, to make me act the way I do?” Matt asks. Well, I say “What made you write this riff…that makes me want to inflict more harm on my neck?” This riff is just plain catchy! And heavier than a 1948 Buick! A great crowd pleaser with a sing-along opening and a great chorus. Did I mention that the riff is just plain cool? The band’s classic rock influences shine through like diamonds on this superb song - I would not be surprised if this track made radio. Time to call the DJ!

7. His Dark Materials - A riff that stops and starts again suddenly…like it is just waiting for the right time to explode and hook you in…and there it goes! We are now taken to the world of Lyra Belacqua and her adventures in the His Dark Materials book trilogy written by Phillip Pullman. The world of daemons, death, Dust and worlds beyond the imagination are described in a nutshell during this tour-de-force which is also easily a live favorite, and easily a favorite of yours truly. Several solos abound in this track and not just guitar solos - bassist Jackson lets his fingers fly for a brief interlude, then drummer Abella pounds the skins for your pleasure, and then Palumbo lets his fingers fly over the ivories and then unites with Pierpont for a really sweet harmony! If this track does not make you a fan, then you are wasting your time reading this! Just plain genius!

8. Paradise Lost: Chapter 1 - Odin’s Court puts their own spin on the epic story by John Milton on this amazing track with a riff so good it should be a felony. Another song that has plenty of potential for the airwaves. The only minus on this track is the vocal line; it’s a good vocal line, but I prefer the more aggressive delivery on the DBF version. The vocals on this song seem too mellow for the pace. Flaws aside, this is still a great song that will always hold a place in my heart as the song that got me into the band’s music.

9. Paradise Lost: Chapter 3 - Probably my least favorite song in the Odin’s Court catalog (along with “Holdin’ The Line”), but it is still great. It begins with a pretty piano and some nice orchestral affects before the guitar enters the fray. More laid back than Chapter 1, but it gets really intense in the middle with some great drumming and some really sweet solos and harmonies near the end. Very good song.

After the frantic prog metal fury of the first part of the album is all said and done, sit back and relax with your favorite beverage and let the acoustic stylings take you away! The acoustic arrangements of “Utopian Rust” and “Paradise Lost: Chapters 1 and 4” are a great way to look at these songs with a fresh perspective. I honestly did not think unplugged re-workings of these songs would work, but they do, oh they do! Very beautiful! New tracks “The Calling", “Dystopian Bliss” and “To Live A Dream” are all beautifully played and written. Very, very nice! The standout piece of the acoustic EP is “Thirteen” (aka “Savino”) which is an awesome keyboard piece by Mr. Palumbo. This song is also the song he uses as his live keyboard solo…and it is such a crowd pleaser! Don’t be surprised if you see him play Carnegie Hall someday!

Musically, all of the members of Odin’s Court are superbly skilled on their respective instruments. Axemen Brookins and Pierpont deliver crushing chords, finger-blistering soloing, sweet harmonies and mesmerizing interludes with equal precision. They make one hell of a duo. Drummer Abella is tight and workmanlike in his drumming. He is powerful, he keeps good time and does not overdo it with fills and patterns. He knows what to do and when to do it! Very underrated drummer. Jackson plays some groovy and meaty bass lines and he makes a perfect partner to Abella in the rhythm section. He also does not overplay and lets the licks explode at just the right moment. Keysman Palumbo plays with skill that makes one think of Kevin Moore or Jordan Rudess. At age 19, he is already an incredible talent, and the scary thing is he will only get better! But, like everyone else in the band he knows when to use his talent and how to do it. No “mindless wanking” by these gentlemen! I love complex interludes and 50,000 changes as much as the next person, but the most important thing is the SONG. Odin’s Court is all about writing for the benefit of the songs, not for the benefit of the individuals. I really respect that. Vocally, this album is a huge improvement over DBF and Brookins has improved by leaps and bounds thanks to his tireless dedication and the guiding hand of vocal teacher Steve Whiteman (Kix, Funny Money). Despite all of his improvements, I still think the vocals on the album pale in comparison to his vocal delivery on stage. However, Brookins continues to strive to improve and this will no doubt lead to better vocal work on future recordings. As I said before, the scary thing is he (and the rest of the band) will only get better! The desire to constantly improve separates the great musician from the average.

Now that you have read this review, do yourself a favor and pick up a copy of ReDriven By Fate and find out why I call this band the best kept secret in prog metal! Also, be sure to check their show dates and get out there and see this band live! They deserve the support and you must see them live to appreciate all the talents they have. Until then, buy the album…or as guitarist Rick Pierpont says, “Buy it, dammit!”

Since their debut in 1998 under the name Phoenix, this Astoria, New York-based power metal band has been scorching the New York metal scene with their infectious and memorable mix of power metal, old school heavy metal, and Eastern European musical flavorings. The band was formed and founded by guitarist Billy Chrissochos and bassist Chris Pollatos, who had been friends and musical collaborators dating back to their school days. Seeking another axeman, the band hired an accomplished guitarist and master of a Greek instrument known as the bouzouki, Kostas “Gus” Psarros. Kostas had the honor of playing alongside the world-renowned Greek singer George Dalaras at the Metropolitan Opera House in New York City in 2003. Original vocalist Eugene Siouzios soon joined the band, and then they added the thunderous presence of drummer Wayne Noon to the fold. Phoenix started to carve out their niche in the NYC metal scene, playing at clubs like the legendary (and now closed) Castle Heights and opening for legends like ex-Dokken and Lynch Mob guitarist George Lynch. A major setback happened in early 2002 when vocalist Siouzios decided to leave. The band embarked on a tough quest to find a new voice, but didn’t have to look very far. The band decided to roll the dice and hired young female fan and friend Theresa Gaffney to fill the vacancy. What was thought to be a risky move ended up paying huge dividends for Phoenix, as the tough yet sultry siren added a whole new dimension to their sound. Re-energized and refreshed, the band renamed themselves Phoenix Reign and embarked on an onslaught that took them to famous New York clubs like CBGB’s, Tipperary Arms and The Continental. In the meantime, they recorded three raw yet promising demos, but longed for the opportunity to unleash a full-length album. They would have their chance! Entrenching themselves in the renowned Spin Studios (where Savatage guitarist Chris Caffery and the Trans-Siberian Orchestra have recorded) in their native Astoria, and hiring Themi Kyriazis to assist the band in twiddling the knobs, they spent the better part of a year and lots of blood, sweat, tears and toil making their debut full-length album. Finally released in March 2007, the album was titled Destination Unknown.

Just by looking at Destination Unknown’s artwork and layout, you can tell this is a project on which no penny was spared. From the marvelous photographs of the band to the stunning artwork by renowned Greek artist Iannis Nikou, the artwork alone is a feast for the eyes. But, albums do not win awards or praise on artwork alone, so does the music deliver? Join me, intrepid musical explorers, and let Phoenix Reign take us on a magical metal mystery tour!

The swirling melodrama of “The Gates Of Bosphorus” is just a little taste of what’s to come…so let it whet your appetite for the attack which it precedes!

Punctuated by sledgehammer drumming, squealing harmonics and a memorable riff that hits you like a rusty meat hook through the skull, “Transcendent” is a fitting proper kickoff for the metal parade. Gaffney is large and in charge with her vocal performance on this track as she sounds a defiant and persistent call, resolving not to be held down by all of life’s problems. The guitar work is crisp, melodic and crunchy and helps make this track a winner.

An echo-soaked riff leads into some maniacal skin bashing by Noon before the pace settles down into a sweet mid-tempo romp on “Masquerade Angel”. The vocals are emotional, strong, and even show the slightest bit of fear on this ode to dealing with the trials of temptation - “The crowd is calling to me...Come and join us!”. Awesome harmony work on this one, and the main riff is absolutely killer! Another top drawer performance.

A soft and gentle acoustic intro paints a pretty picture of the ballad you expect to be forthcoming on "Forgotten", but thankfully a raw and dirty riff explodes and tears the pretty picture to shreds. What you thought was a ballad is transformed into a killer mid-paced tune with a sing-along chorus and hooks aplenty. Gaffney's vocals are sultry, emotional, and smooth as silk, Noon's drumming is tight and thunderous, and Chrissochos lets his fingers unleash a nasty, rusty and raw old school solo! Good times and great metal!

Work, you stupid radio! How dare you disobey me? Thank you! "Another Night Alone" has been a staple of Phoenix Reign concerts for the past few years (you can even download a ringtone of it) and has become known as one of the band's signature songs. After one listen it's easy to see why! This track is powered along by one of the best and most addictive guitar riffs I have ever heard! Add to the mix vocals filled with power and longing, kick it in the ass with some punchy skin pounding and top it off with one cherry of a dual harmony. This song is so addictive it may require its own 12-step recovery program!

Longtime fans of Phoenix Reign may recognize this song under its former title "Power", but the band decided to give it a slight makeover and a kick in the ass. The track is now known as "Open Your Eyes", and it showcases this band's incredible ability to shift from pop-metal slickness to power metal madness on a dime. The ticking clock in the intro sets the tone for the main riff, leading into a punchy little pop-hard rock stomp. Gaffney's vocal line is equally pop-tinged and fits the song perfectly. Remember the ticking clock at the beginning? It's a countdown to the power metal detonation at the mid-point! And what a detonation! The guitars of Psarros and Chrissochos deliver the fire while Pollatos and Noon add the shockwave before the chaos subsides and the song reclaims its pop-metal trappings. What a ride! Fans of pop and power metal will love this one equally!

"Run Now" is yet another track which will send you for a ride on the Reign's heavy metal roller coaster. The dual harmony assumes command at the intro, but then it transitions to a plodding dinosaur stomp suitable for your moshing pleasure. The dual attack resumes the fun during the memorable and sing-along chorus, which is an ode to breaking free from everyday struggles. The vocal line is stellar, as it is dark and eerily beautiful. Listening in the dark may give you goose bumps! Another mind-blowing middle-of-the-track fireworks display is provided for your pleasure, which features even more impressive soloing and Noon’s howitzer snare drumming.

I’m thinking of a word…elegant. Elegant is the best way I can describe the gentle guitar serenade and the soft caress of Gaffney’s most heartfelt vocals yet which leads off the enchanting ballad “Wherever You Are”. The exquisite beginning gives one the sonic picture of a young girl looking out her window on a rainy evening, while the memories of a long lost love, to paraphrase a line in the song, dance through her mind. Soon the gentle rain of the guitars and vocals become a raging torrent as the chorus approaches. The riffs get hard and heavy, and the soft vocal trip down memory lane becomes an emotional plea overflowing with regret and heartache. Yet another song which shows how smoothly the band can shift gears between the smooth and the savage. I must freely admit it was not one of my favorites before, but subsequent listens have seen this track grow in favor. Trust me, you WILL enjoy it!

Break out the biker leathers and the Harley Davidson, and get ready to ride down the road to “Destination Unknown”! This track is an anthemic rallying cry for following your dreams and goals no matter where they lead you. Gaffney’s vocals are full of attitude and confidence on this track, while Noon and Pollatos make the ground rumble more than a pack of Hells’ Angels on Route 66. The riffing on this track is total aggression, and while Psarros toasts the road with his awesome leads, Chrissochos prefers to rip up the pavement with one tires-screeching, gravel-spitting beast of a solo! Listen to this track while driving to double your pleasure on the open road! The throat ripping scream of Gaffney finally brings the checkered flag down on this soon to be classic - ”Follow me until we reach THE END!”

“It’s over now…” - I beg to differ! The song is actually just beginning! “Moving On”, formerly known as “Nightmare”, is another mid-paced rocker which shows Phoenix Reign flexing their old school rock and metal muscle in the anthem department. Fueled by an upbeat and memorable riff, this song is a testament to perseverance and never giving up hope. Nothin’ fancy here, just a great rockin’ little metal track that you can tap your foot to, headbang in delight to, or to help give yourself a pick me up when times look bleak. Like the lyrics say - “as long as you’re alive, there’s always hope!”

The rain pelts the dusty ground in the ancient city…the wind howls between the buildings…Psarros adds to the drama by letting his fingers dance across the tzoura (a smaller cousin of the bouzouki)…the bells toll in the distance while the acoustic guitars and symphonic keyboards continue to add depth to the bleak and foreboding landscape. A mournful Gaffney lets a melancholy siren's call roll forth to sound a lonesome cry of the impending doom which is to come. The harmony guitars break their silence, the drums roll…let the battle commence! To arms, to arms…prepare to defend your fair city! “Constantinople 1453 (On The Eve Of The Fall)” is an epic heavy metal eulogy written to mourn the fall of Constantinople on May 29, 1453, to the invading Ottoman Turks. The majestic city was the capital of the Byzantine Empire and the home of Eastern Christianity. The powerful and beautiful vocals of guest vocalist Melissa Iacono add an elegant back-up to Gaffney’s lethal war cry and guest musician Michael Gostanian adds another native Greek instrument, the kanonaki, to an already monstrous soundtrack which paints the picture of fallen heroes, merciless marauders, panicked citizens and burning rubble. From the mighty cathedral Hagia Sophia to the Hippodrome and the Blachaernaen Gates, no detail of the city was spared as you can literally close your eyes and imagine the horrific scenes of death and the final heroic stand of Palaeologos that occurred on the horrible day so many years ago. The Reign puts all of their collective passion and energy in this masterpiece, as the guitars sound melodic and powerful battle call, the bass and drums hammer away like Hephaestus at his forge, and the vocals rise and fall amidst the chaotic din of battle. Who needs a movie? This track is as close as you can possibly get to writing history with thunder and lightning!

If you were to say that Phoenix Reign’s musical machine is heavily fueled and influenced by legendary metal bands like Iron Maiden, Helloween and Judas Priest, you would be correct, but you would also be selling the band short. They also toss in some 80s pop-metal touches ala Dokken, Scorpions, and Guns N’ Roses, and add an assortment of unique guitar riffs and leads heavily influenced by Greek and Eastern European music. The band is tailor made to deliver their distinctive brand of Hellenic hellfire. Drummer Wayne Noon’s controlled frenzy on the kit packs more of a wallop than the Long Island Express. Bass man Chris Pollatos delivers the grooves with ease, taking influence from legends like Duff McKagan and Steve Harris. The guitar attack of Kostas Psarros and Billy Chrissochos is the sum of two very contrasting styles uniting with deadly results. Psarros brings heavy classical influences to his fleet-fingered fretwork, and his skill on the Greek tzoura will make your jaw drop. Chrissochos wields his BC Rich Warlock like a man possessed, unleashing crunchy yet melodic chords and harmonies, and destroys the strings with his raw, classic heavy metal soloing. Vocalist Theresa Gaffney can be an angel one minute and a devil the next. One minute she will bewitch you with a sultry siren's call, and the next minute she can knock you to the dirt with just the right amount of attitude and aggression. Her emotional delivery makes you feel the pain of her heartbreak, the wrath of her anger, and power of her confidence.

When Phoenix Reign decided to bestow the name Destination Unknown to their debut album, they could not have picked a better title, as it only represents the beginning of a musical journey which is not even close to reaching its creative peak. But what a beginning it is! Like the flames that envelop the firebird in their name, Phoenix Reign has raced out of the gates with their tires screaming and engine roaring with one mission in mind…setting the New York and the worldwide power metal scene ablaze with their Byzantine-flavored melodic metal inferno!

Do yourself a favor, and do what the title track says…follow them on the road…from Destination Unknown to Destination Domination! Oh yeah, and buy the album too!

The Richmond, Kentucky-based metal machine called Pownd is truly a case of what happens when the best of both worlds collide! Mixing the aggressive nature of modern heavy metal with the grooves and riffs of classic metal legends like Black Sabbath and the barbed wire hooky-ness of 80s metal, Pownd is truly a great find for all of us who love modern metal, but are also dying for an act who can give a generous nod to past heavyweights that paved the way for the new breed.

Pownd consists of vocalist Michael Duncan, guitarists Ronnie Duncan and Rick Sargent, bassman Steve Watts, and drummer Clint McMaine. After catching the attention of Lance King at Nightmare Records, the band inked a deal and released their debut disc Circle Of Power a few months ago. Aggressively racking up the miles on the road to support their new album, Pownd has been gaining many new fans and glowing reviews for Circle Of Power.

Wait a minute! I know what you are thinking…metal from Kentucky? Well, there is more to the Bluegrass State than just lap steel guitars and country music! Pownd proves that they deliver the steel in slabs and pack more thunder than the lead pack in the home stretch at Churchill Downs. Let us join the circle and press play!

From the moment the first notes hit on the album opener “Still I Bleed”, to the hysterical laughter at the closing of the thrash metallish bruiser “Swatting Flies”, ruthless aggression is the name of the game when it comes to heavy metal Pownd style! Most of the tracks on the album, with the exception of the seven-minute epic ballad (and I use the term loosely because it packs much more of a wallop than a ballad of the traditional sense) “Never Means Forever”, do not last longer than four or five minutes. The tracks are literally bursting at the seams with slabs of concrete riff raff, mesmerizing solos, knot hard rhythm work, and the old-school vocals of Michael Duncan. I said before that Pownd has an awesome tendency to bring together the best of the old and new school of metal, and I mean it! “Still I Bleed” mixes Black Sabbath meets Metallica intensity, and hair metal polish with an engaging industrial style keyboard loop. “Blind” ridicules modern man for its ignorance while pummeling you over the head with sledgehammer power with the hopes that maybe man will come to its senses. “Monster” is a track that is truly worthy of its title, and its main hook will definitely eat you alive. The album just grabs you from the beginning and never lets up for a break, as most of the songs, as I said before, are short, sharp stabs at the cranium that deliver maximum intensity on every note. Other standouts on Circle Of Power include the wave-inducing sonic assault “Slowly Drowning”, the locomotive breath and ear splitting shrieks of “Ellie”, and the aforementioned mosh pit frenzy of “Swatting Flies”.

The band has the ability to dish out some serious melodic metal thunder! Vocalist Michael Duncan has a voice that will thrill fans of old-school metal screamers. Take some Coverdale, some Dio, and mix in a little Dickinson and Halford, and you always have a recipe for vocal magic as he mixes high screams with some surprisingly soulful metal crooning! Ronnie Duncan and Rick Sargent set the fireworks ablaze with their sludgy shredding as the six-string foundry pounds out the steel. The duo of Watts and McMaine set off the Richter scale with a 7.0 temblor fueled by throbbing bass and speaker shaking skin pounding! Pownd truly pounds!

Circle Of Power is truly an impressive debut for a band that is just beginning to shake Kentucky and the rest of the USA to its veritable foundations. This explosive quintet is also pounding the pavement (no pun intended) vigorously as it looks to increase its already growing fan base. So, if you ever head down to the Richmond, Kentucky area, and put your ear to the ground, I can bet you that it isn’t the hooves of the thoroughbreds at the Derby. It’s probably some listener playing Circle Of Power at full blast! So get out and buy it and find out what’s causin’ all this!

In the short history that RFUSA has been active, we have seen some of the best and the loudest in the underground metal scene.  It also warms our metal hearts to see that there are many great metal bands in the underground featuring members of the fairer sex, and none of them sound alike.  All of them have their own merits which make them great, make them stand out, and make them all deserving contender