There was a time, in the late 1960s and early 1970s where music didn’t seem to fit into tight little compartments.  Labels weren’t as likely to define or limit the sounds.  It was just rock music.  This album leans back towards those times.  It’s never tied down to one sound or another for long, but always seems very successful and captivating.

Keyboards and tenor steel drums open things as “Shine On” starts.  The rhythmic vibe that comes in feels a bit like something from Peter Gabriel.  The vocals, though, on the first verse are raps, making the tune more hip hop oriented.  The female vocals on the chorus and beyond are airy and quite classy.  They really soar and bring a jazzy vibe to the piece.  The rap does return later, but the female vocals are the ones that really define the number.

There is a real bluesy, classic rock sound driving “Long Way Out” like something out of 1970.  There are some hints of David Bowie and some nice changes and turns.  Overall, it’s a classy tune with a very familiar vibe.  The mellow folksy introduction to “Show Me the Way Home” sounds like it’s played on ukulele.  As other instruments and the voice join that basic premise is built upon.  Around the one minute mark it seems to turn more towards folk rock.  The cut does get some explorative changes, but overall it’s the weakest song on the album.  That said, it’s still pretty good. It just doesn’t stand as tall as the rest.

Acoustic guitar opens “When I Go Sailing.”  Steel drums bring a real “Island” feeling to the piece.  It’s a relaxing tune that works quite well.  There is a real gentle, dream-like quality to the tune.  It gets some dramatic reworking later as a guitar solos over the top.  It definitely reaches toward fusion-territory during that section.

There’s a country vibe mixed with a jam band sound on “Love Is a Freeway Ride.”  It has a catchy vocal hook and some guitar soloing around throughout much of the tune.  Both of those things, along with just a general sense of “cool,” make it a highlight of the set. There are definitely grounds for making comparisons to the Grateful Dead here, but there are other flavors in place, as well.  “Look At the People” has a real Latin vibe to it. There’s a bit of a Santana element, but also some Al Di Meola.  Overall, it’s more of a fusion kind of sound in place, but with the more pop end of that spectrum.

“Each & Every Night” really has a classic soft rock vibe to it.  The chorus and song structure both work extremely well. In some ways, it calls to mind the mellower side of Peter Frampton.  It’s a great song and one of the highlights.  Considering that everything here is quite strong, it takes a lot to stand out.  This song does it.  “Riding in the Chevy” has sort of a classic rock meets reggae and folk music feeling to it.  The vocal arrangement is the most standout aspect of the tune.

“It’s Alright to Party Tonight” is a high energy roots rocker that’s got some country and some blues in the mix.  It’s another standout tune.  It’s another that has a bit of a David Bowie element to it at times.  It also feels a bit like something Jeff Lynne might write in some ways.  The bluesy classic rock vibe driving “No One’s Listening” is great.  It’s got a bit of psychedelia in it, too.  In some ways it seems like a more modern version of The Yardbirds sound.  It’s another standout track.

Accessible, pop music with rock and jazz in the mix makes up the sound of “Alright.”  It’s got a playful spirit and a mellow approach. It’s one of the shorter cuts here.  There’s a great jazzy sound to “Upwind of the Fire.”  It takes on more of an energetic folk rock texture later.  Classic rock textures with a bluesy edge make up the sounds of “Number One.”  It’s also got plenty of psychedelic and even some progressive rock in the mix.  It’s a dramatic tune and another standout.  A mellow, progressive rock ballad approach makes up the closing number, “Away.”  It’s another that’s especially strong.

Other than the bits of hip hop that show up, it would not be out of the question to think that this is a retro album from the late ‘60s or early ‘70s.  It would have been quite successful then because it’s very strong.  Everything here is effective.  If there’s a complaint it’s that while the combination of sounds is often fresh and original, there’s nothing extremely new or “outside the box” here.  Still, when it’s this strong, that really doesn’t matter.

Review by G. W. Hill

Rating: 4.5 (out of 5)

The electronic wizardry of Harlequins Enigma is spacey, futuristic, and grounded in nostalgic impulses of ambient sound.  Inspired by channeling, Discord is a heady romp in the world of electronica with equal amounts of new age and instrumental embellishments.  Created by Norway’s Age Riisnes and featuring guest artists, Jean Michel Jarre, Sara Jensen, King Diamond, Sara Q., Katie Leung, and Elin Berge, Discord represents a mix of frenetic noises, thought-provoking mystery, and exciting arrays of electronic concoctions that awaken the soul with lively ambiance and intrigue.

“Summer Path” begins with squeaky and blurby electronic intonations with swishy instrumental noises and ambulating percussion.  The overall musical development is largely repetitive with only minor electronic gurgles of sound and audible squawks that culminate into an above-average track.

“Binding Steps” opens with a squeaky, laser-driven, and techno-like dance infusions with synth sounds and swishy percussion.  The music is more textured and varied than the previous song and the spacey electronics are frenzied and fast.  The break-beat result is punctuated by a few synth sounds, neo-classical embellishments, and horn-like sounds.  The frenzied electronic display of noises is top-notch.

“Inside Outside” begins with a dance-infused medley of crystalline tones in a fast, up-tempo mode.  The music is quickly joined by swishy and skittish percussion that is not too layered. There are a few electronic vocals throughout, but the instrumentation carries the song through a tunnel of catchy tones.

“Rally” opens with a bombastic array of video game-like sounds and electronic blurbs that contain various pitches and tones, but all of them are industrial.  There are no vocals throughout the song.  A few high-pitched tones and electronic buzzes create a spacey musical adventure that is both intergalactic and cartoonish.  At any rate, the song is energetic and punctuated with glints of punchy intonations.

“Discontinuing Flow” begins with piercing sounds of aural beauty that are held together with ambient tapestries of synth sounds.  The slow, yet majestic sounds are sparse and free-flowing. The ambient sounds are laser-like, spacey, and reverberating throughout.  There are intermittent keyboard sounds that are rather contemplative and completely unlike the previous songs. However, the same electronic undertone is present, but in a more sci-fi state.  The long track resembles early space music tunes and the more experimental work of Tangerine Dream.

“Transcending Conflicts” opens with a skittish array of buzzy sounds, electronic blurbs, and break-beat-like sounds of ambient brilliance.  The up-tempo arrangement is pure electronic goodness with swishy percussion, ambient sounds, and industrial charisma.  Vocals are not present.  This is a perfect video game soundtrack or ambient lounge tune.

“Magic & Obscura” begins with angelic and fluid piercings of electronic beauty that seem to play off of each other for a moment.  The metallic pings, cascading keyboard, and multi-layered sounds create a suspenseful ambiance seemingly straight out of a mystery or spy film.  At any rate, the meandering sounds are rather spacious and delicately-executed in parts to highlight the tone’s best qualities.

Harlequins Engima creates an exciting, spacey, and electronic treat for fans of ambient, electronic, and chip-tune music.  Discord is an album of opposites.  Primarily, the title of the album connotes a conflict of noises or sounds.  However, the result is much different.  The mix of spacious and textured tunes represents a solid creative effort that bridges the gap between electronic and new age.  The wide array of sounds showcases Harlequins Enigma’s greatest strength—composing.  The lack of vocals does not diminish the songs power or intensity. Anyone with an interest in space, electronic, chip-tune, video games, film scores, and new age concoctions will love the harmonious musings on Discord.

Review by Matthew Forss
Rating: 5 Stars (out of 5)

While this is clearly an album that’s not for every taste (of course, what work really is?), this is an amazing piece of music.  It’s powerful and captivating.  It never seems confined to any one or two genres.  Even the choice of instrumentation and arrangement is varied throughout.  It’s likely this made some “best of 2012” lists.  It’s that good.

One might consider this music new age, but it’s much too dynamic and stirring for that label to fit.  “Classical” might be another label tagged to this, but again, it’s only so accurate.  Sure, there are classical progressions here.  Much of the instrumentation is symphonic.  But there are moments that seem closer to rock.  At other times it wanders towards world music or jazz.  While it wouldn’t be out of the question to imagine parts of this in the soundtrack to a film, this is music that stands on its own – and really deserves to do so.  At times it even feels rather gothic.  It has peaks and valleys, both in terms of volume and emotion.  It’s a diverse ride that feels like a wonderful adventure to be undertaken and enjoyed.

This is also the kind of album that seems to reveal different things with each repeated visit.  At one point in time certain sections seem to stand out.  At other times, one will be drawn to different moments.  It never seems to lag or become tired, though.  It also never feels repetitive.  Perhaps the hardest part of evaluating this set is picking a highlight.  It’s all so strong that it makes it difficult.

The opening piece, “Black Friday “pounds in, almost like a European epic metal cut. Still, the emphasis is more on bombastic symphonic sound, but there is almost a heavy metal texture to it (but with only symphonic instrumentation).  The melodies that come over the top often show off world music sounds.  It’s quite a dramatic piece and one of a handful to feature some non-lyrical vocals.  Suitably “Mourning” is mellower and slow. It’s more pure classical in nature, but that’s only so accurate.  Piano plays a prominent role in the composition.

The title track has an insistent force to it and a sound that combines classical music with progressive rock.  The cut is another with some of those non-lyrical vocals and there’s almost an operatic quality to it at times.  It does drop down to some particularly mellow music, too.  “Story of My Life” starts with some particularly symphonic music, but eventually works out to something that’s like a cross between progressive rock, Boston Pops and more traditional classical music.  There are chorale vocals in the mix and some of it gets especially dramatic and theatrical later.  World music and gentle classical sounds merge on “Glimpse of Happiness,” a track that feels almost like a child-like fantasy in some ways.  “Solitude” is suitably gentle and sedate.

Some of the melodies of “Harald’s Dream” seem to feel a bit like “Fiddler on the Roof.” Overall, the piece is very much in a musical theater kind of territory.  “Fantasy for Piano and Orchestra” is quite beautiful and more pure classical in nature.  Of course, the title should tell one that it would be more classical.  “Reverie” feels a bit like Beethoven’s piano compositions.  In fact, it sounds at times rather like “Moonlight Sonata.”  It does work out beyond that, though, seeming more modern, but remains a piano solo.  “A Dream within a Dream” has more of that Beethoven element in a lot of the piano passages, but there is a definite symphonic air to the piece.  It is powerful and dramatic and very soaring in a lot of ways.  The later sections get quite theatrical as it builds outward.  “Sahara” has some Middle Eastern styled vocals early on and the musical concept features a lot of that influence.  It is quite classical in nature, but there is a lot more going on than that.  It’s dramatic and theatric and quite stirring.

While this disc is hard to pin down, it’s also brilliant.  It would not be out of the question to call it a masterpiece.  It’s that good.  Frankly, one needs to be a fan of instrumental music to enjoy this album, but it really does capture the listener and make it hard to ignore the music.  This is an exceptional set.

Review by G. W. Hill

Rating: 5 stars (out of 5)

At first listen Day Of Wrath may seem like a score to an action film, or some supernatural flick where evil is out to ruin the world.

Storms seem to be brewing in the first notes of “Black Friday.”  It is obvious that this piece is about something more ominous than the start of the holiday shopping season. The music is a reflection of several points of history, Good Friday included where bloody acts took place on a Friday.

The music is dark and sinister sounding.  It creates a mood that lets you know that death is near.

“Mourning” is the next piece.  The piano and strings convey the sadness of the song.  It truly brings forth the feelings of those grieving the loss of a loved one, in the case of this song, Jesus.

The title track is truly fearsome and at times soothing.  ”The Day Of Wrath” is about The Judgment Day.  The first half of the song perfectly illustrates the destruction of the world as we know it.  The melody is fierce and dark.  About midway through, the music shifts to something lighter where paradise has been found and sorrow will cease.

All of the music on Day Of Wrath is emotionally driven and powerful.  “The Story Of My Life” is one such piece.  The brass and the percussion are so strong at times, you can feel your heartbeat quicken just listening.

“Glimpse of Happiness” is a turning point in the tone of the music.  The music is a reflection of love in the course of life.  The melody is soothing and the piano is the perfect instrument to reflect that emotion.

Perhaps after you glimpse happiness, you’ll need “Solitude” to take it all in.  The instrumentation on this song is very simple and very solitary to begin with.  As it progresses the melody becomes more intense and complex.

“Harald’s Dream” is a song that tells a story on its own.  It is based on a love story between a prince of Avar and a beautiful princess with golden hair.

“Fantasy For Piano and Orchestra” is just as it sounds, a beautiful piece of music that takes the listener to a land of happily ever after.  It is a dreamy sounding song full of hope and possibilities.  The music seems to spill out in waves.

As much as “Fantasy” is full of hope, “Reverie” is full of reflection.  It is a quieter piece, almost somber, but not quite, with the piano again in the forefront.  The melody is somber, which is perfect for looking back on things that once were or could’ve been. Bogdan, describes it as looking at door that is forever shut.

Edgar Allen Poe’s poem of the same name is the inspiration for “A Dream Within A Dream.”  When you think of Poe, you think of things of a darker, spookier nature, yet this song is light, with a relaxing melody.  The sweeping melody speaks of a perfect love that doesn’t exist

Just as the album opens a crash of thunder rolls by in the opening strains of “Sahara.” This is a haunting Middle Eastern melody.  It is a touch of world music, on an album that is primarily orchestral.

Each piece of music found on Day of Wrath is full of emotion and tells a story.  This is more than just instrumental music that can play idly in the background.  Bogdan Ota has created a masterpiece of sound that fills your ears with breathtaking beauty.  This is music that you can’t forget once you’ve heard it, and once you’ve heard it, you’ll want to play it again and again.

Review by Andrea Guy
Rating 5 (out of 5 stars)

Bogdan Ota might one be known as the best musical export Romania has ever known.  The composer is already due to be involved in such discussions for those who known Romanian music history, but Ota’s international exposure hasn’t been huge before now.  With the release of Day of Wrath, Ota declares his intent to be more than just a musical footnote.  Ota’s cinematic scope as a writer is matched only his willingness to surpass the current understanding of what should be.

Day of Wrath opens with “Black Friday”, which is written in the style of the opening scene music to a movie thriller.  Distinct tension in the main theme is offset by some wonderfully lyric passages along the way.  The mix of piano with full (electronic) orchestra creates impressive musical scenery.  ”Mourning” is intriguing, written with a vibrant melody line that seems to imply more about healing than loss.  The quiet beauty in this peace is stunning.

“Day of Wrath” marches forth with military precision.  The sense of melancholy mixed with determination pours out through each and every note.  ”The Story of My Life” has multiple musical personalities, but winds up with a martial feel, offering an ode to Beethoven on the way. “Glimpse of Happiness” is a deliciously dark waltz that explodes into wild symphonic abandon before coming back to its roots.  ”Solitude” is a thing of beauty, built with the sort of soaring resolutions that drive the action in a motion picture.  Ota gains a moment of musical alchemy here that is undeniable.

“Harald’s Dream” is like a waterfall of tension and resolution, waxing and waning from one to the other in unpredictable fashion.  The result is an edge of the seat ride that is both lyric and driven.  ”Fantasy for Piano and Orchestra” begins with a metronomic orchestra, waxing into lyric piano.  The rest of the journey becomes more complicated as it becomes more martial.  Ota makes a teaching moment out of “Reverie”, playing the piano as if it were an extension of himself.  Likewise “A Dream Within A Dream”, a vibrant waltz for piano orchestra that is energetically lyric.  It’s takes his bows with a change of pace in the form of “Sahara”.  This begins with a regional sounding theme but transforms into a cinematic string-based arrangement.

Bogdan Ota is a composer in rarified air.  He moves with a musical deftness and understanding of compositional structure that is not often found.  Soaring and emotive themes lay down beside quiet passages as if all were of the same water and molded together.  Day of Wrath makes one thing very clear:  Any discussion about a natural successor to John Williams is incomplete without considering the name of Bogdan Ota.

Review by:      Wildy Haskell
Rating:            4.5 Stars (Out of 5)

Bogdan Ota’s music sounds a lot like Yanni recordings on Day of Wrath.  In fact, the music made by this pianist from a little town in North-Eastern Romania sounds quite dramatic, if not the actual soundtrack for some actual day of wrath.

Each of these 11 tracks is an instrumental.  All are led by Ota’s piano, although quite a few also feature full orchestration and vocals.  The best comparison would be that that of movie soundtrack music.  Listening to these recordings, it’s easy to slip into a mode where one is imagining cinema battle scenes.  Take “Story of My Life,” for example.  It begins with what sounds like a classical piano piece, before evolving into something that conjures up, say, The Trojan War.

Ota’s story might make for the stuff of a movie as well one day.  He got out of Dodge, so to speak, when he left Romania in 2010 due to a financial crisis going on there.  He relocated to Norway, where his boss – without Ota knowing about it – entered the musician into a Norway’s Got Talent TV program.  After appearing on that show, Sony Music Norway became enamored with the performer and signed him up to compose the soundtrack for Rino Hemstad Eliasen’s movie, Sirenen.

Some musicians make pop or rock music before ever trying their hand at creating soundtrack compositions. Ota, on the other hand, sounds destined to be a movie music creator.  Every one of these recordings seems readymade for film.

In many cases, Ota has chosen the exactly perfect titles for his musical creations. “Solitude,” for instance, is exactly as you might expect it to be.  This is not one with a lot of booming crescendos and loud percussive passages.  Instead, it finds Ota playing his piano quietly with just a hint of extra accompaniment.  Another aptly named piece is “Sahara,” which has a Middle Eastern vibe to it due to its string section and crossing the desert-like overall vibe.

A song like “Sahara” proves how Ota knows how to set a scene aurally.  As one with success in the film soundtrack realm, presumably also with ambitions to do more of this sort of composing, Ota has recorded a really fine multi-part example of his abilities.

It’s interesting, though, how Ota is seeking out success as a solo artist.  This type of recording artist is not the sexiest kind. People usually want to see artists that can sing songs.  Or they want someone to play, well, a sexier solo instrument, such as a saxophone or a trumpet.  Those that have mastered the piano usually either become classical musicians or jazz artists.  However, Ota appears to be aiming straight for the pop audience.  Furthermore, these types of musicians oftentimes dumb down their music in order to succeed in the new age field.  Once again Ota doesn’t fit into new age because his music is clearly intelligent and thought-out.  He’s not creating strictly classical music; yet he’s also not just throwing together instrumental pop.  What he is doing, though, is walking a line somewhere in between.  When a performer isn’t overtly in one particular musical category, it can spell commercial challenges, to say the least.

Nevertheless, we’re not really here to wager on whether or not Bogdan Ota will sell music to a buying public, but to evaluate the quality of his output. Based upon Day of Wrath, without question Ota is one talented and accomplished recording artist.  If it finds a huge audience or a small, discriminating flock, anyone that gets the chance to hear it will more than likely appreciate it.  Who knows? Maybe the next time you hear Ota’s music will be at the movies.

Review By: Dan MacIntosh
Rating: 3 ½ Stars (out of 5)

Sure, they make our lives a bit easier in some regards but it’s just as easy to argue that the technologies of today do just as much to bog us down and wear us thin.  From texting to Twitter, from Facebook and more, the devices and applications once set out and sold with the promise of simplifying our lives oftentimes do just the opposite.  And, every now and then, we find ourselves longing for simpler times, times where neighbors actually knew one another and people looked out for each other.

Singer/songwriter, Steve Roberson, is just a person and his latest recording, What Used to Be, echoes that sentiment with plenty of homespun wit and country charm.

Texas native Roberson has been singing country music since his teenage days and, while singing “became more of a hobby than a profession,” as he moved into the real estate business instead, the artist has managed to churn out a number of albums, of which this is the fourth, continuing to collaborate with “songwriter, producer, and former Atlantic Records artist, Karen Tobin.” And while he’s not attending to his loving family, consisting of his beautiful wife, two sons, and three grandchildren, he can be found crafting simple melodies and warm tunes, the proceeds of which all go to benefit the Easter Seals organization.

All in all, it’s tough to read a bio like that and not like the guy.

But Roberson is more than just a quaint, heartwarming story. What Used to Be is an album of stories and tales that echo the heartbeat of real life and a longing within.  It’s not over the top, in your face sensationalism but rather allows truth to prevail over the seeming darkness of life that threatens to take over at times, opting for simplicity and kindness over choices and thoughts that might lead to regret.

To harness that feeling, Roberson relies on an able cast of musicians to create his distinct yet humble sound.  With Tobin at the producer’s helm and contributing background vocals, Roberson boasts a virtual family of performers in his band from the acoustic guitar work of Paul Marshall, Edward Tree, and Vern Monnett, who also assists on electric, Jack Lee and Bobby Crew on the piano and B3 organ, and Marshall on bass.  Shawn Nourse pounds a steady beat on drums while Scarlett Rivera helms the fiddle, Monnett and John McDuffie tackle the pedal steel and dobro, and Matt Cartsonis delivers on banjo and mandolin.  The result of this collective is a sound that is honest, proud, and birthed in the heartland of Texas.  It’s rich and rewarding and proves to be the perfect foil to where this artist really shines and that’s in his storytelling songwriting.

Offering up his slightly nasal twang, Roberson showcases time after time a simple approach to his songwriting that relies on sincerity over a bombastic splash.  On “Back to Mayberry,” he appeals to the simpler times, acknowledging the illusion of television while tying it into its real life memories, longing for the days of Sheriff Taylor and his son, Opie, while “The Old Me” showcases a learned wisdom in the realm of love and relationships, buoyed by a steady rhythm and nice steel guitar.

“Home Cookin’” is a fun, tongue-in-cheek interaction between a married couple whose husband has the occasional wandering eye that is reminded that he’s “got a good thing going” and “better bring his appetite back home.”  Cutting right to the heart of what it means to return home, seeing things through different yet familiar eyes, “What Used to Be” is a poignant tale while “Four Year Old Cowboy” oozes pride and joy at watching the imagination of youth, fueled by a perfectly fitted galloping beat.

Roberson takes things south of the border with “In the Time I’ve Got Left” as he determines to make the most of life and love, focusing on what truly matters while a flamenco guitar and peppy percussion support him, leading into the banjo filled tale of young love, “Madi Maybe.”  ”If Heartaches Were Horses” is subtle and succinct and does sort of slip through the cracks but more banjo accented alongside some mandolin notes and a playful, flirty duet color, “You Suit Me Well,” a true standout that recalls the great duets of artists like Johnny and June Carter Cash.

The artist borrows from the motion picture, “Jerry Maguire,” on “She Completes Me,” telling the story of love that’s held true, moved forward by an arrangement that’s simple and true while “You Meant to Say What?” is a fun, rollicking barroom two-step that recalls tracks like Collin Raye’s “That’s My Story.”  It’s fun, frivolous, and fits perfectly well.  Roberson closes up shop with the quiet tones of “If You Can,” a classic country feeling ballad that deals with a couple on the brink of breaking up.

Steve Roberson’s What Used to Be is a disarming album, simple in its approach and quite effective in its effect.  While it may take a few listens, it’s well worth the time as Roberson conjures up songwriting that’s easily worthy of Nashville’s Music Row as opposed to “realtor row” in California.  This is music from the heart, honest and true, and it’s well worth your time.

Reviewed by Andrew Greenhalgh
Rating: 3.5

The electronica music duo, Sessomorte, is comprised of lyricist/vocalist Liliko Ogasawara and musician/producer, Vincent Sirico.   Since their formation in 2001, they have gone on to record three albums, their most recent being 2013’s, Into the Grey.  There are several unique aspects to Sessomorte’s sound, the primary one being the mixing of electronic and live instrumentation.  Sirico’s background as a musician, specifically as a bassist in a progressive metal band, gives him a diverse set of skills he brings to this record.   Additionally, Ogasawara has a distinct style of singing, one in which her lead vocal is often reserved and her backing vocals higher and vibrant.   The combination of all these elements makes Into the Grey a remarkably strong collection of songs.

Sessomorte opens this album with “Roll It,” and instantly the electronica elements of their sound become clear.   The synthesizers, while not overbearing, are intensely moody and create a dark atmosphere that draws upon the late-night musical feel the duo was seeking to create.   Rather than sink into a level of ambiance however, Sirico keeps the song driving forward with a brisk drum loop that turns into a dynamic percussion track by the song’s end.  Along the way the synths periodically erupt in brilliant fashion around Ogasawara’s lead and backing vocals.

The noticeable building up of songs is another wonderful feature of Sirico’s compositions.  “Disturbed” has its own dark atmosphere, but it begins starkly with the intermittent pulse of a synthesizer beating underneath Ogasawara’s voice.  A light guitar riff works its way into the arrangement, in addition to a stronger drum track and increasingly complex layers of vocals and synthesizers.  In and amongst all this is an effectively unsettling lyric in which the song’s narrator discusses her realization that the person she’s with, really is as sick and twisted as he claims to be.

Not every lyric is quite so memorable and this is the one area that Into the Grey finds a degree of fault.  “Anniversary,” despite being short, pointed, and well-produced, goes through a regretfully overdone rhyme sche