Billy Pezzack is currently in Great Britain making a name for himself by sharing his musical knowledge on the guitar to the next generation of guitarists. With the talent that Pezzack possesses, it was only a matter of time before he took his ability to play many musical styles on the guitar and put that talent into making an album. So it comes as no surprise that the musician just released an all-original album called Your Blue Sky,

Your Blue Sky, the new instrumental album from Billy Pezzack, was recorded in two sessions with three other musicians that helped fill out the sound. Along with Billy on guitar, Paul Pezzack played the bass guitar, and drummers Iolo Whelan and Mark O’Connor provided the rhythm for the tracks. O’Connor played drums for the first five tracks, while Whelan helped out on the rest of the release.  Having two drummers for the release created two different feelings to the music. O’Connor’s style is slightly lighter while Whelan’s drumming style is a little on the firmer side.

Pezzack and the other musicians spent quite a bit of time playing jazz while making this album. The first track (which happens to be the title track of “Your Blue Sky”) finds the Pezzacks and O’Connor creating some smooth jazz.  A later track “Yep,” features the trio with Whelan as drummer creating a song that is a little more upbeat. That track is immediately followed by “Keeping Stones,” a jazz song that slows the tempo down.

Staying with the slower pace created by “Keeping Stones,” the brothers Pezzack create a beautiful song called “One Summer”. That song is followed by “Twinkle,” Billy’s loose interpretation of “Twinkle, Twinkle, Little Star”.

Jazz is only one genre of music created in the songs that make up the album Your Blue Sky. Sometimes the musicians led by Billy Pezzack create music that falls into other genres. It is on the songs “The Binf,” “Talking to Myself,” and “Billy’s Blues” that the musicians create some really good instrumental blues tunes. With “Vibro” and “Blackwater,” Pezzack, Pazzack and Whelan take the jazz they create and kick it up a notch by adding a rock edge to it. “Get A Proper Job” can only be described as “instrumental rock”. The versatility of all of the musicians allow for the lines to become blurred between genres and the variations of music created on Your Blue Sky keep the album interesting for the 50 minutes worth of music.

Most albums seem to feel as if they are very tightly organized, like each note has to be in a certain spot or it’s just not correct. However, this is one thing that separates Your Blue Sky by Billy Pezzack from most of the albums being created- the album has a very loose feel to it.  Pezzack and the rest of the musicians seem to allow the music to dictate where the songs end up. It’s the loose feeling that makes Your Blue Sky enjoyable.

Many aspects to Your Blue Sky make it a great release: Whether it’s the two sessions created with two different drummers, the variations of music that were created during the recording process for the album, or the talent of Billy Pezzack himself, the many different things that went into creating the release help to make Your Blue Sky by Billy Pezzack a pleasure to listen to.

Review by Matheson Kamin

Matheson Kamin, Reviews Billy Pezzack, Your Blue Sky

Musicians Maxine Harman and Marty Xenoff make up the base for the Australian rock band The On Fires, who have split their time over the past few years on the road between their home area of Australia and Europe, where they are developing a following. In concert, the band’s sound is created by Maxine Harman and Marty Xenoff with Glock Smithson on bass and Dev Baxter on drums, and are known for their explosive stage show.

With two continents covered, The On Fires were ready to spread to North America, and released Betrayer to propel their arrival in the US.  Adding Naomi Brockenshire on bass and Simon Newberry on drums for their studio work, this combination of musicians helped bring just the right amount of energy to the band’s songs. The style of The On Fires seems to simultaneously incorporate the old styles of rock ‘n’ roll and the new styles of today’s bands. At times, they seem to fit in more with today’s bands that can be found on current radio formats, with a punk/glam feel to their music at others.

“Coming Home” kicks off Betrayer, an upbeat track that combines the feeling of punk rock with just a little bit of the off-kilter style of Devo, while “Hanging With The Living” feels like a nod to the sixties’ bands that were creating the straight-out rock of the time.

“Precious Injury” suggests a cross between The Motels and Duran Duran. The style here brings to mind these two bands before they were both “commercialized” by their respective record labels. The song sounds like it belongs on college radio back in the ‘eighties.

With the song “Melancholy,” the listener gets to experience, for the first time on this album, the beautiful voice of Maxine as she takes the lead on this track. The piano-driven tune, coupled with the strings on this track, brings to mind a song written in the style of Queen, while “Without” lets their modern-day influences shine through with the flavor of Coldplay and Stereophonics.

Betrayer is a solid fifteen-song collection. Each song on the album has something different to offer the listener, and this makes it a joy to listen to.  It draws you in and keeps you interested to hear what else the band has to offer.  Maxine Harman and Marty Xenoff are a fine writing team, and paired with their additional studio and stage musicians, The On Fires is definitely worth checking out.

Review by Matheson Kamin

Matheson Kamin, Reviews Betrayer, The On Fires

Michael Shouse is a Kentucky-based guitarist who has been influenced and inspired by the likes of Vai, Satriani and Belew, among other instrumental rock guitarists. After taking notes from the guitarists who preceded him, Shouse now has the knowledge and ability to teach his predecessors a thing or two about guitar playing (when he isn’t actually busy teaching the next wave of guitarists to play).

Just recently, Michael Shouse went into the studio and recorded his newest mostly- instrumental rock album. The newest release from Shouse is entitled Alone On the Sun. Like most rock guitarists who spend their time creating rock instrumental albums, Shouse creates his music by incorporating, not only rock, but also other genres into the songs, as well. The first track of Alone On the Sun, “Bionic” (along with containing a clever parody of The Six-Million Dollar um…….. Guitarist, as the intro), includes a few hints of heavy metal, as does “Shock And Awe”. And the songs “You Can Fly” and “For Alex” have a jazz-like vibe to them.

In the process of recording the tracks for Alone On the Sun, Shouse enlisted a group of eleven musicians to help create the release. Together, Mike, the three drummers, and eight bassists would combine together to create twelve unique trios (containing guitar, bass and drums), one for each track on the album. Having one unique musical outfit for each song ensured that each track would have its own unique sound and personality. This also guaranteed that each song would sound fresh, since no three musicians created more than one song on the album as a group.

While eighty percent of the album is instrumental, there are two tracks that feature vocals. For those tracks, Gene Booth joins Shouse on vocals. Booth provides the vocals for the power ballad “Don’t Remember Me,” and on the song “Man of Constant Sorrow,” the song most recently recognized from the movie Oh Brother, Where Art Thou?

With Shouse having grown up in Kentucky, it seemed only natural to have included just a little bluegrass flavoring to the album; although, with the arrangement of the song “Man of Constant Sorrow,” you’d hardly recognize the song as being a tune that has been recorded and performed by many bluegrass artists over the years. Shouse not only is a very good musician, but this track also proves he has the skills as an arranger, as well.

Shouse recorded the vast majority of Alone On the Sun while he was using an electric guitar. There are, however, a few quickly passing hints on the release where the guitarist shows his playing ability and technique on the acoustic guitar. You can hear all-too-few bars where the acoustic carries the momentum on “You Can Fly”. With “Man of Constant Sorrow,” the first ninety seconds of the song feature the acoustic as it creates the familiar structure to the bluegrass standard before Shouse changes the feeling of the song by adding the electric guitar to the mix.

The guitar is Michael Shouse’s instrument of choice. So, Alone On the Sun was created in a way to showcase Shouse’s strengths as a guitarist. However, there are some instances where you can also hear Shouse adding a few embellishments to the music by playing the keyboard on part of the title track. Although the brief time the keyboard is part of the mix, you can tell that Shouse is a multi-talented musician.

If the impressive body of music that makes up the album of Alone On the Sun by Shouse isn’t enough for you, the extras included as part of the CD-Rom part of the package should make the album worth checking out. As part of the computer side of the release, you get the video for the title track to the album, and you also get the charts to learn to play the songs that are included in the release. The tablature for the disc is almost like having one-on-one sessions with Michael Shouse himself.

Hard rock heavy metal, jazz, and even hints of bluegrass all help to help Michael Shouse to create a varied and entertaining new release. If rock guitarists make up a large part of your music collection (or even if they don’t), Alone On the Sun by Shouse is definitely worthy to be added into that collection.

Review by Matheson Kamin

Matheson Kamin, Reviews Alone On the Sun, Shouse

Every once-in-a-while, you can find a band that wants to scream to the world that Rock is not dead. One such band that is currently making no-holds-barred rock is The Dallas Motorcade. The Dallas Motorcade is a quintet of musicians from the Tri-Cities area of Illinois. The band consists of lead vocalist Timmy Olson, lead guitarist Mike Scarlata, guitarist Mat Warrenfeltz, bassist Will Ash and drummer Kyle Richards. Together, these five musicians have created a style of Rock that incorporates many different genres of the musical category. The resulting style of music is a welcome change of pace from the current mainstream style that is more “Pop” than Rock.  Suffer In Silence is the newly-released album from The Dallas Motorcade. The 13 tracks contained within the release feature such topics as violence, death and living with the choices you make. While the majority of Suffer In Silence is some of the strongest rock music produced today, the album’s leadoff track of “Prelude To Damnation” is completely different than the rest of the release. The track features a piano-and-rock-based melody that is low-key compared to the rest of the release. However, as the title suggests, the song works well as a prelude to the musical violence that follows it. Once the final notes of the first track end, the album really picks up steam. The band seems to let go of all of their pent up anger by releasing it through the energy of the music and the lyrics to the songs. The majority of the lyrics can be separated into two categories: anger and violence. Songs like “Judgement” and “Because of You” deal with not liking the decisions made by other people, while “Slug” and When I Bleed” are about violent acts.

Unlike some bands that like to lighten the mood of heavy music like this by including one or two “love songs” on the album, The Dallas Motorcade did the intelligent thing and stayed away from anything “heart-felt”. There are three songs on the release, however, that can be referred to as “anti-love songs”. “This is Want Happens,” “A Night in the Life,” and “Shanna” all have to do with relationships that have gone wrong, or that are meaningless one-time situations. The band’s choice to stay away from songs that might have brought the energy level of the album down makes Suffer In Silence from The Dallas Motorcade that much stronger a release.

The closing track is one of the strongest, and by far, one of the most original songs on the release. It is on “Journey to Valhalla” that the band seems to take just a page out of the history of Led Zeppelin by a song in the tradition of Zeppelin’s “Immigrant Song”. With the pain and suffering that is conveyed in their music, it seems very fitting that the band chose to end their album with a song written about soldiers attaining unending glory by entering into Valhalla as heroes. “Journey to Valhalla” also happens to be the longest track on the release, as it exceeds eight minutes.

If mainstream rock is too flat and lifeless for your liking, Suffer In Silence by The Dallas Motorcade may just be the next release that ends up in your music collection.
Review by Matheson Kamin

Matheson Kamin, Reviews Dallas Motorcade, Suffer in Silence

Punk rock and a hard-edged opinion have always gone arm-in-arm. Whether the theme is about helping someone in need or it’s about being against something that is taking place in politics at the time, punk bands are usually the ones who will take up a position for or against something first to make their opinions known. So it comes as no surprise that Face the Crowd, the new release from Pennsylvania-based outfit Combat Crisis, spends most of its time focused on one intellectually charged topic after another.

Combat Crisis is a five-piece that makes its home in Philadelphia, PA. The band is composed of Elisha Cause on vocals, Anthony Edge on guitar, Johnny Ruin on guitar, Jonas Image on bass and Adam Bomb on drums. Together, the band creates music that is both energetic and full of emotion.

The first song on Face the Crowd, “We Represent,” takes aim at war. More importantly, the song takes aim at our involvement in conflicts that we may or may not have any stake in at the time. The view is that our soldiers are dying for nothing and we are getting nothing out of it.  “D.T.T.R (Don’t Try To Resist)” is a song about being wrongfully accused and incarcerated. What happens after you’re released from prison after serving time for something you didn’t do? Unfortunately, too many people have lived through this reality. What’s your opinion on this subject? Combat Crisis lets you know what they think.  While most of the songs on Face The Crowd are statements on things that are happening in the world today, the song “Fool Me Twice” is more of a personal declaration than anything else- you’ll never get the better of me twice.

For the vast majority of the release, Combat Crisis creates a punk rock sound that incorporates a break-neck tempo. That tempo becomes part of the band’s signature style for the album. However, the band seems to just throw that style out the window for the album’s title track.  On “Face The Crowd,” they slightly slow their pace to help create a different feel for the album’s title track. And while the members of Combat Crisis feel like a different group for just that song, it also happens to be one of the strongest tracks on their debut album. One has to wonder, however, why anyone would bury the title track on the final quarter of the album? With the song being as strong as it is, and with it being the title track, why isn’t the song one of the first songs on the album?

Face The Crowd by Combat Crisis comes to a close with two tracks that seemed to have been paired together perfectly, “Out of Luck” and “Nothing to Lose”. The two mindsets work well together to bring Face the Crowd to a close with a lot of energy.

Face The Crowd by Combat Crisis is a great punk rock album. The lyrics make you think, the musicianship is very good, and the album as a complete package is just what fans of punk rock music are looking for. If you’ve never encountered the band Combat Crisis before, their debut album is worth checking out.

Review written by Matheson Kamin

Matheson Kamin, Reviews Combat Crisis, Face the Crowd

Talent. This is what separates the great from the mediocre. If you can do something better than the others, then you have a good chance of being remembered. Rock guitarists should know this better than anyone. To separate yourself from the pack, you need to have your own style as well as being able to play many different types of music. This is one of the biggest things that give guitarist Dennis Williams an edge over many of his contemporaries.

Dennis Williams is a guitarist that makes his home in Canada. The Ontario-area musician just released a new CD by the name of Relentless under his moniker of GTRMAN, and with the various styles of playing that Williams showcases on his new release, the moniker seems to be a good fit. At various points on the album, Williams can be found picking, shredding, or just plain playing his fingers off.

Of course, it’s not just about the playing style of the musician that makes Dennis Williams the “GTRMAN”.  It is also the fact that he has the ability to play many different genres of music, as well. With jazz, metal, rock, even country showing up on Relentless, the listener gets to experience many different sides to Williams.

Relentless begins with the album’s title track. A blend of several elements makes the song unusual and unique. Strong rock/metal base, diverse playing styles including jazz, rock and flamenco, and a very energetic feel to the piece combine to create the perfect track to lead off the album. Needless to say, “Relentless” is a very apropos title to the song.

The energy continues with the song “Airstrike”. You can almost envision yourself in the audience at an air show waiting for the jet planes to fly overhead. To calm the nerves a little, Williams offers “Love Song” next, with an almost classical feel to it. The track shows the control Williams has when he wants to show some emotion in his playing.

A sign of a real musician is the drive to always want to add something more to your abilities. For the song “Get Off the dang Roof,” Williams picked up the banjo and learned to play a certain song from the movie “Deliverance” as part of the track. A great surprise, and it adds yet another reason why this album is so strong.  Then we go from one of the strongest tracks on the album to one of the most unusual: “The Temple of Set” combines a rock base with a few ambient overtones to create an engaging song to bend the ear of the listener.

On “Lost”, Williams sets aside the guitar for the piano.  This song was the one composition that Williams created with the piano in mind, and with no one to play it for him, Williams sat down and learned to play the song himself (with surprisingly good results).

For the final track, Williams returns to his home base, the guitar, on “North Shore Samurai”. This strong track is a fitting end to an album that gives the listener many different perspectives on a musician who is much more than just a guitarist. Along with playing many different guitars for the album, Dennis Williams played the bass, the drum parts and every other musical sound on the release. Williams is a true “talent” in every meaning of the word.

Running the gamut from rock to metal, from country to classical, Relentless from Dennis “GTRMAN” Williams shows many different sides to the musician. A pleasure to listen to, Williams’ album of Relentless makes one wish for more.

Review by Matheson Kamin

Matheson Kamin, Reviews Dennis Williams, Relentless

When trying to describe musician Earl J. Rivard in one word, the perfect term to use seems to be “troubadour”.  Since he is currently following in the footsteps of his father, one could say that the talent is hereditary.  In fact, both Rivard Jr. and Rivard III collaborated to create the younger Rivard’s recently released new album of Underground Railroad.

One of the first things that makes Earl J. Rivard III a true troubadour is the fact that most of the Underground Railroad album is written in a folk music style. The songs on the album are performed with Rivard’s guitar as the main instrument, with other musicians joining in to help add texture to the songs.  Sometimes, the only musician is Rivard, just like in the song “Sometimes Love,” which features Rivard’s voice and guitar.  The simple choice on the song turns out to the best choice, as the song ultimately is one of the strongest tunes on the release.

Another reason why “troubadour” is the right word to describe Earl J. Rivard III is the fact that many of the songs written by the two Rivards, whether together or separately, are easily termed “poetry set to music”. Many of the songs on Underground Railroad actually tell a story, and many of the stories told by father and son Rivard are romantic in nature. Songs like “Till I Met You” and “The Sun Finally Rose” are written from the perspective of a man who just met a woman who took his breath away. At the same time, the aforementioned “Sometimes Love” is about the ways relationships die “a cool, lingering death,” or “ in a storm”.

With both father and son Rivard being songwriters, one of the tracks on Underground Railroad is very apropos.  As many writers often do, both Rivards must have a lot of songs that have never been completed. “Unfinished Songs” tells of that very situation that many writers must know all-too-well, and the ending of the song works very well to emphasize that point.

While the vast majority of this album was written in English, there is another side to the album. The songs “Magdalena” and “Vuelvete” were written and performed in Spanish.  The title track has to do with the way people who are here illegally are treated after being discovered. The song definitely fits into Rivard III’s persona as a troubadour, as many of the songs written by troubadours are meant to make people stop and think.

As much as Underground Railroad by Earl J. Rivard is about the pleasant voice of the singer-songwriter, as well as the talent of the musician as a guitarist, the album is also about the songs. Underground Railroad is a wonderful showcase for the songs that were written by the elder Rivard. With this album, the son has captured just a sample of the magic in the songs written by and with his father.

Review by Matheson Kamin

Matheson Kamin, Reviews Earl J. Rivard, Underground Railroad

Singer-songwriter Grady Crumpler got his start on a stage just big enough for a single singer and his guitar. It was during one of these performances that Crumpler met drummer Bill Eagen and a friendship was formed. Together, Crumpler and Eagen would go on to play with many talented musicians that would eventually become part of a rotating line-up of a band known by the moniker of Shady Cats. While Crumpler would write his own songs, Eagen and the rest of the performers would help perform the music.

Soon, Grady Crumpler would have enough songs to create an entire album of music. Having many musicians that took part in the band of Shady Cats throughout its history, there was no set line-up or specific style. With that in mind, singer/songwriter Grady Crumpler and drummer Bill Eagen went about recording the Love Callin’ album in much the same way. No two tracks would have the same line-up, nor would any two tracks have the same feel. Crumpler and Eagen were the only two constants on the entire album. In fact, about a dozen musicians took part in the making of Love Callin, the first album from Shady Cats.

With Crumpler having grown up listening to songs from English and American rock bands from the era known as the British Invasion, he ended up adding some of that sound into his writing style. That style definitely reflects the British Invasion influence. And while there is a generous amount of that influence in the music of Shady Cats, the other musicians who have been a part of the band have added their influences and other elements to the music to keep the band from coming off as a group with a “retro” sound. This album seems to be split between the past influences and the present ones, starting with the title track. “Love Callin’” is one such song that definitely features some of the British Invasion influence that is evident in a lot of Crumpler’s writing. The second track of “Lost Myself” also has that same type of vibe. In fact, the song sounds like The Raspberries, one of the American bands that were influenced by the British invasion, influenced it.

The third song on the album is “She Kisses Me With Her Eyes,” a song that steps out of the British Invasion feel. This track feels like it really fits on today’s Adult Contemporary radio formats. This is also one of the songs on the album that could be pushed as a single. The next track on the release that deserves mentioning is “Lines”, which takes the group’s sound in the direction of southern rock from the seventies.

After spending a lot of time with a sound influenced by the seventies, the band changes directions once again on the song “I Want Independence”. “I Want Independence” sounds like a hard rock song that fits with today’s bands and sounds. “All The Way” seems to come out of nowhere. When many of the songs on the album feature a sound or style that was influenced by British Invasion-era bands, this track is very much influenced by Carlos Santana and his group. This only refers to the sound of the song, of course, as the band does not head off into an extended jam.

Grady Crumpler, Bill Eagen and the rest of the band save the idea of an extended jam for the final track of the album on the piano-driven tune. “Desperation” closes out the CD and sends the group into a song that breaks the six-minute mark. The slow pace of the song brings the album to a close in a relaxed fashion.

While there is an abundance of music on Love Callin’ Cats that was definitely influenced by bands from the British Invasion, the song selection and the style of those songs is nicely diverse. And the talent of the dozen or so musicians that came together to create one single album under the moniker of Shady Cats helps to keep the music from falling into a groove where every song sounds the same. No matter what style of playing the musicians take to the songs, the album has something for every rock fan.

Review by Matheson Kamin

Matheson Kamin, Reviews Love Callin', Shady Cats

Having only released two albums, Canadian singer/songwriter Danie Syre already sounds like she has had a lifetime of writing and recording behind her. And with her newest release of Time For the Truth, she is sure to gain a lot of followers.

Like many other singer/songwriters, Danie Syre takes experiences in her life and lets them influence her writing. Time For the Truth, the second release of Danie Syre, was written during a time when she was going through some heartache, having lost her mother and going through a separation with her husband just before recording the album. Instead of letting these things drag her down, Syre used these and other events as subjects for songs for the new album. Danie even wrote the song “Martin” around a guitar given to her by her father who died after the completion of Syre’s first album of The Journey.

Time For the Truth begins with “Something Real”, a song about going through a relationship that isn’t perfect. This song is followed by “Daydream”, about starting a new relationship. These songs are the perfect way to begin the album, as they give the listener just a taste of the style of writing from Danie Syre.

“Little Kiss” is the next song on the album. With this song, Syre kicks up the energy level on the release. The upbeat song is about giving a relationship a chance, even if the relationship seems to be based around two opposite personalities being attracted to each other.  One of the strongest tracks on the release is the title track of “Time For the Truth,” written after the death of her estranged mother. The song is like someone finally saying what was in her heart that she never was able to say before.  “Baby Maybe” helps bring the energy level back up after the somber message of the title track. The song is about living in the moment and allowing things to happen, as they will.  As with many folk/folk-rock albums, Time For the Truth alternates between songs that have an easy feel and those with a rockier nature, and when the fiddle is added to the music, those tunes have a slight Celtic feel to them.

A lot of things have happened to Danie Syre over the years that have developed her writing style. The resulting songs on her second release of Time For the Truth sound very professional. This writing style will only get better with time.  As she is a guitarist as well as a singer-songwriter, the songs on this album were partially shaped with the help of her guitar. The songs were completed with the help of many talented musicians, and those on this long list deserve credit for helping to shape that sound and style.

The dozen songs on Time for the Truth are all easy to listen to and are varied enough to keep the listener’s attention. For only a second release, Danie Syre seems to already have found the formula for success; only time will tell.

Review by Matheson Kamin

Matheson Kamin, Reviews Danie Syre, Time for the Truth

On the back cover of Remedy, the first CD in the series of discs that have been planned for the musical collective known as A Crack in Time and the Break of Dawn, there is a question that the band wants you to consider. To condense and paraphrase the question, they ask: If you take away the conscious past and the conscious future, what will be left? “The ever-present Now”. It is in “the ever-present Now” where A Crack in Time and the Break of Dawn exists.

This collective of rotating musicians under the guidance of Helge Corneliussen creates their music to be experienced as it happens and once it ends, the collective moves on to the next musical setting. Born from a 48-hour long improvisational festival in Norway, the group of musicians have gathered together from time to time to create music on the spot and record the results to release later. The resulting recordings have been produced to create totally unique CDs of music. The band recently put out the initial album entitled Remedy.

Checking out the packaging of the collective’s debut, there is an absolute lack of information: Whether the collective considers itself one entity so that no one person should be singled out, or if there was a lack of accounting for which member was on stage at what point, no musician is given credit for playing on the release.

On a related subject, A Crack in Time and the Break of Dawn also decided to be very non-decisive about naming their musical creations: No song is actually given a title, they are simply known by the number of the track they end up being in the tracking of each disc. As Remedy has three tracks, the songs are Track 01, Track 02, and Track 03.

Since the recordings of songs by A Crack in Time and the Break of Dawn will ultimately end up being released over the course of five CDs, perhaps the collective decided to start the series off with the songs that were deliberately light and slow; at least, that’s the way it comes across listening.

With the three songs that make up Remedy, the chosen music is quite laid back and over-simplistic. When the collective makes the claim that they have a rock style to their songs, these songs are very experimental with a lot of avante garde feel to them. One might ask where the rock influence is.

Each selection on the album encompasses the entire length of the improvisation. Had the group decided to allow the songs to be played out and then gone back and edited them to a stronger section of the piece to begin the composition, that would have made the release more interesting. Tighter production should have been considered.

Although stronger songs could have been chosen, the songs that are present on the album are very indicative of improvisation. The easy-going nature of the music tells you that the musicians let the music take them wherever they would eventually end up. It takes talent to completely improvise music on stage and the musicians who make up A Crack in Time and the Break of Dawn do not disappoint musically. Now, if only the song selections can be stronger for the rest of the upcoming releases, the musical collective can make a name for itself.

Review by Matheson Kamin

Matheson Kamin, Reviews A Crack in Time and the Break of Dawn, Remedy