“Change of Ages” is the introductory track and it is quite simply one of the most intricate
pieces of music to be heard. The blazing guitar work is matched note for note by the
hard-hitting rhythm section. The vocals are delivered with a strong confidence and
everything about this piece is polished and professional. Carrying a heavy metal essence,
this progressive rock offering is only the beginning of Colobar’s arsenal. The album’s
title track, “Behind The Veil of Oblivion,” begins with a much slower tempo, carrying
an almost spiritual vibe. The sense of calmness one gets at the beginning of this track is
extraordinary. The instrumentation is skilled throughout this lengthy work and the vocal
harmonizing is excellent. This piece is nearly ten minutes of progressive rock perfection.

“Timeline” is a softer offering, with a more melodic approach. This dramatic track is rife
with stellar keyboard playing, crystal clear guitar work, and clean vocals. Dream Theater
comes to mind while enjoying this song, and the skilled musicianship of everyone
involved with this project shines through with stunning clarity. “Listen” is also a more
melodic track, and perhaps the most artistic one on the album. With a soft elegance,
Sentance’s vocals are seductive and the graceful guitar work is simply enthralling. The
rhythm section also gets a chance to shine brightly here and this track is brimming with
creativity and artistic vision.

Behind The Veil of Oblivion is a journey into musical enlightenment, and it continues
with “Secrets,” a faster-paced progressive tale of whaling guitars and grinding chords.
This track is a study in the intricate and flawless method of composition employed by
this band. The music of Colobar is highly technical with regards to melodic placement
and overall structure, which is evidenced within all of the offerings on the album, but
more so within this offering in particular. “The Way Out” begins with a dramatic flair
and a haunting melody that will send chills down the spine. The lyrics are likewise laden
with a haunting beauty, made even more so by Sentance’s graceful delivery. This piece
carries an edge that has a bit of darkness to it and the grinding guitar riffs are offset nicely
by the light keyboard work.

“Can’t Feel” is the album’s closer, and in keeping with Colobar’s style of music, it
is artistic and visionary and exquisite. Progressive rock is a genre that tends to go
overlooked in many circles of the music scene, and this is unfortunate. It is one of

the most creative genres of music out there and Behind The Veil of Oblivion is on par
with some of the greatest progressive rock albums of all time. The skill with which the
songs are written and performed is fascinating, not to mention the talented and complex
composition of each piece. Colobar has reached new plateaus with their debut album and
the music world will wait hungrily for their follow up effort.

Reviewed by Rhonda Readence
Rating: 5 stars (out of 5)

Matijow, who originally launched this Detroit-based punk-metal/alternative group
as a one-man project, wrote “Grad Song” in 2001 – as he faced the end of high
school. A decade later, the song’s nascent worries have taken on new meanings,
new shadings of emotion, and so has Matijow’s take on it.

Now touring and recording with Todd Errion on bass and vocals and Chris
Hobbs on drums, Alchalant is gaining wider notice – having been named best
alternative band at the recently held first annual Indie Music Channel Awards.
In all, Alchalant had been nominated for seven awards, including album of the
year for their self-titled debut release. But, before all of that, before the awards
and the recognition, there was this song – and its words clearly still resonate with
Matijow.

By the time the fleet riff finally arrives, almost a minute in, there is a billowing
sense of dread. Then Alchalant explodes into a squalling, punky rhythm –
with bashing drums and a bloody-knuckled, jagged guitar made complete with
this howling, resentful vocal: Everything the main character once feared, as
graduation loomed, has come true: “10 years later, on the phone, I’m successful
but alone … writing songs about the days when I was young, playing outside in
the sun.”

As Matijow sings, with an increasing sense of abandonment and hurt (“I didn’t
know what it was,” he repeats), there are layer upon layer of added emotions,
until “Grad Song” is finally subsumed by wave after wave of electronic noise –
and just like those golden days of youth, it’s gone.

Review by Nick DeRiso
Rating: 4 Stars (out of 5)

Colobar is clearly influenced by the kings of modern prog metal, Dream Theater, as well as the likes of Spock’s Beard, Kansas and Rush. There is nothing particularly innovative about what they are doing on Beyond the Veil of Oblivion, but the execution and songwriting is outstanding. This is an extremely well-played and produced 40 minutes of music straddling the fence between melodic metal and progressive rock.

With “Changes of Ages”, the harder and more metallic side of the band is in sharp focus. This is a fast and driving tune with a crisp digital sound…a speedy guitar riff gives way to a stuttering, choppy hook and the vocals of Carl Sentance unfold. Sentance has a nasal but multi-faceted voice that greatly resembles Glenn Hughes. He fits the music here like a glove. “Change of Ages” gets the album going with an aggressive kick and already there’s some cool guitar/keyboard duels.

The title track is the album’s epic and shows a much more expansive side. Beginning gently with nature sounds, this turns into keyboard-oriented prog where the piano dominates. Then the song becomes harder and more guitar oriented. This pendulum-like trade-off between hard metal and key-centered prog forms the very essence of Colobar. Every musician gets a chance to shine on this lengthy track, with drums and bass also throwing in cool fills and flourishes. Some would say Colobar is a pretentious band…well, a certain amount of pretension comes with the territory in prog metal and is even expected.

“Timeline” and “Listen” are two compact and hard-edged rock songs with good vocal lines and catchy hooks. Colobar doesn’t reinvent the wheel with these songs, but they make sure the wheel they’ve got rolls smoothly along. “Secrets” is a delightful tip of the hat to prime Kansas, with a lusty violin run accenting a fast guitar riff. You almost expect to hear Steve Walsh’s voice chiming in, but no, Mr. Sentance does the honors and serves the song well. It’s one of the album’s best tracks.

The last two tracks are moodier and not quite as instant as the preceding tunes. “The Way Out” has a dark tone but once more provides a real workout for the musicians. The final song “Can’t Feel” drops most of the metal feel for something resembling keyboard-oriented rock. It may take more than one listen for this one to sink in, as it doesn’t seem at first like the proper ending to the album.

Behind the Veil of Oblivion is a thoroughly professional and well-done example of modern progressive metal and I don’t think Colobar will have too long to wait before they start making a bigger impact.

Review by Mike Korn
Rating: 4.5 stars (out of 5)

Frantic technical metal opens the album on the introduction to “Change of Ages.” It drops to a more stripped back arrangement that sits pretty well in progressive metal. Still, as it gets a more energized revision for the next segment, it gains some more prog elements and resembles Dream Theater a bit. There’s a catchy vocal hook on that movement, too. The guitar solo is old school metal and very cool. This is quite a dynamic and diverse cut and there’s another smoking hot technical metal section that ends it.

At almost ten-minutes in length, “Behind the Veil of Oblivion” is the longest number on the set. There’s a short introduction segment that feels a bit like the start of Rush’s “Xanadu.” It works out to a jazz meets pop and progressive rock treatment from there, though. That holds the cut for a while, but then around the two-minute mark it gives way to a chugging riff that’s more metallic. As the keyboards lace the top, though, it’s closer to something from Deep Purple or Dream Theater. The keyboard solo later really reinforces that Deep Purple thing and the guitar solo that comes after is almost Blackmore-like. Still, this eventually gives way to a rock treatment of klezmer-like music. Then it drops back to atmospheric textures to continue. Around the seven minute mark, though, it fires out into technical metal a bit like Helloween with more epic elements in place.

While heavy crunchy guitars are heard on the introduction to “Timeline,” that is modulated with quite symphonic keyboard elements. When it shifts to something like proggy world music, the shift towards progressive rock seems complete. Still, movement that features the vocals is energized and has some serious metal sound to it. Yet, there is enough jazz and prog in the mix to keep it from truly fitting in the “heavy metal” category. The cut isn’t overly long, nor is it very dynamic beyond that point. However, it is a great blend of heavy metal and progressive rock in an accessible and effective song.

The first vocal movement of “Listen” comes atop a melodic, nearly ballad-like structure that feels a bit like the prog era of Rush. From there, though, it works out to a harder rocking sound that’s about equal parts modern progressive rock jazz. As it builds out for the chorus the jazz becomes less crucial to the mix. Still, the verses continue in that same jazzy progressive rock format. There’s a great progressive rock instrumental section later that runs out includes some Blackmore-like guitar soloing.

“Secrets” powers in as a high energy progressive rock jam. The guitar soloing during the introduction feels a bit like Joe Satriani or another such guitar hero. The intro is over a minute long and features plenty of proggy jamming. It drops down to a more stripped back arrangement for the verse. That movement has jazz and hard rock tendencies. An instrumental segment later calls to mind Kansas a bit.

“The Way Out” starts with a ballad approach that feels familiar. When the vocals join it feels a bit like something from Dream Theater merged with Queensryche’s more progressive rock oriented moments. Then, a little before the minute and a half mark, a crunch guitar joins. Rather than bring it into metal territory, though, it seems closer to Dream Theater. The vocal arrangement from that point is among the strongest on the disc. In fact, this might be the standout track of the set. There is a killer instrumental segment later in the piece that brings some world music melodies to the table, but delivered with progressive rock energy and instrumentation. It wanders into some spacey weirdness from there. After it grows back into the song proper for some more vocals, they launch into a section features some great fusion-oriented melodic guitar soloing.

“Can’t Feel” is the closing cut and it does a great job of combining the combination of metal and progressive rock in a dramatic, but also very accessible package. Still, even with the more straightforward approach, they manage to include a melodic rock guitar solo and an intriguing vocal movement. This gets more jazzy and has a ballad-like closing segment.

There is so much variety on this album, yet it somehow feels cohesive and gels. It is a disc that shows a lot of promise and should entertain both fans of adventurous heavy metal and those who like metallic progressive rock.

Review by G. W. Hill
Rating: 4 Stars (out of 5)

Whatever genre one tries to put The Fuegos into, there is a definite British vibe to their music. In addition, everything here feels like it fits together, yet each song is fiercely unique and extremely strong. This is really a near perfect release. One could hope for more songs, but that might actually make it weaker. Everything here is essential and adding more tracks might weaken the entire set. The Fuegos get in and right back out with style and power from start to finish.

“Pulse” starts the EP in style. Atmospheric textures bring some space to the table. It modulates in a progressive rock way for a moment before launching into a hard hitting jam that’s got a lot of Hawkwind built into it. The vocals are more modern, with an alternative rock vibe, but the keyboards and pounding guitar based song structure feel so much like Hawkwind that it’s almost scary. Still, there is certainly a modern edge to this. Of course, that Hawkwind reference is reinforced massively with a space rock based instrumental segment later. It gets non-lyrical vocals lain over the top as that continues.

While “Against the World” pounds in with a raw, almost punk rock vibe, keyboards bring more of that prog influence. The arrangement is very much in an aggressive, modern rock and roll mode with progressive rock put over the top. Alternative rock and punk are both part of the mix, but that is only part of the picture. This is high energy and compelling modern music with a lot retro fixtures built into it.

“Electricity” starts with a soulful, retro rock and roll ballad style. Symphonic elements lend some progressive rock. Then it fires out, after a verse in the mellower motif, to an extremely punk oriented jam. Still, even though there’s a lot of punk on the riff that drives it, the vocals are more alternative rock or alternative pop. Keyboards still lend a little progressive rock to the mix. There’s a tasty roots rock guitar solo built into this beast, too. A slide style guitar solo later even brings some country or blues to the table.

“Hurts” combines a Radiohead kind of sound with a modern alternative rock vibe. There’s a little punk in the mix, but plenty of modern progressive rock, too. This is edgy and yet quite accessible and compelling. In short, it rocks. It’s another great outing from this act.

“Money” feels a lot like the Killers. That said, there are some awesome retro keyboard sounds on the piece. It drops down to a noisy, but cool, feedback laden section that has definite links to 1960s psychedelia. Yet, there is a modern alternative rock and even punk element to the piece.

The disc’s closer, “Seven Tears” opens with an atmospheric build up that’s very much a progressive rock section. As the punky guitar takes over, there are still some hints of psychedelia and progressive rock in the mix. That said, the vocals seem to call to mind some of the sneering sounds that Stiv Bators used to practice at times. That’s only one part of the vocal delivery, though. There’s also a cool Rolling Stones like guitar riff later. Still, the whole thing really has an air of psychedelia and prog in the mix. There’s a jam later in the piece that has a real soaring modern progressive rock vibe. While everything here is extremely strong, this is one of the most dynamic and powerful cuts on the whole set.

This set defies simple classification. The truth is, though, listeners who just sit back and enjoy (or get on their feet to do so – after all this rocks) will be rewarded with a unique experience. It’s a safe bet this EP will be landing on some people’s “best of” lists as the year winds out to a close. It is that good.

Review by G. W. Hill
Rating: 5 (out of 5)

Vocally, the piece could use some work. Matijow is not always in tune and he is occasionally pitchy. He delivers with confidence though, and the lyrics are easy to understand. Instrumentally, “Grad Song” is executed well and these musicians have a solid grasp on the composition of music. However, there are moments of discord within the track when the rhythm section seems to be off the barest beat. This tends to add to the charm of the song, but for those few seconds, listeners may have to take a step back and reassess what they are hearing. As for the sound quality, it is not terrible, but the drums sound tinny at times and the vocals tend to override everything else. A thorough re-mixing is suggested.

Overall, “Grad Song” is a solid piece of music with exceptional lyrics and a catchy rhythm; however it does need some attention. Alchalant is a band with talent, which is obvious while listening to this single, and “The Grad Song” is a good indication of what they can do. The lyrics are great and the composition of the piece is good as well, but Alchalant simply need to focus a bit more on the overall quality throughout and add a bit of polish to the sound.

Reviewed by Rhonda Readence
Rating: 2.5 stars (out of 5)

That said, “Grad Song” is not emo and should not be described as emo; the fact that alchalant are melodic contributors to punk rock does not automatically make them an emo band. Rather, “Grad Song” is typical of alchalant’s work in that it is edgy and aggressive yet shows some vulnerability. And the tough-guy-with-a-heart aesthetic that has worked well for Matijow on some of alchalant’s other recordings (including their song “Better Off Dead”) also works well for him on “Grad Song.” Stylistically, “Grad Song” has a lot more in common with Green Day (one of alchalant’s main influences) and early Offspring than it does with ultra-introspective emo bands such as blink-182 and the Sloppy Meateaters.

If one has never heard any of alchalant’s recordings, “Grad Song” would be an enjoyable introduction.

Review by Alex Henderson
Rating: 3.5 Stars (Out of 5)

The title track “Today Tomorrow” opens the album, setting the tone with a dusky love song with gently picked acoustic guitars and some romantic, moonlit melodies. The touching lyrics to the song are also the only lyrics included in the CD liner notes, making them that much more meaningful. Likewise, Stephen Harrison know that so much of music is about the feeling it gives you or the memories you have of when you first heard the song and the nostalgia-laced “Imagination” will capture yours with cascading guitars and imaginative lyrics using scenes in nature to evoke a night around the campfire with old friends. The more upbeat “Graffiti On A Wall” features a synthesized horn section with a melody that is instantly hummable but unfortunately sounds just a little bit too fake and distracts, feeling out of place with the beautiful organic folk that surrounds it. However, the synthesized strings propel the song with an emotional depth that matches the intensity of the lyrics. Elsewhere, the haunting and heart aching “Don’t Cry” spotlights the veteran songwriter’s knack for subtle yet ear-worming melodies set to an understated and unadorned arrangement. Cyclical guitars churn on the atmospheric standout track “Sphinx City” which paints picture of a barren and desolate city of one, dripping slow burning emotion with every note. Another standout track, “And If” is a touching and intimate ballad of love, regret and renewal that features soaring synthesized strings and a lively piano riff that nearly mirrors the guitar in a way that blends together into one, for the album’s biggest, most powerful sound. “Looking Back” shines the spotlight on Stephen’s guitar work with several melodic guitar runs that complement the hypnotic rhythm he creates with his fingerstyle guitar sound. “Shoegaze People” features a more ornate folk-leaning arrangement with banjo, bright piano chords and sparkling guitar melodies for a bit of a change of pace as Harrison sounds like a less melancholic Leonard Cohen on the standout track. “River Of Time” rides in on a wave of slightly bouncy acoustic guitars with little else accompanying it, showcasing the simplicity and great power a great voice and guitar can hold. Saving the best for last, “Nobody There” closes out the ten track album with gorgeous, breathy guest vocals from singer Karen Edward that are the perfect complement to Harrison’s molasses-thick vocals.

Although he isn’t exactly reinventing the wheel with his album, Today Tomorrow, Stephen Harrison does reveal a softer side as he steps out of his life-long rock music comfort zone to come full circle and focus more on the folk-driven, singer-songwriter material he started his career with and the resulting album is perfect for rainy day listening and a tribute to his sharp songwriting skill, deft guitar playing, and smooth voice.

Review by Justin Kreitzer
Rating: 3.5 Stars (out of 5)

Hard to believe, as a seething Matijow screeches out the lyric “I won’t miss thinking of you” that this was once, back in 2006, a love song. But after everything fell apart with the girl, Matijow refashioned the song in 2010 as an angry reply – then began experimenting with sounds on an Apple iPad.

Those digital emulations, coupled with his wintry howl, ultimately give “Better Off Dead” a more modern feel – as Matijow dives into the same kind of found-object, noise-based energy as early Nine Inch Nails.

Left alone with these swirling emotions, Matijow unloads a torrent of bile – first suggesting “there’s not a whole lot left to say,” before lashing out: “How did it taste when you ate my soul?” Then: “You ripped my beating heart right from my chest. All that blood on your face – how do you like that, bitch?” All of it leads up to the song title itself, and a scorched-earth guitar solo – the very sound of catharsis.

Many a brokenhearted lover has perhaps had these thoughts, experienced these turbulent feelings, but been unable to frame it with such searing honesty. “Better Off Dead” focuses squarely on the hurt, picking at the scab rather than covering it with a bandage.

Since reworking “Better Off Dead” a couple of years ago, Matijow has added a pair of talented musicians to what was once a one-man band in bassist Todd Errion and drummer Chris Hobbs. Here, though, you get the full brunt of both Matijow’s roving eye for fashioning music out of jagged sounds – and also his unvarnished, deeply personal pain over a love lost.

Review by Nick DeRiso
Rating: 4 stars (out of 5)

Troy and Paula Haag’s debut release The Century is a fine collection of songs with rich lyrical content, acoustic textures, and vocal harmonies. The guitar playing and compositions in general are very interesting and enjoyable. If there is any surface criticism it is with Troy’s lead vocals, which can be weak at times as if he is holding back in some way. When Paula joins his voice, the harmonies are quite strong and appealing leaving the listener wanting more.

The collection starts off with the song “The Night Sleeper” which immediately brings to mind the Jayhawks approach to The Beatles filtered through their unique Folk Country perspective especially their harmonic approach to the chorus. “April 18th, 1906” has a beautiful introduction of acoustic guitars. As the title indicates it is a classically constructed story song on a par with other songs about tragic historic scenes from North American history such as “The Wreck of the Edmond Fitzgerald” by Gordon Lightfoot and “Revolution Blues” by Neal Young. The next track “Virginia” delves into another American Folk tradition, with an ambiguously dark ballad about of love and loss. The fate of the eponymous subject is somewhat ambiguous, but the final line indicates a violent end. Easily the most compelling song on the record, “The Poet” builds layers of driving acoustic guitars intertwined with bitterly flavored lyrics. “Wasted It Away” is a lovely ballad that refreshes the tempo of the collection while “Tomorrow’s Yesterday” praises a lover and brings the strong harmonies between Troy and Paula from earlier tracks. “Say Goodnight” is one of the most overtly Country flavored songs with its melodic guitar riffs and themes. Unfortunately “My Constellation” and “Falling (Somewhere in the Night)” are mostly forgettable tracks. They are still adequately played and comprised, but do not stand out in any way. The final song, “Sleepers Awake”, get backs to the more charming elements of the album. There is a good combination of contemporary singer songwriter and Americana elements.

Overall the instrumentation and the lyrics on The Century are solid. Troy and Paula Haag are without a doubt accomplished songwriters and musicians. Troy’s lead vocals are a little weak and missing something that could very well be in the mix or recording technique, but when the harmonies with Paula kick in, there is truly something wonderful happening between the two of them.

Review by Michael Cusanelli
Rating: 3 Stars (out of 5)