Edge of Forever – Let the Demon Rock ‘n’ Roll (2005)

EdgeForever_LetDemon4 out of 5 Stars!

From Italy, the group Edge of Forever released a trio of powerful yet melodic albums in the new century, mainly Hard Rock bordering on Progressive Metal and Pomp Rock yet touched with AOR.

When it comes to Let the Demon Rock ‘n’ Roll, the band’s second album, catchy tunes such as “Crime of Passion,” “Mouth of Madness,” “One Last September,” “Feel Like Burning,” “The Machine,” and the title track barrel from the speakers with the force of a hurricane, while dramatic and hard-hitting ballads (“A Deep Emotion” and “Edge of Forever”) add variety. With his range, tone, and style of delivery, vocalist Bob Harris often reminds me of singers such as Glenn Hughes or Göran Edman. Meanwhile, bassist Christian Grillo and drummer Francesco Jovino construct a powerful sonic foundation, and the grand and rip-roaring instrumentation includes a perfect balance between Matteo Carnio’s blazing guitars and Alessandro Del Vecchio’s impressive “pompish” backgrounds and Prog-Metal-esque keyboard leads, which would seem almost right at home on albums by Time Requiem, Adagio, Space Odyssey, or basically any other group featuring Richard Andersson on keyboards.

And speaking of comparisons, the band’s overall musical style has much more in common with heavy yet occasionally commercial artists such as Rainbow, Heaven & Earth, Sunstorm, and Eden’s Curse as opposed to lighter and “pure” AOR groups such as Journey, FM, Babys, or Shy. So don’t let the AOR genre designation fool you—Edge of Forever has a mighty edge indeed, one that’s loaded with scads of hummable melodies.

Please also note, Let the Demon Rock ‘n’ Roll was produced by Bobby Barth, long-time vocalist and guitarist of the hard-rockin’ and melodic Florida band Axe, who may have aided Edge of Forever in keeping its style on this particular musical path.

Regardless, even through it’s been many years since the band’s lineup changed (leaving keyboardist Alessandro Del Vecchio as its vocalist) and its last album (2010’s Another Paradise) saw the light of day, Edge of Forever has subsequently signed a multi-album deal with Italy’s renowned Frontiers label and is supposedly working on new material for a comeback platter. Therefore, I’m thrilled to know the band has not fallen into oblivion, thus leaving my previous fears of possible dissolution in the dust.

Get The Album Now!

Solstice – Prophecy (2013)

Solstice_Prophecy4 out of 5 Stars!

Solstice is a shamefully obscure band from the U.K. that released only five studio albums between 1984 and 2013, with Prophecy being the most recent. Although with only five studio releases in a twenty-nine-year period, with numerous lineup changes through the decades, plus the band taking lengthy breaks, the reason for Solstice’s continued obscurity is certainly understandable. After all, it’s not like the Prog-Rock community has been continually bombarded with announcements from the band regarding fresh material, news of upcoming album releases, world tours, etc., right?

Be that as it may, Solstice plays majestic, engaging, complex, and often-hypnotic Symphonic and Neo-Prog material with Prog-Folk influences, and with the band featuring female vocals, I’m sure many fans of artists such as Magenta, Flamborough Head, Curved Air, Mostly Autumn, Thieves’ Kitchen, and Introitus will find much to savor here.

On Prophecy, the band shows its gift for successfully offering up a delicate balance of acoustic-based passages along with electrified fare, typically with a dreamy atmosphere on which the serene vocal melodies float. This is never more evident than on both the opening tune “Eyes of Fire” and on the lengthier “West Wind.” Then, on “Keepers of the Truth” and “Blackwater,” the band adds a larger degree of fiddle to the overall instrumentation, and with the more upbeat tempos, often creates a sound similar to early Kansas, only melded with a group such as Magenta (thanks to the female vocalist, of course).

My favorite track, however, is the seventeen-and-a-half minute epic “Warriors,” which takes the listener through numerous moods and tempo shifts, with both acoustic and electric segments seemingly united in a perfect marriage, and lovely vocal segments loaded with rich background harmonies. Here also is where—due to the electric guitar and synth trading off enjoyable solos in the lengthy middle Neo-Prog section, and the vocals popping in with rhythmic accents—the band once again reminds me primarily of Magenta. Simply beautiful and captivating in its tunefulness and scope.

All in all, although Prophecy is not an essential item for Prog-Rock enthusiasts to add to their music collections, it’s nevertheless a splendid release that contains enough alluring moments to justify its replay value. And as mentioned earlier, fans of female-led Symphonic and Neo-Prog bands, especially those who prefer a somewhat lighter, more acoustic touch, will certainly delight in the material.

Also please note, along with the five tunes described in this short review, the album also contains three additional “bonus” tracks. “Find Yourself,” “Return of Spring,” and “Earthsong” were originally recorded back in 1984 for the band’s debut album Silent Dance, but were remixed by Steven Wilson from the original tapes for inclusion on Prophecy. Although none of these tunes adds any extra magic to the main bulk of the album, it’s still nice to compare the band’s past and present style, which, frankly, hasn’t changed all that much.

Get The Album Now!