French Symphonic Masters Fairyland are back with the long-awaited album The Story Remains. Fairyland is a well-known name in the symphonic metal scene, appreciated and with a specific trademark made of majestic orchestration able to bring the listeners in their fantasy world. The band was formed in 1998 as Fantasia Philippe Giordana and Willdric Lievin. Both musicians shared the same passion for epic and symphonic heavy metal. Fantasia recruited guitarist Anthony Parker and entered Wizard Studio in February 2002. During the recording, they found Elisa C. Martin, already known for her work with the power metal band Dark Moor. At this time, the band's name was changed to Fairyland.
The Story Remains has the band’s trademark 100%, songs like A New Dawn or Karma are a perfect example of the amazing album that will make every symphonic metal freak’s heart beat with excitement!

The making of Congo Funk!, our long-awaited journey to the musical heart of the African continent, took the Analog Africa Team on two journeys to Kinshasa and one to Brazzaville. Selected meticulously from around 2000 songs and boiled down to 14, this compilation aims to showcase the many facets of the funky, hypnotic and schizophrenic tunes emanating from the two Congolese capitals nestled on the banks of the Congo River.

The textbook charge usually levelled against Alligator sessions are that they're sanitized. You couldn't lodge that one against this set with a straight face; if anything, somebody turned Sonny Terry loose. It didn't hurt that Johnny Winter was around on guitar and piano, playing gritty blues with a passion. It didn't help that Terry didn't put any amplified muscle behind his harmonica, however. Otherwise, this is a strong session.

Whereas most great live rock albums are about energy, At Fillmore East is like a great live jazz session, where the pleasure comes from the musicians' interaction and playing. The great thing about that is, the original album that brought the Allmans so much acclaim is as notable for its clever studio editing as it is for its performances. Producer Tom Dowd skillfully trimmed some of the performances down to relatively concise running time (edits later restored on the double-disc set The Fillmore Concerts), at times condensing several performances into one track. Far from being a sacrilege, this tactic helps present the Allmans in their best light, since even if the music isn't necessarily concise (three tracks run over ten minutes, with two in the 20-minute range), it does showcase the group's terrific instrumental interplay, letting each member (but particularly guitarist Duane and keyboardist/vocalist Gregg) shine…

In the liner notes to this album, Stan Getz comments about how producer Herb Alpert showed him aspects of recording he had never experienced before. In this case, it's how to over-produce without overwhelming a lead soloist, as Alpert loads up this date with synthesizer players, electric instruments, and effects as a backdrop for the ultra-cool tenor of Getz. While not going overboard, it would have been nice to hear this music without the caramel-thick arrangements, leaving just Getz and a rhythm section to play sans the unnecessary sugarcoating. Initially released about a year before Getz passed away, the end result is a lazy and far too sweet group of pieces that muck up romance in a smothering fashion. Where string arrangements can sound beautiful, the sleepy synths on "Waltz for Stan" and echoplexed sax during "Madrugada" and especially the nine-minute ambling "Midnight Ride" are not just a trifle overbearing…

An excellent underrated album, with delicate and beautiful landscapes. Mostly instrumental and far away from the typical German rough-symphonic rock (a la Eloy or Novalis), this band seems to be influenced by the most elegant Camel and Genesis. If you enjoy soft atmospheric and changing music, and vintage sounds with nice interplay between keyboards and guitar, this is a highly recommended album.

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