MY RIVER FLOWS

After an agonizing year long wait, IZZ finally brings forth the goods. Some of these tunes have been honed at Cal-Prog and other concerts over the past couple of years, I remember hearing "Crossfire" at Cal-Prog '04. I was immediately stunned at the production quality of MRF, I could FEEL the bass and kick drum, powerful stuff!

There is a lot of growth on this record, as in a more cohesive band, thoughtful lyrical content, individual instrumental prowess and shared duties. Anmarie, Laura and John Galgano share more lead vocal time then on previous albums. John Galgano's voice has improved tremendously and his bass playing is superb, getting a lot of presence to his fills and runs. Greg Dimiceli and Brian Coralian absolutely meld into a single eight limbed octo-drummer, locked in synchronistic harmony. Tom Galgano is in fine voice and, as a lead soloist, plays for the song and doesn't get "over the top." The biggest standout, though, is Paul Bremner. Brems really makes the most of every moment. His tone graces each tune with alternating power chords, deft flurries of razor sharp notes, ebow driven legato and sweet linear runs. Fabulous.

The tunes: Beatlesque melodies appear on Anything I Can Dream and Rose Colored Glasses. Muscular workouts, like Late Night Salvation and My River Flows. An epic showcase of musical twists and turns, choir-like passages, spiritual redemption and the kitchen sink on Deafening Silence. A sweet lullaby, Abby's Song. Social commentary on Deception. The band covers a lot of territory on this release, something for everyone.

I find myself skipping the title track and the finale. Why? For some reason, My River Flows doesn't click between the vocal melody and the chord structure. I felt the same way at Cal-Prog when they opened the show with this song. I can't put my finger on it, but something just doesn't fit. Deafening Silence is a huge tune, very hard to make it through in one sitting. I think it may be a case of a band trying to write an epic, rather than a song that demands it. I could hear DS broken down into three shorter pieces that would have worked much better. Rather than writing their Close to the Edge, they came up with a Tales from the Topographic moment. Too much padding, trying too hard? I don't know. Still, some fantastic interludes.

Why should you own this album? Late Night Salvation may be THE best prog tune of 2005. It is an awesome tune on every level; musically, lyrically, vocally and production quality. I remember the first time I heard Roundabout when I was a kid. I was shocked. LNS gave me that same feeling. Even with the small short-comings, My River Flows is an excellent addition to any prog collection. Cheers Greg!

IZZ rocks!

Perhaps the most melodically savvy modern prog act return with an album awash with sparkling melodies. But they back it up with some fiery playing as well. Beatle-esque tunes and harmonies are melded with instrumental prowes that will blow your socks off. This, for me is a much more cohesive effort than their previous full studio outing 'I Move'. It may lack some of the quirky charm of that record but it does have a more directed feel, a solidity of ambition and conception that drives all the way through, at least until we reach the final track. Danbo has already mentioned that the big epic, 'Deafening Silence' is something of a bridge too far for Izz, and, unfortunately, I have to agree. A 20-odd minute piece is a noble aspiration for any band but here we've got and odd 20 minutes. There are passages that are stunning, some great melodies tucked in there. But there is way too much padding, extraneous material that gets in the way. They have the distinct feel of crude welds, links and bridges forced into place to join disparate elements. It doesn't work. Or rather, it doesn't work as a whole. There are a couple of great songs in there but maybe two great 6 minute affairs. It's too big a stretch. Don't let it piut you off though. There are great bits in that song and if wading through the undergrowth surrounding them feels a bit of a project then just scroll back to the other seven tracks. Kicking off with the hard rock of the title track, which I like a lot, if for nothing other than it's boldness as an opening statement, the unfolds the standout track of the album on track 2. Kicking off with cycling, razor sharp guitar pattern, Late Night Salvation is a wonderfully full tune, 12 minutes of guitar pyrotechnics, a killer melody and some stunning interplay. Paul Bremner's solo midway through is a blistering display and the band feeds off his energy beautifully, particularly the twin drummers, who then get to showcase their own chops. It's a brilliant track. The other standouts for me are 'Crossfire', with its incredibly catchy Beatlesy harmonies, delicate mid-section before busting into another killer guitar part courtesy of Bremer, The (again) Fabs-sounding harmonies of Anything I Can Dream and the sweet acoustic workout of Abby's Song. But for sheer faultless construction I have to go for Crossfire, it's in the top five prog songs I heard in 05. A very accomplished record that will grab you immediately with the strength of the melodies but reward long after that via the musical cleverness and ability on show.

IZZ is a typical progressive band from this day and age in that they do this part time. What is not so typical is the pains they take to not make it seem that way. The recording is top notch (although get rid of the vocal effects please!), the musicianship is superb and the composition is very good. IZZ is a band that while drawing from their influences do not get trapped in them. It is for certain this band likes the Beatles and Yes and ELP to be sure but they also retain some of the American sound of Kansas and Spocks Beard as well. This release My River flows captures all of these influences while making them unmistakably IZZ.

Late Night Salvation could be one the top five prog tracks of the new century. The opening guitar riff makes you know that in the first few moments of the song. The vocals and lyrics are almost perfect with a great bass and drum line behind. The drum Solo which I remember from CalProg 2005 is tight and well formed. The keyboards are a perfect mix of solo and rhythm. Brian Corallen and Greg DiMiceli are as tight as two percussionists could be.

Deception shows off the marvelous talents of lead guitarist Paul Bremmer. Brems sounds like Alan Holdsworth in spots. I absolutely love his guitar sound as well. Crossfire is a great song in the mold of Kansas. Very nice melodies with some in your face rock built around it. Kudos to Tom Galganao for his keyboard work on this track it is stellar. Deafening Silence is a very good epic but it does have filler in it that could be dropped but the vocal harmonies by Laura Meadeand Anamarie Byrnes are fantastic on this one. I really like it but it tends to go on a bit and I don't listen to it all the way through each time. A couple of nice Beatlesesqe ballads round out the CD.

Every band has one like this in its collection. One that goes forward but does not yet grab you. Does this album progress form the earlier works? Yes but I don't think this is their best yet. IZZ is just hitting stride. Look at ELP Trilogy, Kansas Masque or Yes Fragile for reference. 4 solid stars.

This CD has been on my portable player for 2 days solid now, and that doesn't happen very often. IZZ have a multitude of influences, perhaps too many for their own good, and so are quite hard to categorise.

The title track sounds a bit like something from Red-era King Crimson with metallic guitar and distorted vocals. The second track "Late Night Salvation" starts off with manic guitar before settling into a groove which is reminiscent of Yes' "Where Will You Be" from "Talk". In the middle the guitarist, Paul Bremner, delivers a scintillating solo a la Lifeson and, unusually for a prog studio album, it features a short drum solo.

"Crossfire" is another excellent song featuring a great solo, only "Anything I can dream" is slightly below average. For me, this CD really hits a height on the beautiful and personal "Abby's Song", which has a very memorable melody and excellent lyrics ("Take my hand and we'll cross the street").

"Deafening Silence" is the epic track here and makes good use of the female singers Laura and AnMarie. Paul Bremner's guitar work is excellent thorughout and it is only obvious through headphones that there are two drummers on occasions.

An excellent album worthy of 4 bands and the band hope to tour the UK later this year. I for one will be going to see them.

Where does my river flow?

I was very impressed by 'I move' and therefore very curious about this new release. The conclusion first - very good - fine work - this is nearly a masterpiece! They don't have changed their style so much unless they use female voices.

The title song 'My river flows' is a furious rocker which gives you a clue at the beginning what will happen in the folllowing 60 minutes. 'Late night salvation' follows and is one of my favourite Prog-songs in 2005. Just in the vein of Salem Hill or Echolyn having their best days. Not to believe and what a sin - they also use a drum solo - only a relic? The second reminiscence to the 70's: 'Deafening silence' - the typical long track with over 20 minutes. But unfortunately this song is not very inspiring and the reason because I don't give 5 stars.

All the other tracks have their heights. The acoustic 'Abby's Song' f.e. or 'Anything I can dream' which sounds like a new Beatles song. The beautiful 'Rose colored lenses' is another highlight of this album.

Definitely one of the best in 2005!

3.5 stars . A more conservative and mature effort than "I Move". A collection of nice songs really. I think that is the problem for me, I miss the guitar solos and the less polished sounds. I remember last year the guy who owns two guitar stores in our area came in and asked who the guitarist was that was playing on my stereo. I said "It's IZZ !", the disc is called "I Move", anyway he just listened for a while quite impressed.

The first song "My River Flows" sounds a lot like SWITCHFOOT to me, and is one of the better songs on this record. There are guitar solos on the first two songs for those so inclined. "Cross Fire" is probably the song I like the best, great lead vocals and harmonies. The last song is the most proggy , with female vocals.

Overall an album that is very accessible and well produced.

This is the first IZZ album that I have heard and I find it to be fairly good. My River Flows is a highly polished production which incorporates so many different styles of music that it can make one dizzy at times. Not only is there a steady dose of jazz and latin flavored rock, but the inclusion of female vocals really adds an additional texture to this modern progressive act.

My River Flows is the opening tune and is a hard rocker with a catchy melody and some strong playing to create a good introduction to the album.

The 12-minute Late Night Salvation follows with a wide array of sounds including a wonderful percussion solo appearing around the nine minute mark. All sorts of production tricks are noticeable during this song as well which will turn off those who disdain overproduced music. I find that I rather enjoy the multi-channel effects which swirl around at various points in the music creating a special atmosphere.

Rose Colored Lenses is a decent song but does little to excite me. It is less progressive than the rest of the album and is easily forgotten.

Deception and Crossfire are two very strong tracks with lots of wonderful sounds from the guitar and keyboards. I find the lyrics on both of these songs to be enjoyable as well as they compliment the very progressive (yet modern sounding) music nicely.

Anything I Can Dream and Abby's Song follow and are fairly short in length (both under four minutes), yet they each add a different touch to the album as Anything I Can Dream is retro-rock while Abby's Song is an acoustic ballad with its own subtle beauty.

Defeaning Silence, all 21 minutes of it, closes the album. While some believe that IZZ was too excessive with this song, I think it is a fairly good epic. I will admit that it does have some moments that appear to be aimless, but the music is performed nicely and allows each of the members to shine over the course of the song.

Overall, this is some well-done modern prog music. It's a solid 3.5 stars, but I feel compelled to round down for rating purposes.

This album represents a major leap forward for the band over their previous release "I Move". The album opens up with strong chords reminiscent of "Red"-era King Crimson and delivers absolutely outstanding progressive rock for its entirety. Here we find IZZ straying from the dominant ELP influence that was abundant on their previous work and beginning to really build a unique identity. They incorporate two percussionists and two wonderful female vocalists in addition to the usual guitar/bass/drums/keys for a very rich, full sound. The variety of songwriting ranges from a piano-based, almost pop sound with "Rose Colored Lenses" and "Anything I can Dream" to full blown extended prog tracks like "Late Night Salvation", replete with superb guitar work, drum solos, and keyboards that complement the wonderful lyrical passages. As might be expected, the highlight of this record is the final track "Deafening Silence", a 21 minute suite that is absolutely stunning in its breadth, from the classical sounding piano intro, use of beautiful female vocal harmonies, and atmospheric texture among technically brilliant rock passages. This is one of the best prog rock records of the decade, and this reviewer has no hesitation in awarding in five stars. Based on this album as well as reviews of their recent NearFEST performance, IZZ is most certainly at the vanguard of the American progressive scene, and a band not to be missed and indeed to be watched carefully in the years to come.

This is the second album I listen to IZZ after "I Move" (2002) which blew me away after getting past the new wave nuances. "My River Flows" (2005) sounds to me much mature musically compared to "I Move". At least, when I first listened to "I Move" there was a kind of new wave music embodied in the music and with this album I did not experience the same thing. In fact I was amazed by the first track that in a way reminds me to Little Atlas due to the music tries to embrace old days prog with modern music. In fact it's hard for me to identify which groups did really influence IZZ because I can say their music is quite original despite all the influences. As far as I can push it's probably the combination of Rush, Yes and King Crimson. It's quite tough really!

A challenging album!

The album kicks off dynamically with "My River Flows" (5:28) through simple riffs which bring the music in somewhat ambient but with upbeat tempo, accompanying the long distant vocal style. Some musical breaks with guitar and drums remind me to King Crimson "Discipline" combined with inventive keyboard solo in modern style. The song has multi-layered structure with different styles which form a truly cohesive song. It flows wonderfully to next challenging track "Late Night Salvation" (12:16). Oh yeah! This song is much explorative in nature it flows dynamically in an unprecedented fashion. Oh my God! I love the opening part which consists of great guitar, bass guitar work layered by evocative keyboard in relatively fast tempo and it reminds me to progressive metal music. After the complex and heavy intro it flows to a sudden break containing piano to back vocal line. This second track is truly beautifully crafted composition. What surprises me is that this track features great drum solo at approx 6 minute of the music. The drumming work is truly stunning, and also the acoustic guitar rhythms section and pulsating keyboard work.

"Rose Colored Lenses" (3:40) is slower in tempo but it has excellent composition with a bit of jazzy touch and nice piano work. Through this track I recognize how brilliant the bass player. He gives great bass solo segment. "Deception" (7:17) is a thematic song with excellent singing accentuation. The clavinet solo in the middle of the track is really stunning. "Crossfire" (8:33) is a nice mellow track which moves . Observing the keyboard solo, one name that I associate is Rick Wakeman's style.

One track that deserves attention is the epic "Deafening Silence" (21:36) which comprises six movements : i. Realization ii. Lesson From the Heart iii. Deafening Silence iv. Passage of Life v. Sanctuary vi. Illumination. Lumped together, all of the movements result in an epic with solid structural integrity as an excellent epic. The opening instrumental part is really stunning, demonstrating how they are talented. Bass guitar is given a chance as well to provide great solo. His bass playing is in away influenced by Chris Squire. The epic is truly symphonic as there are many long sustain keyboard work which sounds like a mellotron. The vocal is performed collaboratively between female as well as male vocals. There are parts with beautiful segments like what happen at minute 8. This epic is like an adventure for those who love exploration. The guitar solo is really good and I love this track. In some segments of the epic I can see the similarity in style with Magenta. There are similarity with Yes "In To The Lens" (I Am Camera) at approx minute 12:22.

I can only say that by any definition this album is an excellent addition to any progressive music. The composition is tight, the musicians are all competent and the overall album is solid. Recommended. Keep on proggin' ..!

Peace on earth and mercy mild - GW (i-Rock! Music Community)

My first exposure to this interesting band. This album is something of a hybrid, combining the riffs of a metal album, the technical proficiency and scope of a symphonic album and the vocals and smooth passages of an American rock album into one interesting whole. For me the overall effect is of sophisticated neo-prog, but category boundaries are always blurry and I can see how this would be considered a symphonic prog record. I can't help feeling the music begs for a more dramatic vocal treatment, and with the co-option of backing vocalists it's apparent the band are aware of vocal deficiencies. This is a real shame and is, in my opinion, the single greatest barrier to IZZ becoming 'great' rather than merely 'good'. That and the lack of any underlying passion.

The album begins on a strong note with the metal-tinged title track, reminiscent of PORCUPINE TREE, though without that band's melodic strength. The impressive 'Late Night Salvation' is the album's outstanding track, as good an example of modern neo-prog this side of SATELLITE. Like many similar albums, however, the shorter tracks let the album down somewhat. Are they a continuation of the album, or merely a series of disconnected vignettes?

The album concludes with the obligatory twenty-minute epic. It is competent, of that there is no doubt, but I look in vain for a soul, for a compelling reason for this song to exist. When I listen to this album - and albums like it - I often find myself waiting through the shorter tracks, waiting for the epic. Hoping ... only to have my hopes dashed again and again. Of course, eventually I learn to accept a piece for what it is, which in this case is still not as much as one would wish. Melodic, pleasant, with any hint of drama smoothed out (apart from a few stab-chords in the middle of the song), extended periods of noodling that lack either beauty or purpose, until we arrive at the elevated finish in which the vocals finally shine, thanks to the female voices. It's a long wait, but 'Deafening Silence' eventually delivers on its promise, lifting the album to a solid three-star effort.

The harder aspect of their second album I Move is even more accentuated on My River Flows.

This album starts at 200 km/h with the violent title track. The guitar work is absolutely frenetic and I have to say that the rhythmic section is just phenomenal. It is of course quite on the hard side but as I have said, it is not the first time that the band is heading these heavy/hard rock sounds.

The long Late Night Salvation brings us back to a more symphonic and classic style. Vocals a la Yes and fine harmony are welcome but this is also a dual track: the wildest guitar riff along with melodic vocals. The mix is daring I should say.

It also includes some good percussion solo (which is also rare on a studio album) even if it doesn't really fits in this type of number. Maybe that the band intended another Perpetual Change.

We remain in the same Yes territories with the short Rose Coloured Lenses. Fine vocal performance and again an upbeat mood are the standout elements. The very good guitar work is also to be highlighted (but it is a constant on this album).

As if the band is doing this on purpose, the first weaker song is called Deception. Did they realize this while releasing this number? I guess not, but it is how I feel while I 'm listening to it. It is more keyboards oriented and the Anderson-styled vocals are maybe too much by now. The closing part though is a pure marvel though (again Bremner on the lead guitar is extremely inspired just as in the next and brilliant Crossfire).

The epic track of this album is a fine combination of what has been heard previously: nice vocal harmonies, very much Yes oriented instrumental parts (keys, guitar). Bombastic parts are not missing either, but for those of you who have problems with regressive music, this album is definitely not for you.

I have to say that even if this aspect usually worries me quite a bit, I admit that I am more tolerant with this work which is very decent and by far my preferred album from this band. It is even flamboyant at times. But I still don't understand why bands emulating Yes are classified in the symph genre while those emulating Genesis are so called neo-prog.

Four stars.

Wow, what a cool album!

Izz comes out with something new and cool that adds a twist to their music. Everything from happy magenta-esk vocals, to shredding guitar leads, and everything in between. My River flows is a pretty fine album that explores the new aspects of Symphonic Prog, and kudos for them for not copying Yes or Genisis, like quite a few Syphonic Prog bands do.

The best track by far on My River Flows is Late Night Salvation. One of my favorite prog songs. The guitar work in the first few minutes is pretty stunning, and the bass line is really cool, and you will be headbanging even after the fast part is over. The rest of the song is pretty mellow, with some energetic sections. There is even a minute or two of pure percussian breakdown (freaking awsome!) The vocals and harmonies are great. The song is just flawless. Another standout song is Rose Colored Lenses

The album as a whole feels pretty complete. My only complaint is Deafening Silence which is just too long and gets pretty boring after a while. They probobly should have put this song in the middle of the album, because I usally listen to all the tracks, and just stop when I get to this one. It would have been better if it was like seven minutes shorter.

The album has a lot of energy, and has a very positive theme. Fans of PORCUPINE TREE, YES, GENESIS, MAGENTA and RUSH. A new album with some new ideas created a strong and energetic release. Best IZZ album SO FAR...

4/5

I count this album as one of the most remarkably positive first listens I have ever experienced. Each subsequent listen has only endeared it to me. The instrumentation and arrangements range from the simplistic to the heavily amalgamated, keeping this listener's interest throughout the entire affair. The female singing is a delightful boon throughout, augmenting the vocal lines and sounding wonderful in their own right. To wit, this is a must have- what a treat!

"My River Flows" I was not expecting such heavy rock with such distorted vocals, but that's exactly what comes forth in the beginning. With one raised eyebrow I curiously listened to this track, but after only two listens I began to appreciate the complexities of the song. There's a moderately bizarre synthesizer solo and some strange guitar-led sections (almost King Crimson in flavor). The chorus is remarkable, and overall, this is a great song to display the unique sound and talents of the IZZ crew.

"Late Night Salvation" My favorite track on the album, this features a static guitar run with flowing keyboards and jazzy drumming, very similar to "Heart of the Sunrise" by Yes, but sounding nothing at all like it. The vocal sections are steady, almost dreamy and ELO-like. A complex drum solo (given two percussionists involved, I wouldn't be surprised if this was a duet) consumes a couple of minutes of the track, followed by a bright acoustic-led conclusion. The main theme features a sprightly electric guitar, and there's some exquisite synthesizer and a lead guitar solo adding to the prowess of this enthusiastic track- a real progressive rock homerun.

"Rose Colored Lenses" After such amazing work, it's nice to have a more easily digestible track to keep things well-rounded, and that's exactly what happens here. The chorus is pure magic, reminding me of Yes. This track includes some dazzling piano and a fantastic bass solo. The two guitar solos are biting and masterfully executed, and the synthesizer bit that follows adds even more depth to a track that shows exactly what IZZ is capable of in a brief period of less than four minutes.

"Deception" Acoustic guitar is the prominent feature in the beginning of this one, with two of them playing over a bouncy synthesizer. The bass also maintains a dominant role. Over atmospheric sounds and strings, lovely electric guitar and feminine vocals dance. Screaming guitar alongside independent bass and drums develop the piece further before bringing it back to the beginning.

"Crossfire" Haunting harmonies and delicate piano are juxtaposed with happier, bouncing segments, making this an excitedly varied track. The bass, guitar, and synthesizer are woven together, producing a rich tapestry of music in the middle section, which builds until heavier music ensues. The melody and lyrics remind me very much of Echolyn- yet another work of pure brilliance.

"Anything I Can Dream" This shorter song has a vivacious verse and a smooth chorus, creating a fun and easygoing tune. The verses are somewhat similar to Steely Dan, and the chorus is straightforward acoustic rock with a pleasing melody.

"Abby's Song" This graceful, childlike song features acoustic guitar and lovely electric guitar harmonics. It's a playful bit of music with lovely, meaningful lyrics.

"Deafening Silence" The trio of piano, bass, and drums initially makes me think of Renaissance, especially when the female vocals enter. There's quite a bit of variation in this piece, with synthesizer and swelled guitar giving way to organ, which brings in heavy electric guitar, followed by a calm bass solo. One of the main themes is quite similar to "Silently Falling" by Chris Squire. Powerful, womanly vocals are the fore during the first vocal section. One melody, accompanied by a synthesizer lead playing along note for note, is wild and difficult to follow, but seems to work nonetheless. Delicate piano and beautiful layers of feminine vocals almost have a Celtic feeling. Overall, the whole song is a majestic feast of epic proportions, and a stellar way to end a stellar album. Sure the title is unimaginative, but the music is definitely not.

A New York-based band that simply must have some background in theater/Broadway music.

1. "My River Flows" (5:28) more jagged with highly-distorted electric guitar chords and vocals from the opening notes. (8.667/10)

2. "Late Night Salvation "(12:16) a wonderful PT-like song with great pace, flow, power, and engageability--and a GREAT drum solo! A really special composition. (23/25)

3. "Rose Colored Lenses" (3:40) despite the proggy sound palette, this song has a Broadway musical feel to its initial sound and structure. (8.75/10)

4. "Deception "(7:17) accordion, acoustic guitar, and bouncy WHAM! "squishy synth" backs this Broadway friendly song. These guys have a lot in common with fellow New York-based bands THE TEA CLUB and 3RDEGREE. In the middle, there, lead singer John Galgano and back up Laura Meade definitely roam onto some Broadway stage; perhaps they think they're in The Phantom or something. It's very well done, just not quite what I expect from my prog--which is probably why this passage is finished off with some very proggy instrumental soloing. (13.25/15)

5. "Crossfire" (8:33) a very melodic piano and voice opening becomes even more pop-oriented as more instruments join in and then the catchy chorus of "Hah-ahhs" take over. Enter some RUSH-like music for the instrumental "C" part. Quite a skilled and refreshing song. (18/20)

6. "Anything I Can Dream" (3:22) quite an upbeat, light-hearted, BEATLES-like tune. Quite poppy. Why couldn't this have been like a 1970s Andrew Gold pop hit? (8.7/10)

7. "Abby's Song" (3:48) this one sounds and feels like a foray into Andy Partridge/XTC territory ("Love on a Farmboy's Wages"). Nice! (8.8/10)

8. "Deafening Silence" (21:36) a pretty good epic with the help of female vocalists Anmarie Byrnes and Laura Meade. Not as melodic as I like: very few hooks that pull me in. Kind of more ELP-like in that way: sophisticated composition lacking melody. In the second half we have a kind of "Awaken" extended interlude before the heart-felt emotional three-part drama of the seventeenth and eighteenth minutes. Is it possible that Neal Morse or Arjen Anthony Lucassen (AYREON) provided inspiration for this song? (35.5/40) : - i. Realization - ii. Lesson from the Heart - iii. Deafening Silence - iv. Passage of Life - v. Sanctuary - vi. Illumination

Total Time 66:00

B+/4.5 stars; a near-masterpiece cornucopia of eclectic crossover progressive rock music. Nice and refreshing music! An excellent addition to any prog lover's music collection.

Qe ? Qe ? Qe ? Qe ?

To my knowledge, this is the fourth album by these US proggers. A band with a very good reputation and alledged one of the better bands from the new generation of US prog bands.

Their music is a mix of grunge, technical prog metal, AOR, rock and some symphonic prog. The music is complex and heavy at times. It is also stripped down other times.

The instrumentations is both vintage keyboards and more 20th century type of studio wizards keyboards. There are a lot of groovy rhythm guitars and nice guitar solos too. The bass and drums is also pretty much in the fore of the sound. The vocals are a bit stucked in the back of the mix.

And what the heck is the point of having a drum solo on a studio album ?

I am not overawed by the vocals here. Neither am I overawed by the music itself. The music feels a bit forced. Based on two listenings, a one star review would had been in order. But the album grows on me, but without really becoming a hit album. The lack of any real great tunes here is a major problem. The sound is also a bit twenty-by-the-dozens for me to really get engaged in this music. For me, this is a reasonable good album and nothing more. This being my first Izz album, I hope their back catalogue has more to offer than this album.

3 stars

My river flows from 2005 is definetly a step forward in comparation with mediocre I move. This is much mature work, more elaborated passages and with more prog elements like before. Pieces like Late Night Salvation or Crossfire are definetly winners for sure, with great musicianship, good ideas and the arrangements are almost great. The mixed bag is again present here, some rock moemnts, some even alternative elements combined with some Yes orintated parts, some more edgy passages, all are melted in one unit that is Izz. Even I consider this album a better one from their catalogue and much intristing then I move I'm not really convincied that this album needs more attention from my side in the future. The guitar parts are ok, even some great chops here and there. I will give 3 stars, worth it but far from being something spectacular, I know hundreds of bands who have a far more intristing music then Izz offers here.

For one reason or another, my path and that of Izz did not cross until 2017, when I came across their 2009 album 'The Darkened Room', which I loved. At that time, I was still working hard on my books, and didn't follow-up on their catalogue, which I fully intended to do, and then in 2019 I was sent the masterpiece which is 'Don't Panic' and I was determined not to lose track of them again. Bassist/guitarist/pianist/singer John Galgano and I have since kept in touch, and he thought I might be interested in hearing their 2005 album 'My River Flows' and how right he was. This was their third full studio album (the previous year's 'Ampersand' being a collection of outtakes from the first two albums plus some live tracks) and the same core quintet were still here with John joined by Paul Bremner (electric guitar), Tom Galgano (keyboards, piano, organ, vocals), Brian Coralian (drum programming, acoustic & electronic percussion), and Greg DiMiceli (drums, percussion). On the previous album, singers Anmarie Byrnes and Laura Meade had guested on a song each, but here Anmarie has two and Laura four. Anmarie would then sing on the next two studio albums on her own before being joined again by Laura for the following two, with the band these days being the same septet which recorded this album some 16 years ago.

If it ain't broke, why fix it? There has been no need to make any changes to the line-up just because they are just so damn good together. They may not have been the most prolific band in prog history, but when every album is such a delight who cares? This is all about quality as opposed to quantity and coming to this album as if it were a brand-new release is a total delight as everything about this is simply wonderful from start to finish. There are a lot of pianos on this album, which gives it a very different feeling to bands who "just" use keyboards. The bass is sometimes a lead instrument, and while not as chunky as Chris Squire it sounds just right within the context, and guitars can crunch or drive through, whatever the arrangement requires. Ah, the arrangement, this is what really makes their music stand out as while there is often great complexity there is always a purpose within it. They bring in dated keyboard sounds or acoustic guitars as the music demands, and for a band with two drummers/percussionists they are not in your face nearly as much as one might imagine.

This is progressive rock music, which is warm and comfortable on first hearing, like settling down with an old blanket in a favourite chair, and the longer the listener is in the zone the less chance there is of them getting up and doing anything else. All singers have wonderful pitch and emotion, and the listener soon finds themselves deep inside the world of Izz. There is deep contrast contained within the music, combined with a sense of beauty and almost reverence, which makes this a true voyage of discovery for any prog traveller, who will make it to their destination with a broad smile on their face. I do still have one or two Izz albums to discover in their back catalogue, something I am looking forward very much indeed, and let us also hope there is a new album soon. If you have yet to come across the mighty Izz then I urge you to do so today.