CORVUS STONE UNSCREWED

The unexpected sometimes happens at the most unexpected moment. I guess that's the nature of the unexpected... After two years, Corvus Stone came up with a new album in September last year, which proved to be a step up from their first. Unexpectedly, they show up now now with a a new album again, only 9 months later: Corvus Stone Unscrewed. Not an entirely new album in terms of music, but a combination of new tracks, extended versions of tracks from the first two albums and remixes of some more. The remixing has been an effort by Colin Tench, who spent months getting the sound he was looking after hearing the bands own works so often.

A great sound - unlike some album I reviewed earlier this year, the music is not compressed, all instruments are easily heard and distinguished, and the balance in volume across tracks is never lost. Forgive me if that sounds like trying to sell the album, I was in the position to hear some early mixes and comment on those, and I really do like the sound of this album.

One thing is clear from these new mixes, that may have gone slightly unnoticed on the first two albums. Corvus Stone has an amazing bass player in Petri Lindstr'm. He is very much present on this album, without ever dominating the sound, but playing much more than standard bass lines at the same time. This is most clear on Horizon and Joukahainen without Chips.

As said, the album is a mix of remixed, revised and new tracks. Amongst the remixes we find Horizon and Moustaches from Massachussetts, two tracks that breath energy albeit in a slightly different manner. Horizon is a bright, energetic rock track with nice percussion and an uncountable bass led midsection, while Moustaches is, being almost danceable, probably the predecessor of Scandinavians in Mexico from Corvus Stone II. In both cases, comparing the old and new mixes is worthwhile and will end in favour of the new mixes I'm sure. The same applies to the uncontrollably weird composition JussiPussi, with Murky Red master mind Stef Flaming as the main composer and performer. After Solstice was also remixed, and the drums were re- recorded by Robert Wolff, creating an improved version of this track on which the instruments seem to go everywhere but always stays together.

In the revised and new sections, the most outstanding tracks are Early Morning Calls and Scary Movie Too.

Early Morning Calls, is an extended version of Early Morning Call, with changed guitar parts and extended with vocals - by Sean Filkins and Phil Naro. These changes make it into a different, possibly better, but still recognisable version of this waltz in 6/8.

Scary Movie Too, an extended version of Scarie Movie is so far my favourite on this album. It's not all that much better than the rest, but it stands out because it sounds as if it's recorded by a band playing together in a studio. That is impossible in case of Corvus Stone, due to geographical issues separating Mexico from the rest of the universe, but somehow the band managed to get that feel into the track. A feel that mixes well with the slightly haunting atmosphere of of the movie. An atmosphere also portrayed by the crow on the cover, an other MSPaint (!) masterpiece by covergirl Sonia Mota.

Lost and Found revisited, with Blake Carpenter, which now is much longer than on the original album. The new mix, the marching drums and the vocal melody provided by Blake are a very tasty combination. The split in two of Cinema (Petrified in the Cinema Basement and Cinema Finale) are remixed really well, and the real drums by Robert are added prove to be a good move. The hint to the name of the bass player in the first of these two tracks is no accident either.

Then there are four completely new tracks on the album, starting with the opening track Brand New Day, with a pulsing rhythm guitar joining the drums and a melodic baseline. The track Joukahainen without Chips (how's that for a typical CS title) has a guitar in it that reminded me of Gary Moore's track Dunluce, which predates his blues escapades. Long, whining notes combined with short melodies, over a once again flawless bassline and a mattress of keyboards by Pasi Koivu.

Landfill, just like Joukahainen with guest drummer Paul Marshall, has a synth and guitar opening that makes it almost a ballroom dance tune. However, soon enough it becomes clear that all the funny noises that the band is so proud of come together in this track. Go find an list them all, there may be a prize involved...

To close if off, Pack up your Truffles is a slightly different beast, an island off peace to end the album (if not counting bonus track Moustaches). A guitar lead that stays low key, limited percussion and other accompaniment show the jazzy side of Corvus Stone.

So, with 4 new tracks, 9 revised tracks and a playing time of just under 50 minutes, Corvus Stone have managed to produce another album within 9 months from the previous release. One very much worth getting. Even if not every track is new, they all sound new and fresher than on the first two albums. The album is available from the band's bandcamp page from June 29th, for free to those who have bought the first two albums. From July 28th, it will be on sale to the general public. Go get it - this is a good introduction to a somewhat special (in many ways) band.

The new Corvus Stone "Unscrewed" is irrisistible, as their previous albums were saturated with innovation and glorious progressive music to the Maxx. This latest adventure in excess is flooded with more inventiveness and dwells fairly in the realm of atmospheric diversity. Many of the tracks are remixes or revamps of earlier tracks but now with added dynamism or new instrumental sections. The album cover as usual is wonderful. Sonia Mota has created a kaleidoscope of neon lights heralding a new theatrical production. The theatre lobby cards are past artistic pieces from Sonia's hand, bringing this artwork to a new level. The black bird flying by reminds us of past albums and in the booth we have none other than the sultry seductress with the bird mask from the past Corvus Stone album. When laid side by side all the Corvus Stone albums take on a type of continuity of themes and design. Sonia has outdone herself on this album; the striking colours and overall style is enchanting, no wonder really when she actually is able to hear colours in the music. The music is indeed colourful, opening with "Brand New Day" that throbs with Petri Lindström's pulsating bass line. Pasi Koivu's synths are symphonic and the lead guitar work of Colin Tench is well executed. It has a happier vibe than a lot of other Corvus Stone tracks of the past. It is also short at just under 4 minutes but doesn't overstay its welcome as a result.

"Early Morning Calls" is lifted from "Corvus Stone II" and transformed from instrumental to a vocal piece by Sean Filkins and Phil Naro. Their multi tracked harmonies are dynamic and it is representative of the work of Jon Anderson's solo material.

"Joukahainen Without Chips" is an instrumental dominated by soaring guitars over a synth wash and some acoustic vibrations. Joukahainen is a character from an Epic Finnish poem by the way. For its short length it definitely has a lot of epic atmosphere and mood changes. I really love Colin's guitar sound; crystal clear and bold throughout. It is majestic and uplifting with lashings of bass.

"Horizon" is a short sharp shock of prog, with delirious keyboards and tight bass and drums as guitar hovers overhead. It is great to hear the band in full flight even if it's not three minutes in length.

"Landfill" has a wah wah guitar and then a beautiful melody on Pasi's synth. The tune will grab you immediately and has hints of the baroque or Elizabethan nuances. Colin's duel guitars pluck and there are some cannon fire drum blasts. This piece is a real thing of beauty, powerful in its simplicity and anthemic in its approach. Again it is under 4 minutes but the repeated tune works in this compacted length. It has a really nice bass outro by Petri and guest drums by Paul Marshall.

"After Solstice" is a remix of an older track, with new drum parts by Robert Wolff and an overhaul of sound. It is a very relaxing waterfall of instrumentation, then it builds suddenly into a hyper synth workout and jagged guitar rhythms. This is the way I like my prog served up; on a plate of shredded time signatures and creative musicianship, breaking down all known existing barriers with dare and flair.

"JussiPussi" is a quirky jazz explosion; a paroxysm of horns and manic percussion as though Bill Bruford walked into the studio and took over. There are speed bursts of machine gun guitar and machete strikes of keyboard. Wolff's drums are totally insane, the synths buzzsaw effect is retro and it somehow hangs together with a fractured time sig and odd vocal intonations by Stef Flaming; is he saying "Shazam"? It is delightfully oddball and a real standout on the album; King Crimson meets The Residents.

The album is suddenly a bizarre music feast. "Scary Movie Too" is a lengthy prog workout, and my favourite track of the album. It is embellished with a creepy synth as guitars scream relentlessly. Then there are jazzy horn attacks; a sinister vocal and distorted guitar riffs take over for a while. Swooshing synths and sporadic percussion splash over a doomy bass and keyboard motifs. I love the growling aggressive guitar and the way it snarls over sensuos synths. The lengthy outro of steady percussion and a chugging axe is downright hypnotic. This sends chills down my spine, the Rock In Opposition feel is startling after the opening tracks. It is a credit to the band that they can move from rock standards to such complex pieces as this; highly recommended for the adventurous progger.

"Petrified in the Cinema Basement" draws on the cover theme of the album. The music is like a carnival, upbeat and jarringly so after the darkness of the previous two tracks. The spanish nuances are nothing new to Corvus stone; they like to delve into the cultures of Flamenco guitar or Salsa rhythms. This is a sheer delight with some genuine surprises thrown in. The bassline is complex and after the opening it moves into vocal synths and acoustic finesse.

"Lost and Found Revisited" is twice the length of the original as vocalist Blake Carpenter intended from the outset. His voice is soft and multi tracked harmonies add flavour to the mix. The percussion is like a march into battle, and a new lead break enhances the glory and majesty.

"Cinema Finale" is replete with swirling synths and acoustics. The beauty of the track is augmented by a powerhouse twin lead break. This is an extremely melancholy instrumental, and it feels like things are drawing to a close. Indeed they are with only two numbers left.

"Pack up your Truffles" is virtually unplugged and is the most laid back track of the lot. The jazz influences abound, with melodic guitar and piano tinkling. The music is stripped back with only a synth pad to balance out the isolated guitar. It is over in a flash and the last track explodes.

"Moustaches in Massachusetts" is a fast paced instrumental with a ton of lead guitar and some Hammond sound keys. There is a spacey feel in the atmospherics and it moves into some strange time sig breaks. The Spanish texture is ever present and it even merges into a slower time sig with saxophone echoing and Santana like lead breaks. It ends the album with fabulous flair.

Overall this album is brimming over with lashings of creative musicianship. Each track brings the listener into a different mood and takes them on an adventure. It is not conceptual but somehow each track seems to belong here. The moments of brilliance are when the band allow the cork to pop and the genie to escape. When the musical barriers are removed we get master works such as "Scary Movie Too" and "JussiPussi". At other times the band are content to lull us in to the sultry Spanish rhythms of "Petrified in the Cinema Basement" or "Moustaches in Massachusetts". Primarily an instrumental album there are moments where we can lay back and allow the vocals to caress our ears such as on "Lost and Found". Yet with such diversity on one album and varying styles, will the album come across to some listeners as a bit jumbled up, a band trying to be too many things rather than staying on one style? I think not personally, because the musicianship is so accomplished and it is a delight to hear such diversity. The problem with a lot of bands is that every song sounds like a carbon copy of the others, and it becomes tiresome and too predictable. The unpredictable nature of Corvus Stone is the very marrow of what keeps the bones together. They inject each track with a loving dose of inventive rhythms and endearing melodies. To return to past tracks is intended to enhance the original listening experience, not replace it, and each track on offer is an enhnacement, in many cases better then the original. The songs are not overlength so we do not get an overkill of one specific melody or style. This album is not as bonkers or inventive as past albums for my tastes but still delivers enough to satiate the prog palate. In essence the band are a feast for the ears. When one performs with this much enthusiasm and passion it is impossible not to be impressed. Corvus Stone continue to impress with "Unscrewed".

Having enjoyed both previous CS albums I was interested to hear also their third one, which at this point exists only digitally. I actually avoid writing reviews NOT based on the physical CD with covers and all, but this time I'll make an exception because I want to support the band and help them in their goal of getting this album released some day on CD.

Partly this album recycles formerly released tracks in a new form. 'Early Morning Call' was originally an instrumental on the second album, but Sean Filkins wanted to add his vocals, and then Phil Naro wanted to add his! The result is enjoyable. The opening instrumental 'Brand New Day' is available also as a downhill skiing promotional video. 'Joukahainen Without Chips' is a charming instrumental, full of emotion expressed especially by the electric guitar of Colin Tench. The bried and lively 'Horizon' (remixed and partly re-recorded version) could have been a number by Steve Howe in the classic YES days.

'Landfill' is a bit disjointed combination of Baroque and Folk reminding melodies and a coldly synthetic soundscape, not among my favourites. 'After Solstice' is another reworked instrumental. Sorry for being now unable to estimate it against the older version, but sure it's a good, soothing prog track that's made to be enjoyed as music, not as technical self-indulgence. 'JussiPussi (remix)' maybe turns more into the latter category, too quirky and restless tune for my taste. 'Scary Movie Too' is based on an earlier track, with a greater band interaction in the new sections.

All in all the music of Corvus Stone Unscrewed sounds pretty good, but from this reviewer's point of view a digital-only album with a lot of recycled contents is an unrewarding and unsecure task to write about. I'm not very keen to have various versions of the same music or to hear how they differ from each other. Is my review honest enough without seeing at least some of such trouble? And the notion of the former albums being of maximum CD length, and this one "only" slightly under 50 minutes; is it for better or for worse? With all new material of this high standard I'd definitely say for better, because the earlier albums did taste like being overpacked, and some further editing would have made them stronger and more coherent. Now this album seems to scream some regret about the way the former albums are.

This multinational band is so skilled and perfect together that I sort of wish they had looked more freshly into the future instead of reworking the existent material. But of course it they themselves felt this was the right thing to do, then this was the right thing to do. If this is an unquestionable artistic improvement, as I believe it is, then this one also fully deserves the four-star rating and no less. Sonia Mota has made again excellent work as the cover artist: another good reason for this album to be released on a CD format.

Axeman extraordinaire Colin Tench has gotten busy in the engineering room! And I LIKE IT! The 'new' sound Colin has produced here is wonderfully reminiscent of the pre-computer- enhanced days of sound (re-)production (i.e. before the Fairlight CMI, gated drums, PC home studio software, and the now ubiquitous sound compression). I just love listening to the drums and percussion! It reminds me of being in one room playing and recording with my brothers: the sound is all right there with you, not compartmentalized and isolated in different 'rooms'. It's like capturing live performances! Which is ironically wonderful for the fact that Colin and his bandmates, I believe, live in widely distant locations and, therefore, submit their instrumental contributions over the internet (or by mail). Unscrewed also displays another step forward in the progress of this band as a band. Corvus Stone I put on display the (not insignificant) instrumental talents of individual band members while failing to consistently present the feel of an integrated band, Corvus Stone II brought songwriting and coherent whole-band weaves into focus. Unscrewed presents what feels and sounds like a successfully integrated band with each instrumental contribution fitting into the coherent weave of each song importantly, even essentially. While this music is not always satisfying to my personal musical affinities, it is always well done, incredibly well performed, well-composed, and awesomely well engineered. Last year I theorized that CS was one album away from 'their masterpiece.' I am happy to say that I was right. Colin and crew have achieved the rewards of hard work and maturation: mastery of their presentation of music.

Five star songs: the amazingly fitting soundtrack song, 'Scary Movie Too' (7:38); the powerful opening instrumental, 'Brand New Day' (3:52); the awesomely multiple vocals of 'Early Morning Calls' (3:52); the crystal clarity of every instrument on 'Horizon' (1:52); the medieval folk feel to the foundation of 'Landfill' (3:44); the wonderful multiple melody lines and multiple tempos of 'After Solstice (Remix)' (4:05); the awesome Al Di MELOA/James Bond-like theme song, 'Petrified in the Cinema Basement' (3:10); the organ and military drum base and late Sixties feel of 'Lost and Found Revisited' (3:29); the virtuosic guitar showcased on both 'Cinema Finale' (6:02) and 'Pack up your Truffles' (2:07), and; the rollicking fun and humor of 'Moustaches in Massachusetts' (4:18).

What I'd like to reiterate in conclusion is the step up in sound and whole-band cohesion, but I'd also like to make sure attention is drawn to the wonderful contributions of each and every band member and guest on this album. It's one of those albums that keeps revealing new jewels, new surprises with each and every listen. If you haven't tried the previous CV albums, definitely try out Unscrewed. It is in a class by itself'the masterpiece class.

It's safe to say that Corvus Stone is unpredictable. Not long ago they released the excellent album "II" to mostly rave reviews. One might expect, therefore, some sort of paus in the creative minds of the band but no. No rest for the wicked, eh? Apparently they found themselves eager to release another album and preferably they wanted it to be released now. Or maybe even yesterday, if possible.

I look at this album as a great retrospective of a band of brilliance. There are old tracks, new tracks and some re-recorded. Thusly, this album is more than just any "Best of..." or "Greatest hits". It is something more. It showcases the past and the present but also points the finger to the future, the place and time when and where Corvus Stone will do even greater things. There is no stopping, this eclectic juggernaut of prog.

As always, the music defies categorization, tripping over any and all genres without hesitation. That is all very well but when the result is such a seamless one, where all blends in a natural way, one cannot be anything but impressed. The music is never forced but flows. And even though this album is a retrospective it feels cohesive, just like "II" did, making it an experience similar to those great masterpieces we all love.

I will not go through each and every track on this album, only conclude that every track is delightful and brings enjoyment and bliss to this album. There is a "late night feel" to the album, which by no means it is neither bland or toothless. On the contrary! The intelligent blend of genres and power, smoothness and explosive instrumentation is simply a masterstroke. This is an album to enjoy every moment of the day. However, one of my absolute favorites is "Cinema finale" with it's impressing instrumentation. The keyboards gives me goosebumps.

I have no problem awarding this album four shining stars and I do it with a feverish longing for what's to come next from Corvus Stone. Certainly one of our times most brilliant bands.

Corvus Stone was born from the creative minds of experienced musicians from different parts of the world, who met on social networks through their common appetite for the flamboyant, groovy and intricate sounds of the 1970's. Keen on coating their musical meals in thick layers of humour, they are in the line of rare breeds like Frank Zappa or early Tubes. The positive feedbacks on their first album fueled their hopes in getting further involved in a project as diverse in its approach as their origins. When the sophomore effort saw the light, it was received with as much enthusiasm as their debut effort, proving that their food for ears was rather tasty. The cohesion of the band was tighter this time, thanks to the full participation of the drummer. Then, when fans were still enjoying this release, the league of cheerful craftsmen went on to cook up "secretely" a new album. While Sonia "bounce bounce happy bounce" Mota was consciously working on the artwork, Colin "did I play on words?" Tench was sitting, together with his mates abroad, both on new eggs and older ones. In fact, the third creation-to-be slowly turned to be a blend of remixed (or reworked) previously recorded material and brand new songs. It could then appear as partly a sampler, partly a new album. In what sounds finally like a good introduction to anyone new to the band, the tears of the guitar contrast with the joys of keyboards (the dancefloor-friendly "Moustaches In Massachusetts", the exhilarated "Horizons"), as much as they support their sadness (the soundtrack to an imaginary horror movie "Scary Movie Too", the funeral march "Lost And Found"). Thanks to its versatility, the guitar also opens the door to the sun to let it heat our skin and put a smile on our face (the hasty "Petrified in the Cinema Basement" with its colourful gypsy overtones, the rocking waltz "Early Morning Calls" and its spellbinding vocal lines). With a broad range of influences (circus music in avant-garde outfits on "Jussi Pussi", elegance of Renaissance days in "Landfill", sunny gypsy rhythms and mournful bolero as seen above), to spice up their classic rock-dyed songs, Corvus Stone carry proudly the flag of eclecticism, which is rare enough in our genre-driven musical world to be mentioned...and praised as much as possible.

The latest-to-date album from Corvus Stone must have surprised a lot of people, and rightfully so. A collection of remixes already, from a band with only two studio albums under its belt? And less than 50-minutes long, after stuffing those earlier CDs almost beyond their digital capacity? Was the Stone finally slowing down and starting to gather moss?

Hardly. The most surprising aspect of the new album is how fresh and invigorating the remixes are, enough to qualify as original compositions. Even more obvious is the evolution of a genuine Corvus Stone identity, beyond the enthusiastic multi-national kitchen sink style defining the band thus far. With three albums now to their credit, it's easier to triangulate an underpinning of an actual group aesthetic, from the typically eye-popping cover art to the ear-friendly warmth of the music itself.

"Ear-Friendly" is guitarist and spokesperson Colin Tench's phrase. He's referring specifically to the dynamic range of the new mix, a vast improvement over the sometimes sterile, studio-confined sound of the earlier albums, in particular the 2012 debut, which supplied the bulk of material for these reboots. The difference can be startling. Listen to the bonus track "Moustaches in Massachusetts", the one song here left more or less untouched from its original incarnation, and then to the completely revamped "Scary Movie/Cinema" medley, for an immediate and dramatic comparison.

The same ear-friendliness applies to the music also, and in particular to the new tunes (yes, there are newer tunes, comprising a third of the album). I would hesitate to use a word like 'maturity' when describing songs with titles like "Joukahainen Without Chips" or "Pack Up Your Truffles", but there's an organic richness to the writing and performances that at last fulfills the potential of the band's earlier efforts. Not for nothing does the album open with a track titled "Brand New Day".

All the players shine, and it's very much a group undertaking. But Colin Tench's classic rock guitarmanship is worth singling out, capable of moving with ease from Arena Rock extroversion to unplugged intimacy, often in the space of a few bars. This project actually began as an acoustic set, but in typical Corvus Stone fashion mutated quickly into something else entirely.

"Unscrewed" is (so far) only available as a digital download, and free of charge to anyone who bought an earlier Stone album: a gesture of uncomplicated goodwill almost unknown in musical commerce. The one string attached is a warning to consumers: "Don't try to lie to us, or we will send Mike Portnoy, Lars Ulrich and Lemmy to hunt you down!" That's a direct quote from the Corvus Stone Bandcamp page, and a frightening threat if you really think about it. Did someone say Scary Movie..?

Tench calls the freebie a gift to fans. But really the album is a present to everyone, offered with disarming modesty and a refreshing lack of hyperbolic bows or ribbons. In retrospect the first two albums were only works-in-progress: calling cards announcing the headline act to follow. If true, here's a sign that the band is now ready to take the main stage. Ladies and Gentlemen...presenting Corvus Stone.

With a cover like that, and with no less than three tracks bearing movie´s motifs, it is no wonder that Corvus Stone´s third effort gives the impression of being a soundtrack, or maybe a homage to movies soundtracks. I don´t know if that was the original idea, but certainly it works very well that way to me! The album has some new material plus some extended or remix of older stuff. At first it sounded to me like a bad idea, after all the band is too new to be redoing their "old" tracks. However, upon listening to the album I found out that they fit in perfectly. Unscrewed does seem to be a terrific soundtrack of a film: even if you don´t see with your eyes, the music alone will take you into a wild ride! It´s a roller coaster of emotions and sound landscapes.

Unscrewed changed my perception of Corvus Stone. Where the first two albums are very good but lacked a cohesive feel, this one finally sounds like all the tracks were played by the same band. Not that the group decided to be less eclectic, no. On the contrary, there are as many variations and styles as ever, sometimes during the same tune, but somehow they now seemed to have developed their own personality and you can feel that on this record, even if the songs are quite different from each other on several occasions. And the good thing about Corvus Stone is the fact that their tunes always, no matter how freakish they may sound at times, have a discernible melody line. In other words, even when courting the avant guard, RIO or jazz, their stuff always have a point. Unlike many other prog acts it´s never complexity for its own sake neither an exercise on self indulgence or some internal joke. There are always good melodies. That´s what set them apart and make their music both innovative and familiar, experimental and accessible.

In the end I found Unscrewed their most satisfying and coherent album to date. They added to their already many qualities (strong compositions, emotional guitar lines, excellent bass runs, vocals when needed and so on) what was missing from their previous two albums. This is the first Corvus Stone record that I listen from start to finish without feeling that I´m listening to a different band on some tracks. I really hope they´ll follow this trend for future releases. They seem to have found their own style and sound. The chemistry has been good from the start but now the band sounds much more than just the sum of its parts, and that´s a big difference! Kudos to them!

Rating: something between 4 and 4.5 stars. Highly recommended to anyone who likes progressive music in general.

Nowadays, to mention the name of Corvus Stone produce a smile upon my face, because the music (the main thing) is wonderful, and also because I've been in contact with mastermind Colin Tench for some time, creating a long-distance friendship that satisfies me a lot because he is a true gentlemen that I hope one day can meet. So this review is dedicated to you Colin, but also to Sonia, Pasi and all who made possible this truly interesting multi- national project named Corvus Stone.

I remember my first experience with the band wasn't the best, I thought their first album was quite long and uneven, however, with the second album I understood they had magic on their compositions, and my responsibility was to catch that magic and let it purify my senses. Now I can say I love CS II, so when Colin told me there was a new album entitled Corvus Stone Unscrewed, I got excited and was sure they would surprise me with high quality material. And of course, they did not let me down!

The band has so many positive details that we the fans should thank, one of them is that they decided to give a free download of CS Unscrewed to the ones who already bought CS I or II, because there is an inherent synergy between fans and musicians, one can advance without the other, so it is great to step forward along with Corvus Stone, who I really wish they release this album on CD in the near future. This 2015 record might not be a complete new album in terms of compositions, because we find here some songs that were featured in their previous albums, however they are revisited versions that of course, has something new to offer. Anyway, there are of course new songs here, so in the end this third CS child has a lot of new tales to tell.

The album contains 13 songs that make a total time of 49 minutes, something I must mention because I sort of have problems with albums that last over 60 minutes, so the total length of this one allows me to enjoy every single minute of it (of course, because the music makes me enjoy it). It opens with "Brand New Day" which was also released on video, showing Colin practicing ice skating, enjoying a brand new day full of hope, happiness and surprises. I love this song, the guitars are wonderful as usual, but I like what it transmits, so I believe this album couldn't have started with a better opener. "Early Morning Calls" is a familiar one, but this finishes with calls in plural and not in singular like in CS II; so it is a new version in which we can enjoy for the first time vocals and lyrics, which are by the way shared by the voices of Sean Filkins and Phil Naro.

"Joukahainen Without Chips" has quite a different mood from its predecessor, and this is something Corvus Stone does in all their albums, all their songs might be quite different, of course there are elements that we can say "this sounds like Corvus Stone", but it is common to find that track 2 has nothing to do with 3, which has nothing to do with 4, and so on. This song has a sweet and soft sound, in which guitars remind me a bit of some Mike Oldfield passages. "Horizon" is a short composition that can be found in CS I, however this is a remix of it, which is of course, pretty nice, with excellent keyboards on it, played by Pasi Koivu. "Landfill" has a calm start that is reminiscent of past Centuries, I can imagine a sort of ceremony with knights and queens here. The music flows, the guitar plays great tunes but I love those soft but accurate percussions that sound here and there.

"After Solstice" is another old track remixed, which I must say I like a lot, mainly due to the bombastic time change that comes after 1:30 minutes, creating a vibrating symphonic prog that reminds me a bit of some classic prog acts from the seventies. "Jussi Pussi" comes also in the debut album, but the version here is also remixed, if I'm not wrong. Here we can notice their excellent musicianship and also their craziness in some parts. This is a weird but amazing track that has some hard rock moments blended with jazzy tunes and even some avant-gardish passages. This particular track might fit in a Zappa album, so go figure.

One of the best tracks here is "Scary Movie Too", which is a revised version of CS I's Scary Movie. The atmosphere is darker than the previous songs, introducing some fear and tension on it, so it is a very visual track in which one can put images on our minds and create our own story. After 6 minutes it comes another interesting change, so there is a new route to be walked; here I love the drums and the rhythm. "Petrified in the Cinema Basement" has an evident Spanish sound due to the acoustic guitar, and this is something I love from the band, that they take elements from several regions and styles, and make them theirs, so in the end we can easily determine it is a Corvus Stone track.

"Lost and Found revisited" is of course, a new version of Lost and Found. Here we can enjoy one additional minute from the original version, and for the second time in the album, we can enjoy Blake Carpenter's vocals. The drums are like funeral ones, so the mood is a bit dark but at the same time, it brings hope and future. In every album there is a favorite track, and in this one it is "Cinema Finale" the one who clicked with me since the very first listen. Let me tell you that Corvus Stone gave us in their first album a long track called Cinema, which we can find here un CS Unscrewed divided in two tracks: "Petrified in the Cinema Basement" and this one, "Cinema Finale", whose sound is wonderful, I love the atmosphere keyboards produce, but I love also the great and disarming sound of Tench's guitar. In moments my mind tells me this track is perfect for an album made by David Gilmour and Mike Oldfield (it that collaborative duo existed, haha). Killer track!

"Pack up Your Truffles" is a short, disarming and melancholic track; for some reason I think the sense of goodbye is inherent here; this is a new song that greatly closes this amazing album. But wait... there is a bonus track that can be noticed when a crazy contrast comes after Truffles, when all of a sudden bombastic keyboards start, we are already listening to"Moustaches in Massachussets", a remix of the original version; a fast and entertaining track. I love Corvus Stone, I love what they do, their creativity and friendship that allow them to generate excellent records in spite of the physical distance between the members, which is something not so many bands can do. I love Corvus Stone Unscrewed and would really love to have it on my hands soon, because I think it has become my favorite CS album so far. Their will to innovate and surprise us cannot be neglected by progressive rock fans, which is why I invite any of my readers to discover this band, which I am sure will be giving us more and more surprises in the future. A step forward, closer to perfection. 4.5 stars.

Enjoy it!

I hesitate to call this a new studio album, as more than half of the tracks are either remixes, alternate versions, or expansions of songs from Corvus Stone's excellent first two releases. Nevertheless, I enjoy this group's releases so much that the chance to hear anything new from them entices me to rate them highly. And, as usual, the perfect performances of Tench, Koivu, Lindstrom and Wolff deserve such praise.

The remixes here are not special to me. I rarely buy remixes of album that I already own, unless the originals were not mixed well, or I feel new technology, or a specific producer can bring out something new in the performance. But alternate versions, and other differences, like adding vocals to an instrumental, can pique my interest. There is enough of the latter to keep me interested, but that is not why I love this release.

The new songs are great, as usual. Colin Tench's guitar always brightens my day. He mixes an offbeat avant fusion sound, similar to David Torn, with elegant Spanish guitar and smoky blues stylings. And, as usual, Koivu's keyboards, Lindstrom's bass, and Wolff's drums are every bit as good.

Standout tracks, to me are "Horizon" (one of the remixes), a dirge of a song, brought to like by some simply bizarre percussion effects, and "Scary Movie Too", which mostly reminds me of King Crimson's "Deception Of The Thrush" improvs.

I would not recommend this as a starting point for newcomers to Corvus Stone, but it is a fine album.