SHADOW CIRCUS

Pfft.

Looking for new talents is always a pleasure and generates excitement for me. Here, there and everywhere; bands are legions claiming to have something special to offer.

Not the case here.

Shadow Circus is not giving a new face to music, not by a second. If you're not giving a new face, at least give something to chew on. I really tried to give this album a chance, therefore I can say this with a clear conscience: I'm bored. The songs are plain and lack 'freak impact'. I mean, this is supposed to be a freak room, right? Where's the insanity? Where's the madness, the edge?

The songs are sliding from FM 90's style to pseudo-western, I don't know; it's hard to listen through, mainly because of the leader's incapacity to sing and the lack of creativity from the band. Heard this 1000 times over, and better at that. Just plain ordinary next-door-neighboor stuff with a really horrible cover.

Sprinkle some madness next time.

Quite interesting debut album by this american band. I wasn´t expecting much, so I was a bit surprised: they do sound retro, no doubt about it. In fact, the two first songs, Shadow circus and Storm rider seem like something recorded by Styx or Kansas in the late 70´s, apart from the vocal lines, but they are heading in the right way. Lead singer David Lawrence Bobick has a very different voice than what we would expect from a prog band, more suited to early 70´s outfits like Cactus or Faces. While the keyboards are quite progressive (the Hammond organ parts sounding uncanny like Uriah Heep in the very beginning), John Fontana´s guitar is definitly influenced by the hard rock/blues style of the american bands of that decade.

The album is very well produced and the band knows how to write some good stuff. Their combination of different styles work well most of the time, even if Bobick´s voice is a bit aquiring the taste. The two last tracks, with their late 60´s/early 70´s style are more suited for him, even if In The Wake Of A Dancing Flame is a bit monotonous. Radio People shows their more poppish, whimsical side. The tracklist is a bit uneven, but Shadow Circus is surely on its way to find their very own sound already. A nice surprise.

All in all I found Welcome To The Freakroom to be good, if not essential. And the band is very promising.

Shadow Circus from USA did an almost great job here, well almost - because the album is nothing special is not bad either, is so so. The music is towards symphonic prog with some theatrical elements in places but aswell some eclectic moments throughout the album are here. Some very fine moments like the opening track Shadow Circus and another piece or two, but he rest is not very convinceing, is rather boring in places like Radio people - total useless track. So, Shadow Circus desearve more than 3 stars????, - no - is rather good record but not excellent for sure, anyway worth some spins from time to time.

What would happen if Neal Morse decided to join the circus instead of the church?

It would appear that the American progressive rock scene is growing at an alarming rate, and it's produced some darn good bands. Shadow Circus is a new contender to the scene of ''retro-symphonic'' bands that have emerged recently, and they're off to a very good start with this, their debut album. What's a little bit strange to note about progressive rock is that it seems like back in the 70s the Americas (the bands, anyways) wanted nothing to do with the lush and pomp groups such as Yes and ELP that were coming out at the time and sometime in the mid-90s we've flipped positions. Indeed, what we have here is a lush symphonic band who are hard on the keyboard, well into the ''traditional'' progressive structure and even not afraid to flex their compositional muscles when it comes to more lengthy tracks. The quickest comparison that comes to mind when it comes to finding a parallel with this band is somewhat of a Spock's Beard-like band, only with a twist.

As you can imagine from the name and the cover art, this music has a touch of darkness to it, and a little bit of zaniness. This is notable right off the top of the album with the 'band-name-track', Shadow Circus which dares to bring circus music into the foray of prog, if even for a couple of brief moments. Some excellent rhythm sections drive this track, which does well to introduce the somewhat quirky vocal styling of David Lawrence Bobick. A somewhat rare breed of symphonic prog singers in that he uses a lower voice that has a lot of personality to it - and it's very well suited for the music that the band is going for. While people may be wondering if his voice can hold up outside the realm of the so called 'circus prog' as the first song comes to a close it becomes pretty clear that he's going to be able to do a good job throughout as Storm Rider begins. A soft piano soon bursts into full motion with a song that's somewhat light at heart but still highly effective. This is definitely one of the highlights of the album thanks to its many layers and complexities. The guitar really drives the track but the pianos and keyboards will not be outdone as they battle their way through the track.

Where the band really excels is where they add in a touch of their more pop influences to make the songs highly memorable, and yet still complex enough for even the most elitist progger. Two songs that demonstrate this are the very middle two songs on the album. Inconvenient Compromise is probably the thickest song on the album with its big build into the organs and piano. There's a subtle chorus in the song, but this one is definitely the hardest to remember when you're looking at the track listing thinking ''how did that one go again?''. It's definitely a grower, but it might take a good number before it really gets under your skin - but that's what good prog does, right? Easily the poppiest song on the album is one that many proggers will have a love/hate relationship with - the incredibly bouncy and upbeat Radio People is the song that will beat you over the head with a 2x4 the first time you listen to it and for the rest of the day you'll be cursing the band because the incredibly catchy chorus will be ringing through there on repeat. The song does seem a touch out of place just based on how upbeat it is, but you'll soon find youself forgiving it because it's just so darned lovable.

The two final songs on the album really make good use of being heady and being accessible at the same time. In The Wake Of A Dancing Flame is the most lo-key song on the album, but being careful to call it 'slow'. Its lead by a powerful organ and emotional vocals that make the chorus almost tear-jerking at points. There's even a bagpipe solo in there (and don't let the notion of it scare you!) which is placed so well that it's just beautiful! For many people who have only seen this instrument used well in funeral services it can be quite the experience to hear it in this song, especially near the lines, ''you're an angel and you finally got you wings''.

And then we come to the album's lengthiest track, and no doubt the one of highest expectations. Journey Of Everyman is a very well thought out track, which goes through multiple parts before reaching its ultimate conclusion. Likely the standout point of this track is the wonderful piano work on the opening segment, although the rest of the tune plays out nicely as well with some highly impressive guitar solos from Fontana and thumbs up playing from the rest of the members. While the ending isn't quite as 'grand' as many other epics have ended you really don't miss the 'over the top' ending in this tune because that would just be predictable - and the album reaches a suiting end.

In terms of production this album certainly sounds crisp and clean, everyone really knew what they were doing. The band is a little more on the 'light' side than the 'dark' side of things, even if they do have one foot poking around over there - the keyboards do tend to dominate over the guitars at many points and the guitars are very crisp, even if at some points the audience just wants to hear a crunching riff, or something along those lines. The opening song sets up for a very twisted ride and while there are twists along the way they never really get as dark as the opening track would have you believe. Still, that's just nit-picking because this is a very good album and an excellent way to get started.

With room to grow and an album that gets a recommendation and a thumbs up, Shadow Circus promises to be a band to watch. They've even got a new cd coming up somewhere in '09 which should keep fans and onlookers on their toes. 3.5 stars for this one - very good and very promising - and definitely recommended!

Ladies, and gentleman, children of all ages ........... welcome to the Freakroom!

Spacious keyboard / guitar texturizing, vocal harmonizations and frequent changes in musical dynamics create walls of sound that recapture the glory days of conceptual art-rock of the early seventies on New York City's Shadow Circus' debut album, Welcome To The Freakroom. A ringmaster ( aka Dave Bobick ) with megaphone in hand ushers the audience into a surreal dreamlike grey area called the Freakroom where they are separated from reality and introduced to a microcosm of their inner sanctums, from decadent obsessions and dependences on technology, to the everyday strife of a crumbling modern world but at the same time offering hope and solace in the end for those who take heed to the ringmaster's forewarnings.

A contemptuously benign overall setting (at times quirky for maximum metaphorical circus effect ) is provided by John Fontana's David Gilmour/Alex Lifeson inspired guitar work along with multiple layerings and grooves by the masterful Zack Tenorio on keyboards ( it's hard to believe that he was only 17 when this disc was recorded in June 07 ! ). Through all the pyrotechnics and flowing electricity the flamboyance of frontman Dave Bobick who was trained in musical theatre emerges. Backed by a solid rhythm section of multi-instumentalist Matt Masek on bass ( who also doubles on cello and 12 string acoustic guitar ) and Corey Folta on drums a solid foundation anchors a bright, thriving aura which is maintained throughout this bizarre musical experience.

Despite the radiance in the music, and there's no doubt these guys are having a blast, there's an ominous message here for us as humans, that it is imperative that we put on the brakes or we will be turned into vegetables by our complacencies in this modern, ferocious world where technological advance seems to be more important than our psychological well being which is literally eating us alive. While this seems to be reading too much into the disc the strongest suggestion of this in the work occurs on the deliberately catchy prog-pop Radio People which rocks it out with devious cynicism with references to how we are programmed by a technological world whose impetus we can't keep up with. A ballad, in The Wake Of A Dancing Flame, urges the audience to conquer their pasts and that there is indeed some salvation out there. Another upbeat piece, which is distantly reminicient of some of the material off Meat Loaf's first Bat Out Of Hell album, structured around another catchy main riff played by the piano, Storm Rider, deals with these pasts and features Fontana's guitar as well. It's also preceded by another similarily themed track entitled Inconvenient Compromise which has plenty of changes and keyboards galore that also really rock it out at times. The 3 part epic blowout track, Journey Of Everyman with swirling keyboards and frantic guitars is full of suprises without getting too melodramatic. It is by far the most ambitious,symphonic and moody piece on the album and is placed approprietely at the conclusion of the disc, it returns briefly to the original theme in the opening track and attempts to resolve and make sense of all the madness by imploring the audience not to fear and to put on a brave face upon exiting the temporary rational sanctuary of the freak room.

Musically impressive, Shadow Circus doesn't approach the intimidating instrumental virtuosity of Gentle Giant, the lyrical confusion of Genesis or the compositional complexities of Yes, but nevertheles re- assures us that the spirit of old school art-rock is once again upon us and very alive. There is a certain light hearted magic here that is not present in other contemporary neo-progressive bands' music that just seem to miss the point in some essential way. Shadow Circus demonstrate here that progressive music need not be serious all of the time . Welcome To The Freakroom has to be one of the most gratfying recent neo-progressive rock albums that breathes new fangled life into the present without forgetting the traditional past.

Shadow Circus is a band that fuses symphonic prog with some theatrical elements, making a very competent progressive rock. Their music, in my opinion, although with its differences, is aligned with bands like Spock's Beard, which is one of the best recent progressive rock bands.

Shadow Circus, the first song of the album, is, of course, theatrical, since it presents a circus. The song has good rhythm and melody variations, with an interesting interplay between piano and guitar during the riffs and excellent guitar and organ in the bridge/chorus. The musicianship of the band is very good and the solos are great, since they are both skilled and inventive.

Storm Rider, the second song, is very good, with good guitar and piano interplay, which are their trademark, along with a competent rhythm section and lots of different organ and synthesizer sounds. The song has changes and excellent solos as well and a good vocal work in the solo. The instrumental section in the end of the song is superb, with great piano, guitar and synthesizers.

Inconvenient starts with a bombastic guitar and keyboard intro and then there is a great piano and guitar passage, before the start of the verses, which have different arrangements, piano and organ based. The chorus has melodic guitars and piano and the piano solo in the middle of the song is pretty interesting, followed by good guitar and synthesizer solos. The melodies are very rich and beautiful.

Radio People is another song in the same vein as the others, with a great organ-driven intro. The synthesizer solos are remarkable also. The song is very upbeat and the instrumental parts are the highlights, with its different melodies and moods.

Dancing Flame starts with a great organ intro, later joined by guitar and piano, in an excellent interplay, proving that the band has a special talent to make killer intros for their songs. The song has a mellower mood, with great singing over the excellent instrumental arrangements.

Journey is the last song and it is a kind of epic, with almost 12 minutes. The piano and string synthesizer intro is very beautiful. The song, then, passes through many different instrumental parts, with excellent guitar solos, assorted keyboards and a very competent rhythm section. The part with piano and choir is very beautiful. Singing starts only after five minutes and it has a good vocal melody.

Overall, this album is very good and the band is very promising, delivering an excellent Symphonic Prog Rock and if they continue with the same level of quality they will surely be part of the best modern prog bands group. Recommended.

It's good to see new symphonic-rock bands emerge in a time when most progressive-rock fans tend to disregard everything that sounds retro as "derivative" and everything that sounds new as "unique", even though good-and-bad-quality music can be found in either of them.

Many experts on this genre have already spoken. I'll just limit myself to mention my impressions of the record. SHADOW CIRCUS' debut is a really enjoyable, if somewhat flat, experience.

As it has been said before, the music this band play in "Welcome to the Freakroom" is hardly groundbreaking, but it's very well-crafted. The style has more to do, in my view, with classical American hard-progressive-rock a la KANSAS more than with traditional symphonic rock. Instead of that typical "Brit" sound of most neo-prog bands, SHADOW CIRCUS show their roots as an Americana band, with many references to traditional genres, including some sections that sound almost like country music ("In the Wake of a Dancing Flame" probably being the best example of this.)

The structures in the songs are quite straightforward, and there's little of the thematic development or the extended soloing that one usually hears in traditional symphonic rock bands. But, at the same time, the songs are longer than average, feature more instrumental sections than in typical rock, and we have a multi-sectioned semi-epic at the end of the album. The keyboards are very important in this band's sound, as are the guitars.

The musicianship is good if never stellar. The guitars and keys are well-played, the drums are simple yet effective, the bass is very interesting, The vocals are a mixed-bag: at times charming and even brilliant, at times weak. They remind me of Walsh, sometimes of singers like STP's Weiland.

The melodies are OK, nothing extraordinaire. The best song in the album may well be the opener, "Shadow Circus". "Radio People" seems like their shot at popularity, but the chorus is slightly annoying. "Journey of Everyman", their collage at the end, starts in excellent fashion with a very atmospheric instrumental intro, but then, when the second section arrives, it seems like glued-on artificially. It doesn't sound like a true epic but like three independent sections that the band had written and that needed to go in the album. It's a mixed success.

In the end, "Welcome to The Freakroom" is a very pleasant debut by SHADOW CIRCUS. The band is still far from being a big contender for today's best symphonic bands (THE TANGENT, THE FLOWER KINGS, among many others), but it shows promise, and deserves 3 stars.

This new USA five piece band has made an interesting debut CD but I have to admit that it required a few listening sessions to get into their music. Shadow Circus sounds way from mainstream symphonic prog and the singer has a very distinctive voice, not always my cup of tea because of the theatrical undertone at some moments. But his voice is powerful and gives the sound of Shadow Music an extra dimension.

1. Shadow Circus (7:25) : The bands starts dynamic and powerful with propulsive guitar riffs and a wonderful colouring with vintage keyboard sounds (choir-Mellotron, Minimoog, Hammond organ and Grand piano). The music is melodic, it is a genuine circus atmosphere and the vocals are strong, halfway we can enjoy a biting electric guitar solo, a good and promising start!

2. Storm Rider (7:49) : A catchy mid-tempo with a captivating tension between the fiery electric guitar play and the swinging piano (it contains a Latin-American undertone). In the second part a fiery guitar solo is accompanied by lush Hammond organ and then fluent synthesizer flights, very exciting!

3. Inconvenient Compromise (5:58) : Lots of shifting moods (from mellow with sensitive electric guitar to bombastic with Hammond organ), excellent drum work and varied keyboards (including a swinging piano solo).

4. Radio People (5:43) : This is the maverick on the album delivering a catchy beat and lots of interesting musical ideas like the flute-Mellotron and a sitar-like sound and choir-Mellotron blended with a biting wah-wah guitar solo. It sounds like 'pop meets neo- prog' but this song has been worked out very well.

5. In the Wake of a Dancing Flame (6:34) : The long intro contains wonderful Hammond organ play, it reminds me of early Seventies bands like Rare Bird and Julian's Treatment. Despite good work on guitar and keyboards and strong vocals, this track lacks a bit direction.

6. Journey of Everyman (11:46) : This alternating and dynamic final composition is the absolute highlight on this album, what a 'Pandora's Box of musical surprises', from a blend of wonderful classical orchestrations and Grand piano to bombastic keyboards, a powerful rhythm-section and fiery electric guitar runs, from a slow rhythm with a sensitive electric guitar solo to choir-Mellotron waves with tender piano and from acoustic rhythm guitar with vocals to an almost psychedelic part with a long, biting wah-wah guitar solo, accompanied by majestic choir-Mellotron and an adventurous rhythm-section, this is Shadow Circus at its best!

The music of this new and promising band is hard to pigeon-hole (I could only notice some short but obvious early Yes echoes in the final track) but it's worth to discover their unique sound, I am glad that Atkingani and E-Dub recommended Shadow Circus to me, thanks! I am looking forward to their next release, until so far a solid 3,5 stars for their debut CD but I expect to give 4 stars to the successor!

www.progwalhalla.com

When somebody has listened the best Prog bands for almost three decades and believes there's no more chance for new great bands, it's refreshing to find guys like the members of "SHADOW CIRCUS" who are still insisting with the genre and releasing a very solid album, specially in this days where Rap, Hip Hop and easy music seem to be the constant..

"SHADOW CIRCUS" was founded by John Fontana (guitar), who after 15 years of musical activity in NYC decided to re-create some Prog based in the golden era of Symphonic and prepare a demo to send as part of his resume, but his ex band-mate the drummer Corey Folta herd the music encouraged John to form a band, with the help of the vocalist David Bobick who wrote the lyrics, with the addition of the former Cello player and now bassist Matt Masek and Zac Tenorio in the keyboards, a band was born.

Their debut album "Welcome to the Freakroom" opens with "SHADOW CIRCUS", a song that gets the listener in the mood with a typical circus tune that starts to decrease in intensity while a mellotron goes in crescendo introducing to a keyboard explosion that reminds me of Clive Nolan, and directly links to the rhythmic vocals. A well developed song that serves not only as an introduction to the album but also for the band because they manage never to a sarcastic sense of humor, excellent opener.

"Storm Rider" starts with strong keyboards and drums soon followed by the band, the vocals are a bit odd for an average Prog band, but suit perfectly with the music. Fast and vibrant song with radical changes and an amazing piano and of course as you will expect in a USA band, very strong guitars.

Now it's time for pompous intros in "Inconvenient Compromise" the band hits us with everything they have but then have a radical change to section that reminds me of Yes from the Going for the One era, but before we get used another change leads us to a softer and melodic territory, just to change again into a Hard Rock section leaded by Bobik vocals, th9is is what Prog is about, constant changes without ever loosing control and "SHADOW CIRCUS" gives us everything, wont tell about the finale to avoid ruining the experience..brilliant.

Every album needs a hook, a moiré catchy song and "Radio People" provides it, the organ sounds almost Psychedelic but despite some excesses (Which I love) we find and interesting Hard Rock track. Not as complex as the previous but still very good, and the arrangements are perfect.

"In the Wake of a Dancing Flame" starts with an organ solo followed by acoustic guitar and drums that work as an intro for an interesting Power Ballad with a very Psyche oriented sound, the keyboards sounds as coming directly from the late 60's and there's an oriental favor very typical of that era and a guitar work that matches perfectly, very nice track, a bit repetitive though, if I had to chose the weakest track .would have to point my finger towards "In the Wake of a Dancing Flame", but still is a very good song, so we are before a band with high standards.

The last track "Journey of Everyman" is a three part epic inspired in the novel "The Talisman". It's fair to say they reserved the best for the end, starts with a nice piano solo until the band explodes with a guitar and keyboard section in the limits of Symphonic and Hard Rock, then you can expect anything, moogs, mellotrons, cellos, well everything that makes Prog so great, the changes are always dramatic but the band never loose the continuity, it's hard to describe everything that happens in more than 11 minutes, but I'm sure this track will satisfy the most demanding Progheads.

It's hard to rate this album with a cold system of stars because they are extremely good and I believe it's essential for any Proghead interested in modern Symphonic to get this album, but at the same time I believe doesn't reach the status of masterpiece /stays very close) and also I am sure they can release an even better album, so this time I will be careful and give 4 very solid stars to the excellent "Welcome to the Freakroom".

I'm confident that if they continue evolving, very soon I will be rating a second album of "SHADOW CIRCUS" with 5 stars.

Note: Have to thank ffroyd from Progressive Ears who kindly sent me the album to review it on their site.

Nice debut by American symph prg rockers, Shadow Circus. It's one thing to discover an up and coming prog band, be a bit fascinated by it, but you know in the back of your mind that you won't venture past a disc or two. It's a completely different thing when you're so taken by a disc by an unknown band and know that you are on to something special. You can't wait for the next album!

The disc launches from the gate with swirling keyboards and a soaring intro with the band's namesake song. Excellent solo by guitarist John Fontana about 5 minutes in that reminds me a lot of Tom Scholz of the band Boston. Nice little blend of quirkiness by vocalist David Lawrence Bobick.

One of my favorite tracks is the second entitled "Storm Rider". Starts off with a Kansas feel with nice piano adding a bit of a Springsteen-ish/Roy Bittan quality to it. Again, a true highlight is John's guitar solo about halfway through that blends into a nice harmonious marriage with the synths.

"Inconvenient Compromise" starts off with a sound like Rush's "Dreamline" from Roll The Bones briefly, but suddenly changes moods with a beautiful piano interlude. Very nice how the songs takes on a schyzophrenic personality that's a bit manic, but then takes off with some very nice melodies. Just amazing arrangement on this particular song with about a minute and a half to go--this band really shows of their chops on this tune.

"Radio People" starts off with an almost 80's hair metal anthem, but don't let that turn you off (if 80's hair metal isn't your thing). At about 5 1/2 minutes long, it's a bit tongue-in-cheek and lighthearted, while at the same being a social commentary. Actually makes for a nice break while venturing through the Freakroom--you can't help but tap your feet to this one.

"In The Wake Of A Dancing Flame" rolls in with a nice drum pattern reminiscent of Cozy Powell, accompanied with a nice Hammond Organ; although, the vocals could be delivered in a different way and doesn't quite hold up to the powerful music. What strikes me on this song and on the others is the beautiful piano underlining the music. I hate to use the same Roy Bittan comparison, but both keyboardists create an almost carnival-like atmosphere with their swirling pianos. It's one reason why I appreciate Springsteen's music, and now Shadow Circus. You put this together with an almost sitar esque solo by Fontana, the song simply takes you to another state. Absolutely sublime!

We start to exit the Freakroom with the mini epic, "Journey Of Everyman" to more exquisite piano rising above beautiful orchestration. Until a Van Halen's 1984-like synth catapults us into the stratosphere with a solo that sounds like something right off of a Boston album circa 1977. Once the storm passes, however, the intro slows down to a calming pace. The song suddenly picks up, slows down, but lurches forward again in a manic pace of flying drumsticks and whirling guitars. This band knows how to tell a story with music in a way that's not unlike Transatlantic. It's defintely one of my favorites from the Freakroom.

Shadow Circus and The Puppet Show have been two very positive discoveries in 2007 so far. If I did have one complaint, I only wished they had longer epics that clocked way past the longest track at 11 minutes, 46 seconds (me being the epic junkie that I am). Still, it doesn't detract from a VERY strong debut by a band for whom will be around for a long time to come. 4 very strong stars!