SHADOW GALLERY

Digital Ghosts is the latest creation from US act Shadow Gallery, and their first production since the tragic loss of their former vocalist Mike Baker.

As this is a band I really haven't listened much to previously I don't know how new singer Brian Ashland compares to Baker, but he comes across as a good and versatile vocalist - perhaps a tad steeped in metal traditions but with a fine set of pipes. And with enough scope to cover the stylistic variations on this album.

The core of the music on this production are vintage progressive metal. Drawn out riffs and riff patterns at times heaviuly embellished with keyboard textures of a symphonic nature. But while many tracks draws upon the stylistic elements first laid down by Rainbow and later further developed by Yngwie Malmsteen's Rising Force and Symphony X, Shadow Gallery adds a few dimensions of their own to the proceedings. Vocal harmonies for starters, where influences from both The Beatles and Yes are easily detected.

Musically the scope is rather extensive too. The songs shifts back and forth in pace, style and intensity, and unlike many other progressive metal bands Shadow Gallery seems to be fond of venturing forth towards neo progressive territories rather than other metal-based expressions. Those familiar with acts such as The Flower Kings and Transatlantic should be able to detect themes and passages with a great deal of similarity to those artists - even if those sequences may have more of a metal coating in this particular case.

All in all it is a well made effort, and while there aren't too many moments of pure brilliance - limited to the songs Venom and Strong in my opinion - the rest of the tracks are all intriguing excursions without any notable weaknesses as such.

Shadow Gallery are back and have done a grand job with this, their sequel to 1998's 'Tyranny'.

Anyone familiar with Shadow Gallery will know what to expect on this album, and it doesn't disappoint. Virtuoso musicianship, epic vocals, catchy chorus's, very well-written lyrics and plenty of twists and turns in the music. One of the high-points for this band is also the backing vocals and harmonies, which put most full-time singers to shame.

Story-wise, the album delivers big time. Picking up where 'Tyranny' left off, the band has done a lot of research to make this album as realistic and accurate as possible, as seen by the list of their influences and inspirations in the booklet. Although the story itself is far too long and complex to describe in one small review, it definitely rates up at the top with albums like 'Scenes from a Memory' and 'Operation: Mindcrime'.

A lot of the songs here are some of the best I've ever heard, but unfortunately the reason for the four star rating is that I find this album does feel quite clustered at times with a lot of one or two minute songs which are just used to progress the story. However some of the longer songs are amazing and really make the entire effort worthwhile.

Whilst there are far too many highlights to list, there is one in particular which I just have to give props to. Carl Cadden-James does an AMAZING vocal job on 'The Archer of Ben Salem' (quite possibly my favourite song from this album). Considering he isn't actually the singer of this band, this performance is spot-on, and I didn't even realise it wasn't Mike Baker until I read the booklet.

Fantastic album by a fantastic band, this definitely belongs in everyone's collection, especially if you like Progressive Metal.

Having seen the name of Shadow Gallery around over the last few years and taken little notice I decided it was time to take the plunge and give them a chance on their new album Digital Ghosts. How this new album with new singer Brian Ashland compares to older material with their late frontman Mike Baker who died a year ago of a heart attack I couldn't say. This does however give me the opportunity to take it on it's own terms rather than comparing it to past glories and what I can say is I'm very glad I bought this cd as it's a really excellent prog metal album.

Shadow Gallery will undoubtedly appeal to fans of the likes of Dream Theater and Symphony X. The standard of musicianship is excellent with much guitar shredding for those who like that sort of thing. Along with the high octane instrumental workouts expected in the prog metal genre, Shadow Gallery can add another string to their bow with a strong emphasis on melody and excellent use of harmony backing vocals, which could give them wider appeal and an audience with people who aren't normally into the metallic side of things. New singer Brian Ashland is a fine vocalist in the Geoff Tate of Queensrhyche vein and works well with the backing vocal contributions of the rest of the band.

The music is often complex but not at the expense of melody, more so when they move into one of their often extended instrumental workouts, none better than title track Digital Ghosts where the band really show what fine musical chops they have. The music throughout constantly shifts from the more bombastic metal elements into more light and shade moments and does take a few plays to reveal its secrets but once discovered it makes a captivating and exhilarating listen. Particularly enjoyable is Gold Dust winning my award for strongest melody on the album alongside some fine playing. Also unlike many prog metal bands the keyboards are pleasingly given plenty of space, playing a key role rather than being merely used for texture and colour.

Overall then an excellent album highly recommended to prog metal fans that are partial to strong melodies. I'm pleased to have bought an album by Shadow Gallery at long last, my only regret being I left it so long to do so. I'll certainly be investigating their back catalogue.

I was deeply saddened last year by the tragic loss of singer Mike Baker. Gone is my hope that Shadow Gallery would one day decide to hit the roads and come to Europe to play live, so that we could have the chance to see them playing their masterpieces from both this album and Tyranny. In anticipation for their new album, I decided to review my personal favourite, and, for me, a masterpiece of progressive metal.

There are twenty tracks on this album, but only 8 songs, the last of which is the wonderful 22 minute epic, Ghostship. The rest are musical interludes that help blend all pieces into a homogenous whole. From the beginning to the end, Mike Baker's star shines. He delivers beautiful acoustic performances, he is great on the heavier stuff and the background vocals all have an LA 80s feeling. Fear not, dear reader! This is Progressive Metal at its very best, without the weaknesses that plagued the genre in the 90s. Everything at its place, no unnecessary solos, only the use of extraterrestrial music skills (by all the band, I feel uneasy about who to mention first), all complimenting the most important thing, the song composition.

Cliffhanger starts with a beautiful piano introduction that will be revisited 6 years later in the Legacy album with Cliffhanger 2 and slowly but heavily develops into a Powerful Crescendo of guitar and keyboards, with heavy rhythmic guitar setting the pace.

Crystalline Dream would have been the obvious single, that is if Shadow Gallery were a commercial music group. Heavy as much as it needs to be, very melodic at the same time, including complicated rhythm changes, which leave an impression the first time you listen, but after repeated listens blend in.

Don't ever Cry, just Remember is one of my favourite ballads ever, including a flute solo by Carl Cadden James, wonderful lyrics and, again, a spectacular performance by Mike.

The best thing about Ghostship is the haunted atmosphere that goes through the middle parts of the epic. After all, it is a song about a ghostship - it does convince, and so do Mike's vocals. Then come the solos in Ghostship e - Storm, that once again confirm that Shadow Gallery was one of the most technical - yet at all times melodic bands in the progressive metal 90s. Ghostship f - Enchantment, the piano solo, always haunts me when I get in front of my keyboard. I can never get this piece out of my mind.

Though these are the highlights of the album, all songs have something to offer and justify their place in this album.

In terms of musical skills, the band would evolve even further in the next few albums - Tyranny considered to be their finest hour. However, Carved in Stone is their earliest masterpiece and a statement in the mid 90s that Shadow Gallery are here to stay and to make our life more beautiful with their albums.

When listening to it the first time it was not until the ending of the entitled song, when i realized that 46minutes had passed and my feeling was that i was still in the beginning of the album and said to me- this song is just one more way to end of the album, wow, do not let this satisfaction end...! Inevitably the album ended with Haunted, but after that inevitably i turned the cd back to the beginning and so on... It is one week listening to the album and the only thing i can say is a very big BRAVO!!! Shadow Gallery achieved whatever Dream Theater were thinking for Black Clouds And Silver Linings, but the latter was quite far from what DT wanted, unfortunately... This one is going to be played for many years on,count on this prediction, while Black Clouds is in my opinion already heading for the roads of oblivion... Bravo, Shadow Gallery!

The very first note of this album will capture you completely & won't let go--from the lofty harmonies through the driving beats & furious guitar solos to the exquisite finish, "Digital Ghosts, the new album from Shadow Gallery, is a revelation.

I'm a huge fan of music. I have a decent & ever-growing collection of music...listening to shuffle on my playlist can make you feel a little crazy. However, there's a paucity of progressive rock in that collection of classical, rock, pop, blues & even a zydeco CD. I've listened to some Rush & know a couple songs but not many. I've heard of Yes & Dream Theater but couldn't tell you anything about them. So how do I come to be reviewing "Digital Ghosts" a week before the North American debut? Hold on before you go get your pitchforks & torches (yes, I can hear the SG faithful rustling & murmuring). The truth is I'm a major fan! In fact, after really giving a listen I talked to the friend who had turned me on to Shadow Gallery & asked, "How did I go this long without listening to this"?

I first picked up on the buzz on Twitter (follow Shadow Gallery @shadowgallerymu) & decided I needed to find out what all the chatter was about. So being the curious girl I am I fired up my Google & off I went. Long story short I hit up their website www.shadowgallery.com & read some of the background etc. (ok I read the whole site) and I went to Youtube & searched out anything they had (you can subscribe to Shadow Gallery's channel at www.youtube.com/shadowgallerymusic). Finally, I went to Grooveshark & created a playlist of every SG song available...and put it on repeat. After two days of non- stop SG at work I was hooked. Since then I've kept up with every announcement, video teaser & mp3 clip.

So on to the album!

"Digital Ghosts" is nothing short of perfection. The vocals are rich & layered with harmony throughout. Brian Ashland's voice lends itself effortlessly to the soaring heights of the music. He's an excellent choice to provide the lead vocals going forward. The music is everything you'd expect from these guys. There's not one false moment throughout the entire album. Not only have Gary Werhkamp, Carl Cadden-James, Brendt Allman & Brian Ashland lived up to the expectations & hype; they have surpassed it. These guys have taken progressive/symphonic rock/metal & flown to the stratosphere.

"With Honor" kicks off this powerful, emotional ride with anthemic music & lush harmony. Setting the tone "...foreign lands of sinking sands so strange & unfamiliar...holding to the code of honor we vowed to defend....with honor we will not walk away...." this song reaches out & shakes you awake. It is a non-stop ride into "Venom", a classic guitar-fueled metal song with the gritty vocals of Clay Barton (Suspyre) & Carl Cadden-James. It growls "I am the bringer of the rain and the foreteller of the pain, the end of days is near at hand/when God returns your just reward gets paid in metal". Then proving that any expectations are there to be shattered, SG starts "Pain" with a quiet, ballad-style guitar & stripped down vocals before adding in thudding drums & a truly excellent melt-your-face guitar solo. Here Shadow Gallery digs deep into the sense of loss & pain to which we can all relate. "Clinging on so tight/I bled my hands/I draw the shades & hang my head...love's the air I need to breathe...on the battlefield you were never there beside me..." From there "Gold Dust" swells with synthesized keyboards and hope. It's filled with the promise of reuniting across time & space with a loved one--"You & I lie awake for hours separated by the world/well I can't see you ~ you can't see me but somehow I can feel you stand inside my soul". Creating a feeling of flight in spirit "moonbeams on my ways & always in my skies...you float/you're a dream/you take my hand and we roam/we run, we rock 'cuz you are the one" Shadow Gallery takes us on a cosmic trip.

The second half of the album opens "Strong"-- which is a good old-fashioned rock song. Exploding with all of Shadow Gallery's musical strength "young & proud/hard & loud/ on the wing/everything/what gives you strength/what gives you courage for tomorrow...concrete running through our veins...in the dark/from the heart". When the chorus of "One for all, All for One" starts up it's impossible not to raise a fist & make the vow. In the title track, "Digital Ghost", the band evokes hope in the face of grief. The opening cadence creates the feeling of a drum line...Shadow Gallery is marching forward & we are privileged to be invited along. The band expresses vividly the idea that there is more out there than what we can see. "I believe in the afterlife...through Heaven's hallowed hall...charismatic countenance upon a distant fading sky". "Ashes to ashes they say, then dust to dust...the circle remains here my friend, guarded with trust...we will suffer no last goodbye" reaffirms the sense that those we have lost (like Mike Baker) are still with us in mighty spirit. Closing out this powerhouse album is "Haunted". Another song that starts slowly with a lone piano & simple vocals "who waits for me/who waits so long/and shall I wait for dawn...or shall I sink into myself..." Looking for answers among all the questions that haunt the quiet dark nights yet "Maybe in time I'll fly away & trade these wings in for a life/a life where I am stronger and a place where there's no sleepless nights...". The lyrics are filled with longing that is compounded as the song fades out.

Each song is a testament to the true genius of these guys--a showcase for their mighty talents and yet you are never left with a sense that any of them are "showing off". The lyrics are powerful & stirring. My favorite tracks are "Pain", "Digital Ghosts" & "Haunted" but there isn't a track I don't like. Although the overall tone of the album is somewhat dark & deals with "loss" as a general theme it is also a steadfast statement for moving forward in the face of loss. I defy you to listen, truly listen & not walk away feeling stronger & better for it. The music & lyrics combine to form a sublime experience that will live inside listeners long after they turn the CD off. In the words of Shadow Gallery it is indeed filled with "enduring anthems crossing time & crossing minds".

*Author's Note* all lyrics are used with permission of Shadow Gallery © 2009

How do we define a musical masterpiece? I am listening to Mozart's Symphony No. 40 in G minor as I write this review. Many critics will hail this (along with No. 41) as the pinnacle of his genius and it is clearly one of the most brilliant pieces of music ever written. Too often reviewers force music into a singular stylistic expression, often referred to as genre. Then a musician or a group of musicians refuse to remain within the critically prescribed limits of the style in which they have been so inexpertly placed. Shadow Gallery is one of these groups and Digital Ghosts is their Symphony No. 40.

A great musical journey is like a boat ride on a river. You glide along, enter the rapids, hold on for dear life, the cliffs tower above you, the waves spill over onto your lap, and then you pass into a gentler current that carries you past vineyards, farms and small cottages that dot the landscape. You do not notice if you are wet or hungry, the river flows and you become one with the river. Digital Ghosts is a great river of music flowing onward and Shadow Gallery is the current that carries you along. When the album ends, you find yourself in a new place, deeply affected by your experience, eager for the next ride!

As Mozart was deeply influenced by the contemporaries of his day, so is Shadow Gallery influenced by their contemporaries. Their musical influences reads like a Utopian festival of the greater and greatest bands of all time. Queen, YES, Pink Floyd, Brian Wilson, Supertramp, Kansas, Patrick Moraz, Metallica, Van Halen, Keith Jarret, Tangerine Dream are all on this stage. Mozart, Chopin, Lennon, and especially Mike Baker smile down from the heavens. Mike is all over this music- a ghost navigator on a wonderful river journey.

No, this review isn't like the rest here.. I am denying you the pigeon hole. Shadow Gallery's music expands beyond metal and prog and neo and symphonic and becomes something greater than the pieces of prog standards that other reviewers require for musical legitimacy. Shadow Gallery is not influenced by Dream Theater and Symphony X, they are the influencer's- the pioneers of placing every note where it should be, every melody where it belongs, blending harmonies with emotion, words with effects- water and current, passage and scenery- this is a journey and Digital Ghosts is a great wonder in the musical world.

Think about this- Shadow Gallery lost their singer, but he was never their voice- he was part of the greater whole and he is still a part of this masterpiece and Brian Ashland, a reluctant vocalist who prefers guitar becomes another part of the grand machinery- creating music that defines a genre by defying its boundaries, album after album- each a separate symphony- each a different river to journey upon. While all rivers share a common element, water, and a common direction, to the Sea and are alike in this way- so they are also each one different and unique. Digital Ghosts is the finest Shadow Gallery has ever created from the springs of their musical talent. They have reached their pinnacle.

With Digital Ghosts, SG has created a symphony of movements, each song as beautiful and stunning as the next, beautiful to listen to from the beginning to the last fading drumbeat. Coldplay does not create like this. Linkin Park is a see-saw ride at best. Dream Theater repeatedly docks their boat so they can show you how great they can play. There is none of that nonsense here. Noodles? There are noodles in Campbell's Chicken soup but not in Digital Ghosts. Every note is where it belongs, placed with perfection, with the prefect touch of emotion to relay the desired meaning of each song.

Sing along to the bawdy soldier's chorus in "With Honor". Get infected with "Venom" Feel the "Pain" of "Gold Dust", stand up "Strong" and then when you look behind you, you will see a shadow in the back of the boat, and "Digital Ghosts" are upon you, leaving you "Haunted".

From their Molto Allegro of "With Honor" to the Allegro Assai of "Haunted", Shadow Gallery has brought us another great symphony for our time. Drop your swords of genre and shields of egocentricity and climb aboard...there is a great river to ride here.

I still don´t know why Shadow Gallery haven´t reached a broader audience and be as famous and praised as, say, Dream Theatre or Symphoniy X. Those guys have everyhting needed for a band to be huge: terrific musicanship, excellent songwriting team, tasteful arrangements, a great sense of melody and good production. And more than that actually: a personality of their own and a fantastic and very unique vocal harmony style. And still they are not so well known. To top that their vocalist and original member Mike Baker died of a heart attack last year.

So I wasn´t expecting much from this new CD. I thought it might be a transitional album and in some ways it is. But it is also as good as their other excellent latter releases! Their mix of traditional heavy metal riffs, symphonic prog and wonderful melodies is intact. One thing those guys know is to make a record that pleases both the HM fans and the prog ones. It always takes a long time for them to record a new CD, bu boy, do they do it well! They know how to balance the heavy guitars with great melodies, soaring keyboards, unsual vocal harmonies and wonderful solos done by the mastermind Gary Wehrkamp (the guy is simply a genius!).New singer Brian Ashland is very good and versatile too: his voice is very fitting on all the tracks on which he sings, heavy or otherwise (a couple of the new ones were recorded with guests voclaists Ralf Scheepers (Primal Scream) and Clay Barton). But Ashland proves to be the right choice for Shadow Gallery.

Unlike their previous works, Digital Ghosts does not seem to be a concept album after all, although the theme of loss is present on most songs, for obvious reasons. All the tracks are good and varied, as usual. Heavy moments and slower ones, but all very melodic, strong and convincing. This is the kind of band that wastes no single note when they are recording. Everything fits like glove here. But be sure to get the digi pack issue, that includes four extra songs. Two of them are demos from tracks ended up on the final CD in different versions and includerecordings of the late singer Baker. But the real jewel is the song In Your Window, totally sung a capella (only voices, with no instrumental backing). They prove they are more than just excelent instrumentists. Brilliant!

Conclusion: another winner from this fantastic band taht should have more exposure than they are getting. After such a tragic loss, they come back with a very strong CD that shows that the sum of the parts is actually bigger than the individual talents of each member. RAting: something between 4 and 4,5 stars. Highly recommended.

I pulled this one out of my collection so I could listen to it and decide if I wanted to pick up their album that was released today. I'm glad I did.

Take two parts Dream Theater, one part Kansas, add a heaping dollop of Spinal Tap, and stir. What you get is Shadow Gallery. There are some very nice tracks on this album. Particularly, the epic Ghostship has some great moments. The problem is, in between all the meat, there are big slabs of cheese. I just can't get past singer Mike Baker's pinched vocals. And a power ballad about The Rapture (TM), come on.

2.5 stars, raised up because of the epic.

I'm not buying the new CD. But if you get raptured, can I have your stereo?

I love Shadow Gallery. IMHO, Room V and Tyranny ranked among the best prog metal album in this decade. This album however is a big disappointment of this year. I must admit that I'm a bit too skeptical. Maybe it's because the great expectation, maybe I familiarized myself too much with Mike Baker's voice, maybe I don't like prog metal anymore...I don't know. I tried almost 20 spins and all I know is this album is a lame sub-par prog metal.

The new singer, Brian Ashland, is apparently not good enough- actually he is not even a good vocalist. Trying to imitate Mike's singing style, the new singer sounds pathetic. Shadow Gallery used to be a great combination of a gifted and emotional singer, uniquely melodic songs and beautiful arrangement. Now what is left is a lame, old school, haired-band singer in the more heavy wanna-be music. It is too sad that even there are some resemblances in vocal melody, it just in a complete different quality. It's like when you see The Shawshank Redemption once and then you put...lets say...Tom Cruise in the role of Tim Robbins on the second run (Even a camel can act better than Cruise!).

The music is okay, not outstanding. A bit pretentious, it's like the musicians are trying to rock harder.

It's a lame flavor but I'll give them another try on the next release, if any. For me, this album goes directly to eBay. 3 stars for an okay album