PANIC ROOM

Not a bad album at all. I've been a little surprised reading in another review that the track that doesn't work for the reviewer is the one that I have liked more than the others: "I Am A Cat", which demonstrates how subjective the perception of music can be.

The album starts with a rock guitar riff. "Freedom To Breathe" is a good rock song on which the former MA Anne Marie Helder shows her vocal extension. Paul Davies is not mimic of David Gilmour. At the end this song reminds me a bit to Magenta.

"Picking Up Knives" is bluesy. Anne's voice works very well on this track which leaves some room to piano and bass. A radio friendly song good, I think, for driving.

Now it's the turn of the already mentioned "I Am A Cat". Meows are done by the guitar. the song is a sort of grotesque waltz. with a nice chorus of the kind which remains fixed in the head for some time.

"The Fall" is a good title for a song which fails to keep me interested. It's too far from my tastes, just melodic chill-out. It doesn't mean that somebody else can't like it. Not my pot.

Instead, I like the bass on the following "Black Noise". On this song Anne sounds a bit like Heather Findlay on "Caught In A Fold". This is another rocking song which unfortunately has another chill-out in the middle that I like less, however Anne's voice is excellent and in its complex the song is surely not bad even if far from being a masterpiece.

"Yasuni" is an important song. "In a land in the Amazon There is a sound Like the burning of Eden Down to the ground ". Unfortunately in that reserve which is considered the place most rich of biodicversity in the world somebody has found petrol. A song with a little newage flavor.

I remember a short time lived Italian duo called "Nocturna". This "Sunshine" is a song which reminds me to them. btw, that duo was considered newage.

I think that putting too many slow-time melodic songs in sequence sometimes doesn't work. When "Into The Fire" comes I'm in general a bit tired of all this sweetness. Taken alone this is an excellent song. Easy chords and very radio friendly but makes its work.

"Dark Star" is opened by a church organ which closes the sequence of sugar and honey of the previous songs. It's a melodic song, as well as the rest of the album, but this is more tasty, the chord passages are not trivial and the mood is dramatic. Close to the Mostly Autumn of the "Passengers" period.

"Muse" is another nice pop song. I think to Christina Boothe's solo debut album. Keys and voice.

The title track closes the album. It's also the longest song and even if length doesn't necessarily mean "progressive", this is a song which can qualify a band for this site. It switches on a flag in my mind, but I can't identify exactly what it is. It's the sensation that I often feel when a song contains elements which are common with others. I have felt this sensation the first time I've listened to Mostly Autumn's "The Gap Is Too Wide". I was trying to remember when I had listened something I had never listened to before. A very good closer for an average album.

Good but non essential, with some weaknesses in the middle but also some very good songs

The 4/5 of Karnatake escaped the attention of Ian Jones, but seem to have to not escaped their music past with KARNATAKA at all, as Panic Room's sound has strong references from the music of KARNATAKA.All these kind of bands seem to be extremely influenced by the ''Brave''-era MARILLION plus the evident folky touches, eventually coming up with a pretty song-based and accesible form of Progressive Rock, approached by a wider audience.The music of Panic Room remains melodic and easy-listening all the way, even in the very long ''The Dreaming'', with a very dreamy atmosphere surrounding their music.The tracks are split between short, laid-back Art Rock pieces with ethereal soundscapes and warm vocals by Anne-Marie Helder, musically led by acoustic guitars, piano and synths, and more upbeat cuts, which still are quite easy-listening, with evident use of electric guitars, more sharp keyboards and safe riffs, eventually producing a more passionate and energetic mood.Among the pieces there are a few violin- or flute-based themes, a sign that Panic Room can be easily regarded as a KARNATAKA offshoot act at least in this release.

If you are fond of the music of KARNATAKA, IONA, MOSTLY AUTUMN and the likes, Panic Room's ''Visionary Position'' will be an excellent addition in your collection.Atmospheric, smooth Progressive/Art Rock of decent quality.Recommended.

But I decided not to pay attention to that and listen to the album with care. Skin (2012) was recorded in the Sonic One studio and mastered at Close To The Edge. The album had Tim Hamill as mixer and engineer and it was produced by members of the band: Anne-Marie Helder (vocals and guitars), Jonathan Edwards (keyboards and guitars) and Tim Hamill. The band's line-up included also Paul Davies (guitars), Gavin John Griffiths (drums) and Yatim Halimi (bass). Skin (2012) was released by Esoteric Antenna/Cherry Red Records in June.

When 'Song For Tomorrow' starts, the pop accent I was worried about is shown and it continues on the second track 'Chameleon'. But to tell the truth, it is a minor thing. Both songs are well written and catchy, including wonderful pianos and vocals. Anne-Marie Helder was elected in 2011 as Best Female Vocalist by the Classic Rock Presents Prog magazine and listening to this songs you understand why.

But at the same time tracks like 'Chances' almost ruin everything. It is Pop and with no trace of interesting parts, just chorus repeating endlessly. Another one like this is 'Freefalling' that begins acoustic and pretty and soon turns out to be a semi electronic piece of music, which doesn't make sense at all.

But the Prog moments are what makes the band shine. Like on the third track 'Screens', or 'Tightrope Walking' with the indian mysterious feeling, a good riff and The Larkin Quartet performing on it. All of it make it a great track. They should have used strings in more tracks. 'Hiding The World' and the last track, 'Nocturnal' are another good moments on the album. The former has great vocals by Anne-Marie. Unfortunately, there are few moments like these on Skin (2012), not even half of the album. In the end, what makes me worried before listening to the album turns out to be a fact. PANIC ROOM is a very nice band but not really Progressive Rock. They belong to the subgenre that some call Crossover Prog. The album is quite fine and enjoyable as a whole but the problem here is that they're not Pop enough to be called Pop and not Prog enough to be called Prog, if you know what I mean. This road was travelled before by many bands (as with the new album by the Polish band Quidam) and the result is always the same. They don't have good audience in both sides of the spectrum. It is very hard to please Prog lovers with Pop and vice-versa.

The truth is, if you like to have light Prog music that's not intricate or complex, this is the perfect band/album for you. But if you're looking for some listening challenges' you'll not find them here.

There is a good use of strings and plain old piano as opposed to complex keyboards, and the drums are sometimes incredibly effective. Ah, there is the word "Sometimes". Yep, many are going to see this as a truly great album and not for the first time people are going to disagree with me, but I feel that while there are some truly great songs and wonderful performances this isn't a great album.

Why? Because vocal delivery on many of the songs are similar throughout and there isn't enough variety in the music either. I found that if I just played one song (and I honestly do love the opener "Song For Tomorrow") then I enjoyed it much more than if I played the whole thing. There are times when the drums can actually be intrusive, and while the bass is warm and inviting the strinsgs and production do make me feel that I am being smothered in a blanket. "Screens" stands out like an oasis with it's harder more rocking style which I thought was great, although the vocals weren't as rough and ready as they could have been, and I just wish that there had been more of this.

So for me this is a missed opportunity and while I am sure that I will be returning to this often, it will only be for one or two songs at a time as opposed to working through the album in its' entirety. www.panicroom.org.uk

But then the monster of monotony strikes. One song after the other, all sounds the same. The singing of Anne-Marie seems to be based on repeating the same tricks and melodies over and over again. As a counterpart the band have nothing spectaculair to offer. It just rambles on. Every now and then I seem to recognize an old Corrs-song, but no it still is Panic Room, I am listening to.

It's hard to deny that Anne-Marie is a talented singer, but she should severely consider a bit more variation in her singing and the band should try a bit harder to bring up some more interesting instrumental interventions, elsewise this Panic Room will be suffocated in the boredom of the worst AOR.

This album will probably appeal to fans of the Corrs, the cd-cover however promises a far more captivating and exciting music. Nice pop music, but no prog.

Well, I vowed to follow the career of this stellar little Karnataka off-shoot and I certainly cannot even glimpse at the thought of any regret, as I am a sucker for female vocal fronted prog bands anyway. Panic Room continues on its merry prog way, with Anne-Marie Helder's lush voice leading the way and proposing a new set list of impressive and romantic songs that skirt with the outer edges of progressive rock, nothing too complicated and technical, relying purely on emotion and atmosphere. But the quality of the overall package has leaped ahead by a zillion miles, a complete success on every front.

There are some new positives that will anoint this release with an impeccable rating: on the third try, they get the artwork they deserve as the previous two covers were rather insipid, this one strangely very similar to Quidam's latest, sort of Girl with the Dragon Tattoo- like, a bare lady in an icy, desolate forest gloom. Gruesomely effective. Secondly, musically there is a massive improvement to an all-ready high quality of playing, the band has recruited new bass player Yatim Halimi who makes his presence felt all over, as the fretless bass rules the low end majestically. The intricate drumming is also very obvious, Gavin John Griffiths raising quite a few eyebrows, keyboardist Jonathan Edwards using a vast arsenal of keys (piano, organ, synths and e-piano) but also creative with diverse tones and tangent structures. Lastly, Paul Davies displays a corporeal tone, certainly ballsier than ever before, with a higher level of masculinity in his playing, yet extremely inventive in his stylings. Finally, a string quartet adds some orchestral dimension that bodes well for the symphonic sheen that this material clearly deserves.

The entire song list is effortlessly memorable, diverse and astounding, showing an uncanny resourcefulness that eliminates any semblance of sameness, such as on the mercurial "Screens", a sparkling piece with string quartet, burping bass, polyrhythmic beats and a surly synth-lead , all held together by some weighty riffs, a stubborn stop and go lead guitar solo that is gigglingly original. The preceding "Chameleon" is a haunting slice of cinema-prog, highly evocative and hypnotic, like a sensual opiate cloud armed with a sultry vocal that sweetly swerves into the brain. The mid-section piano solo is consummate stuff; the silky almost jazzy approach most noteworthy. For the romantics out there, some great love songs are here to wallow in such as the string- driven "Chances" with its serene Spanish guitar section and some wonderful vocals from Anne-Marie (a lovely looker to boot) and a colossal orchestral outro. I mean, WOW! The mood settles into dreamscapes with the suave "Tightrope Walking", a 7 minute flight of thrilling sounds, featuring a simple beat, amplified by wobbly bass and uncomplicated piano, a painstaking lament that slowly grows in stature and expression, tossing in some slight Arabic tinges, coupled with fine e-piano noodlings, string quartet denouement and a few axe frills. "Promises" is even sexier, a ringing ELO-like theme, Anne-Marie mischievously vocalizing while the bass pummels a Native American styled riff and a sudden swirling synth tornado to keep the panting honest. The power is propelled by a crescendo chorus that reaches for the skies and will be sure to leave a lasting impression. A shorter, acoustic ballad, "Velvet and Stars" proposes a fragile vocal that proves what many already believe, Helder is an awesome talent that can only get even better! Acoustic guitar and voice, that's it! Bravo! "Freefalling", well with a title like that, you would think of Tom Petty, wouldn't you? Except this is a 6 minute shuffling masterpiece, a gasping love affair of sound and texture, very sexy and appealing in its utter simplicity. Hey, its definitely not math-rock but WTH, one cannot dine on blitzkrieg riffs for ever (wait until you get older and crankier!), this is unabashedly feminine prog which serves up a great purpose when you eschew your masturbatory (read = lonely) prog collection and settle into some musical cuddling with your female partner. An amazing tune!

The title track is another hallmark track, straightforward but devastating lead vocal, a plea of crushing beauty and immeasurable delivery, within a huge orchestral flow. Enough said, world class ballad. Yeah, syrupy stuff but "Hiding the World" gets nice and aggressive, so as to counterbalance all that sweetness and melancholia, sounding like fellow compatriots Touchstone, combining dynamic riffs with monster drumming and relentless pummeling. This splendid disc climaxes with the appropriate "Nocturnal", a haunting piano-led reverie that defies description, an epic piece that introduces the night and all its fragile shimmering , a howling voice beckoning the gentleness of nature's rest and all its little pleasures. The piano rollicks sensually, violins in embrace, prepping the ground for the urgent and desperate guitar solo and all restrained emotion, waiting to explode. Helder wails like a woman possessed, how can anyone resist this?

Move over Mostly Autumn, Iona, Karnataka, the Reasoning, Legend, Magenta and other female voice-led bands , Panic Room has arrived. Only Frequency Drift's latest can rival this one for 2012's top album crown. This is a fantastic release, not a stinker or filler in the lot. A soundtrack for carnal exploration is just as proggy as a Roine Stolt solo or a Portnoy drum fill. So brand this as "Prog with benefits" and you will not be disappointed.

You can kiss your progman again, darling! My goodness, you are in the mood, aren't you?

5 radiant dermatologists

Those who are familiar with Panic Room will know what to expect here. There are no great leaps forward stylistically; just a band doing what they do well, i.e. melodic commercial rock with prog flourishes. In some ways Skin is a less varied album than Satellite, for the large part taking an atmospheric low key approach with slowish tempo's. As expected Anne Marie Helder sings beautifully, one of the finest vocalists in the UK, but rarely stretches her voice like I know she can, with that playfulness she often has missing. This is no criticism, she does everything the material requires of her and I admire her mature approach for not going over the top when it's not needed.

Skin is a consistently excellent album with strong melodies that are hard not to like. Those who like their prog a bit more adventurous may find it a bit tame but there's no denying the quality on offer. It may have benefited from a few more heavier and up tempo moments along the lines of the meatier Hiding The World, Chances with its driving acoustic guitar riff and Promises dramatic ending, but nevertheless works very nicely as it is; a great album to chill out too, very well played by all.

P.S. I forgive the band for forgetting to put the stamps on my Cd package costing me £2.10 and a trip to the sorting office to reclaim it ;-)

Strangely for this rather volatile group, there have been no line up changes in getting this "Satellite" released, so all the usual suspects are in place and seemingly comfortable. No one more so than Anne-Marie Helder who has finally the "Freedom to Breathe" which happens to be the opening track, a fine upbeat rocker that pulsates with a new found energy and an exhilarating disposition. Her vocals are riveting and the material is of fine upbringing. "Picking Up Knives" is another stalwart vocal, a thumping rhythm and some snarly guitar lines from Mr. Davies but its really the Helder show here, she can sing like the wind! To prove the point, the feline purring on the next track "I Am a Cat" is a sensational expose of her lung's talents with slinky guitar, lippy meows and elastic drums providing the musical catnip. All good fun. The romantic "The Fall" is a solid bluesy ballad of complete rapture, showcasing their proggy tendencies even though this is a love song (yipes!) and Anne-Marie delivers a credible and passionate performance, really charming. "Black Noise" is raunchy, a tougher crunch within the guitar phrasings assaulting the ears, with an unmistakable tinge of hard-rock that is pleasing, in a sly way. When the mellotron kicks in post-chorus, there is this revelation of quality; you just know that this is good stuff! The tingling synth solo just confirms it. "Yasuni" is back to gentler climes, with some tortuous axe workouts in the background and elevated vocalizings once again, keeping the interest level high and observant by utilizing various contrasts to keep the beat going. The shimmering "Sunshine" is perhaps the loveliest track here, straight out of the British folk tradition with an arousing hushed voice, sweet harmonics and serene backdrop, evoking breezy summer days where love is in the magical air, among the redolent flowers and the green meadows of Albion. This is a perfect track to introduce to the prog leery lady in your life, seducing her into your unique musical world. Play this as she awakens from her golden slumber armed with a perfect breakfast in bed and well, you can guess the rest... Dazzling composition. The band does not relent as they kick into "Into the Fire", a sublime piece of upbeat balladry once again, confirming the talents of this interesting band. The songs keep rolling in, unafraid and sincere. That alone deserves the highest praise. To prove that they have it right and keep things within baited breath, a brooding church organ flings into action on the murky "Dark Star", a track that will please the gloomy fans who think of the devil from time to time. Atmosphere galore and ultra entertaining. "Muse" is back to piano driven folk music, a wispy lilt that holds no quarrel and drips sweetly like fine brandy. Anne-Marie's wailing is breathtaking, a moment of reflection before unleashing the epic finale title track, arguably the piece de resistance on this recording. A rumbling fretless bass launches "Satellite" quite convincingly, providing the platform to scour the skies with a soaring and majestic chorus that twinkles in the starry night, a sense of restraint and composure that is most beguiling, Davies building up slowly a spiraling solo . The first time I heard this, I knew I was in the presence of something special. And it is. I have been humming this for a while now. Silly me.

Panic Room is not all sweetness and fragility, they are about sunlight and shadows, and as long as they propose such entertaining music, I intend to follow them. Just one question, where is Jody Foster in all of this?

4 frightful orbits

On the extended opener 'Elektra City', the vocoded initial blast leads to a memorable song, well-stretched out and introducing a delightful piano, bass and drum finale that is worth admission. Anne-Marie likes the breathless style as well as unafraid of exposing her tonsils when called for. The best example is on the brooding 'End Game', a slow blooming monster that effuses hints of vaporous psychedelia, where she provides the two extreme renditions of her powerful voice. Paul unleashes some genuine guitarisms (he is not a Mr.Flash stylist but rather a divine 'understator'). A nice moody piece. The highly enjoyable 'Firefly' is a lovely vocal ballad that showcases Helder's talent rather convincingly, a tortuous axe solo helping to cajole the soul. 'Reborn' continues the lighter side with a mid-tempo rockin' roller that should have the crowd perspire in a live setting but not one of my teacups. The 3 minute 'Moon on the Water' is a sweet acoustic affair that spices things up nicely with pristine piano, squeaky violin and a gorgeous vocal in a style that hints at early Kate Bush, very jolie! 'Apocalipstick' has overt Middle Eastern shadows colliding with rock hard guitar slashes and whirling dervish violin that combine to make this track immediately infectious, as if a sudden sandstorm had been unleashed on the recording studio, inspiring these Brits to discover new horizons. This is an extremely successful track with a dizzying series of cascading guitar and synth notes whirling in the wind. But the heart of this recording lies with their interpretation of a traditional folk piece 'I wonder what's keeping my true love tonight' done previously by Celtic folk artists such as June Tabor, Kate Rusby and Solas. It's achingly beautiful as only Irish/British folk can be, full of hope and despair with Anne- Marie doing the piece complete justice, all within a fairly acoustic setting. The guitars and the synths dance nicely, the drums invited into the fray. WOW! The courage it takes to end an album with an 18 wheeler is quite ballsy and to call it 'The Dreaming' does wink at the Bush lady again. In keeping with such a diaphanous theme, the atmospherics are dense and plentiful but the valleys are also crested by some spectacular vocal peaks, churning the dynamics into at times frenzied paces. The last 6 minutes are exceptional, piano and voice in communion at first and then some weird electronic synth noodlings that confirm the reverie status, syncopated drums notwithstanding. I have been infatuated with lady prog vocalists for quite a while now and if you are like me, you will enjoy this material immensely. The front cover is rather insipid but the back photo is out of Led Zep's Presence , all that is missing is the mini-monolith! An impressive debut that should bode well for the future.

4 terror dens

I normally bypass the numerous lengthy features Classic Rock Present Prog have on the female vocalist fronts British AOR/Neo Prog bands. I am not an admirer of this scene whatsoever. Panic Room is one band in this scene and somehow, this album has ended up in my home.

The music here is pretty commercial AOR bordering to Neo-Prog. Yes, the female vocals is here and this album lives and breathes along with Anne Marie Helder's effective, but still limited vocals. They are effective on the music given to her, but still pretty limited too. She comes across as a mix of Madonna and in particular; Andrea Corr. The rest of the instrumentations is competent enough.

The quality of the material here is pretty decent, but never rises above that level. The vocal harmonies are pretty annoying and reminds me far too much about The Corrs for my liking. I get the feeling that Panic Room is wearing dangerously close to the vacuum left by The Corrs. And that is not a compliment, btw. A song like I Am A Cat is simply an embarrassment and a cringe worthy listening experience. I cannot come up with a single song which balances out the foul taste that song has left in my mouth.

In short; this album is not to my taste, I regretfully have to report.

2 stars