Reviews

I played on the same gig circuit as Sphere³ back in the early '90s, I thought then they stood out from the pack and I am pleased to hear they still do. It's refreshing to know there are still other people out there doing their own thing among the sterile manufactured music and bands of today. These guys are a musical mystery tour, it's pleasing to acknowledge talented musicians doing with what they love, there's no disputing their professionalism and musical abilities. They are a unique unit and play together very well as such to produce this highly original piece of work. If I had to lump them in with anything I would say that audiences of Yes or Emerson Lake and Palmer would appreciate them. Having said that of course, the next track comes on and they take you somewhere else. The album took me a couple of listens to fully appreciate, this kind of complex music usually does, this is a good thing. On the first hearing I heard the quality, during the second hearing I began to pick out the parts I wanted to hear again. On the third hearing I heard the parts I must have missed the first time. You see, a musical mystery tour.

Long may Sphere³ reign!

Robert Lowe, Abbfinoosty

The new album from Sphere³ has become an instant contender for my personal "album of the year". It is a delightful, warm and human performance from a bunch of dazzling musicians who have re-discovered the art of Progressive Rock/Jazz fusion. A wholly instrumental album is a rare find these days, but to find one that is so lyrical in its performance represents a red-letter day for me. Sphere³ totally FAIL to fall into the traps normally associated with such music though. Despite virtuoso performances from all members of the band, the group have a compositional maturity and skill that surpasses many of the bands who were their inspiration. Recalling the better moments of Return To Forever and Weather Report from a Musicianship point of view, that certain special "Englishness" that pervaded the work of the Canterbury bands is manifest throughout this album. Well defined compositions rather than pure show-off/throw away improvisations are the bedrock of this remarkable band. Yes, sometimes the guitar recalls Phil Miller's work with the Hatfields, and the piano work is Chic Corea at his best... i.e when he wasn't just showing off how fast he could play. The group have a vast dynamic range, and are able to go from neo be-bop styles into heavy riffing at the drop of a hat, and at the drop of another one head off down some 5G (Bruford) style funk workout with brilliant slap bass punctuated by big choral mellotrons. This group positively sparkle, with the aid of some formiddable drumming (the acid test of such bands) Sphere³ have created this years big surprise... a tremendous piece of work, and the most fun I've had with a CD player this year.

Andy Tillison Diskdrive, Radio Caroline

"Best British fusion album for many years"
This album was a long time in the making. The instrumental quartet play a type of "fusion", but this is no rock based jazz noodling. All the material is tightly arranged and has a strong progressive rock element. The compositions are very strong and quite varied in textures, with guitar and keyboards very much to the fore. The final track, "Paralysis" is particularly impressive. It's very symphonic in execution, with a wonderful mellotron signature used to dramatic effect. The production is very detailed, in particular the cymbals sounding very clear and precise. Not since the days when Brand X were at their peak has a British band, performing complex instrumental rock, impressed so much. This is another top release from the excellent Cyclops label. Let's hope we won't have to wait too long for a second album.

Amazon.co.uk customer feedback

After listening to the band Network, it made me realize how few progressive fusion bands I had been hearing coming from the UK of late, and knowing that the country once possessed the very best in this genre(Bruford, Brand X, National Health, Isotope, The Fents, UK, Holdsworth, etc.) led me to wonder if the musicians there had all but given up on the sport of fine musicianship. Well here a CD from a band on the progressive label Cyclops records called Sphere³ - Comeuppance, and it involves the very progressive and fusion mix that makes this style of music so great. To get the fullest impact from this kind of music, the main ingredients are: Great musicians, and Sphere³ possesses them at every instrument. Great compostions, and here they have acheived that also. Originality, obviously cloning or mimicking a band seldom gets an artist the proper credit they deserve, even if they are outshining their idols, and I am happy to say that Sphere³ again have excelled on their own take on this style of music. I get the impression that the band mates are well in tune to both the world of progressive rock, as well as the fusion realm, their music can sound like an excerpt from many of progbands epic instrumental section. They also straddle along both sides of the musical fence with these styles, never sounding more like one than the other. As is the case for any band attempting to create a fresh take in this challenging scene, the priority of composition before virtuoso becomes the focal point of importance, here you will find that Sphere³has wholeheartedly adopted this approach, by unfurling 10 songs of music that is compelling, challenging, original, and a pleasure to listen to. The band has no boudaries to confine them, they are experienced players that take adventurous expeditions into many uncharted territories. Their ability to gather the many sides of their collective influeces has transfluenced into a sound that is all their own. I can't liken Sphere³ to any particular band, this is a credit to the players, that they created Comeuppance with such solid songs, and musicianship on their first CD, only leaves me that much more curious to hear a follow up.

M.J.Brady, Prognosis.

Different from anything Cyclops has released to date, this instrumental album is an innovative blend of progressive rock and fusion showcasing the considerable talents of this British quartet. Sphere3 are continuing the legacy of British bands such as Bruford, Brand X, Isotope, National Health, and Allan Holdsworth, though their music is usually recognizably distinct from any of these. But like these bands and unlike chops-fest albums by certain American ad hoc groups, this rock-fusion blend flows effortlessly and leaves the listener invigorated rather than exhausted. This album demonstrates why Sphere3 are highly regarded in the UK for the intricacy and textural sophistication of their compositions, as well as the electrifying precision of their performances.

Kinesis.

I should imagine someone like Bill Bruford would give this a nod. Probably more for its leaning towards prog-jazz than true jazz, which it is not. However, it is a wholly instrumental album of superb music played by accomplished musicians who know exactly what good instrumental music is about. From Jamie Fisher's excellent drum work through William Burnett's cool bass and the storming leadership of Neil Durant on keyboards and Steve Anderson on guitar this is a great album throughout. It is what you might call truly progressive, mixing up different genres of music to form a fusion that is never too complicated or over the top. I have known about Durant for many years now but he really does come through on this album and his piano work works so well with the electric driven guitar of Anderson, never mind the rest of the array of keyboard machinery. There is a down side though but it doesn't come from the musicians. I can see many a prog fan turning their nose up at this mainly because of its jazz influence, but for me this is its strength. It's a long time since the Sphere³ boys played for the CRS but we really ought to have them back soon. There's a beautiful acoustic guitar piece called "Tapestries" - very Steve Howe like - which works too but in total contrast to the rest of the album.

Martin Hudson, Classic Rock Society.

Sphere³ (originally just Sphere) have a long and (dis)honourable history on the UK prog scene (such as it is), having been around since the early '90s in one form or another. Their ridiculous flyers (for gigs or just for the hell of it) are legendary, as is their inability to get their shit together and release an album. They've put out a couple of cassette demos; an early, rather formative one, and a far more commendable effort from the late '90s, which saw them moving towards the area they now inhabit. Since drummer Jamie Fisher's return from foreign climes (well, Australia actually) in '99, they've moved into warpspeed on the activity front, playing at least six times a year and constantly being sighted at all the wrong gigs.

Anyway, it's out at last. Apparently the earliest recording on it dates from 1997, and after their frenetic activities of late, it's understandable how the boys haven't had time to complete their slightly overdue debut. In fact, it's been an amusing spectator sport watching the esteemed Malcolm Parker's Cyclops label catalogue with its increasingly desperate 'Sphere³: due soon' entry over the last few years. All right, I'll stop taking the piss. The truth of the matter is, Comeuppance has been well worth the wait. It's not every day (/year/decade) that a British instrumental fusion-driven progressive band comes along; now they have, I sincerely hope the international progressive community takes them to their hearts. Of course, one advantage of spending so long 'getting it together (man)' is that the band have honed their material to perfection, pruning any dead wood that may have existed, and ending up leaving off great material like 'Lights Coming Down'.

So; Comeuppance: Sphere³ cover various bases within their chosen area, from the epic prog of 'Paralysis' (released as a single in 2001) to the 'Jazz Club' sounds of 'An Unusual January'. Nice. Most of the material is nearer prog than jazz, and to be honest, there's nary a duff track to be heard throughout. Keyboard man Neil Durant bought his Mellotron in the late '90s, fitting it out with an unusual M300 strings/8 choir/church organ tape set, although he only seems to have used to choirs on the album, usually to good effect, particularly on the aforementioned 'Paralysis', their standard set opener. It has to be said at this point that the musicianship is superb right across the board; Steve Anderson's guitar work is exemplary, and Bill Burnett's bass playing, while occasionally slightly too 'muso', is excellent, slapping or no slapping! Don't let the 'jazz' comments put you off, by the way; I'm no jazzer, but I love this album. Definitely more of a 'prog with jazz inflections' record than vice versa.

So; buy this album, The band need your support, it's a great record and there's some nice Mellotron work.

The Ultimate Mellotron Recordings List.

After waiting I reckon 8 years (it seems longer) the goodies from Sphere³ have finally arrived. Mssrs Steve Anderson on Guitars, William Burnett on Bass, Neil Durant on Keyboards and Jamie Fisher on Drums collectively known as Sphere³ have provided us with 10 instrumental tracks of variety and spice. It's a shame there are no vocals on this offering but perhaps the sacrifice on reflection was worth it with the amount of prog/jazz, funk and spacey feel this release has. The sound of Sphere³ edges towards memories of early IQ, Jadis, Jeremy, Fonya, Camel and occasionally in the wilderness. As like with the early cassette release entitled Signatures, the development of the Sphere³ sound eclectic 'prog' based or whatever, the band certainly involves themselves with some nice tempo and riffs throughout the album. My favourites tracks are "Eat First, Ask Questions Later" and "Paralysis" which brings heavy prog and tight rhythmic change together to produce a wonderful monster sound of guitars with keyboards. Whereas "December Gaze" simply begs to be listened to as a slow moving but ever developing timeless piece of progression which echoes of the Flower Kings.

Certainly, Sphere³ play with plenty of sensitivity when needed and shows us that in their intriguing and complex sound. They achieve this through engaging in thoughtful compositions and interesting song titles (e.g. A Good Example Of Arbitrary Presumption). Mood changes abound and keep one's pulse literally waiting for the next juxtaposition to occur like on Natural Light. The booklet is interesting as it shows Sphere³'s intellectual side with itself and reflects an interpretation of the idea of Sphere³ being cubic with an inner Sphere³ within. Sphere³ are certainly going to progress further as I hear a second CD is already being considered (of course). Please make it happen soon. In the meanwhile wet your appetite at www.sphere3.co.uk.

Peter Beaman, Audion.

Sphere³, Comeuppance - It has been a long time coming but Sphere³'s debut album Comeuppance finally sees the light of day. Of course, we have already heard (and reviewed) Sphere³'s EP CD Paralysis last year and at least one track featured on a Cyclops sampler. The band were the talking point at last year's Whitchurch Festival and I understand that the demand for tickets for Sunday 4th August 2002, when they performed again at Whitchurch, was great.

As I personally have not seen them in a live environment, my experience of their music has been confined to MP3 samples and the EP CD. So I was pretty keen to hear Comeuppance.

If I may refer back to my review of the EP, I said that somehow they managed to pack most of the things I like in prog in the space of the first two tracks. Tight performance, powerful, yet not overdone, chords full of exuberance and emotion, a theme which remains firmly implanted in the mind using instruments and styles not dissimilar to those of certain well known artistes, not to mention rib cage pounding bass. Well, with Comeuppance I can expand on that and tell you that fusion abounds, so if you like your prog jazzed up you'll be ecstatic about this album. 53 minutes of pure class!

Often funky, the album consist of ten tantalising tracks, each a complex mix of prog and jazz. And I make no apology for gushing; you have to hear it to fully understand where I'm coming from.

I don't think that a track-by-track analysis would be of any benefit to the reader. Suffice it to say that the album is diverse yet fluid, sometimes heavy, sometimes mellow, always full of energy. Yep, the band is tighter than a gnat's proverbial. On occasions I'm reminded of 70's Camel, Steve Howe and YES sometimes in terms of the odd phrase and at others in the keyboards, guitar, bass and percussions sounds and style of playing. A couple of tracks lend me to imagine a prog version of Level 42 purely because of the funkiness of the composition. Highlight of the album is the whole album. Interesting sleeve graphics too combining morphed pictures of instrument taken at weird angles and a cubist approach (probably the wrong terminology, but what do I know?) to spheres.

If NME staff took an interest in prog as they once did, they would surely name Sphere³ most promising band for 2002. Hats off to Steve Anderson (guitars), Neil Durant (keyboards), William Burnett (bass) and Jamie Fisher (drums) for producing a potential best album of the year. An incredible achievement for a debut album.

Jem Jedrzejewski, The Hairless Heart Herald.

Quite a diffferent release to come from Cyclops who normally tend to concentrate on what's commonly known as "neo-prog". However here Malcolm Parker has taken a step into another direction, and, if I may say so, it's in the right direction too. Sphere³ play a very competent fusion that remind me of Brand X. There's really not much interresting being released in this genre nowadays (at least I can't find much) but this is a really very nice album with lots of power and attitude combined with a fine sense for melody and harmony and a great performance.

The Missing Piece.

Quand on guette un album longtemps sans le voir venir, on finit par ne plus l'espérer. Il faut se faire une raison. Il ne sortira probablement jamais. Tant pis. Et puis, un beau jour, la nouvelle tombe et on a envie de la crier sur tous les toits : "Comeuppance, le tant attendu premier album de Sphere³ (prononcez 'sphere cube' et avec l'accent s'il vous plaît) est annoncé pour la rentrée". En ce mois de septembre, le disque parvient en finà destination, c'est à dire dans ma platine. Mais je suis un privilégi= é, car la date de sortie officielle est fixée au 21 octobre prochain. En toute humilité, je souhaite donc que cette chronique apporte la réponse à la question existentielle que vous vous posez tous : doit-on mettre ou non quelques sous de côté pour acheter le CD ? Avant d'entrer dans le vif du sujet, et comme c'est de coutume, commençons par un peu d'histoire. Les origines de la formation remontent à 1991, année où le guitariste Steve Anderson et le claviériste Neil Durant se rencontrent à Londres et commencent à composer. Après plusieurs changements de chanteur et de batteur (seul le bassiste William Burnett 'enrôlé' en 1992 est resté fidèle au poste et s'affirme même aujourd'hui comme l'artisan de la majeure partie du répertoire), une démo, un mini album et de multiples concerts (notamment en première partir de Magnum et IQ), Sphere³ prend la forme d'un quartet avec l'arrivée de Jamie Fisher derrière les fûts. Les musiciens entament en 1998 l'écriture de leur premier opus. Fruit de trois années de travail et de galère (batteur pas toujours disponible, studio non plus, les morceaux étant alors répétés lors des nombreuses représentations scéniques), Comeuppance nous offre dix compositions instrumentales célébrant une fusion progressive éclectique et chaleureuse. Voyons ça plus en détails. Le titre d'ouverture, "A Good Example Of Arbitrary Presumption", est un modèle de jazz-rock progressif mélodique et puissant (guitare à la Holdsworth, festival de claviers) aux nombreux changements de rythmes. "Shrimp.sng" est une superbe pièce proche du Camel des débuts avec ses fameux dialogues orgue/guitare. Le jovial et coloré "Sidewalking" étonne par ses lignes de basse funky. "Natural Light" est un morceau plus calme, sorte de fusion symphonique éthérée, qui distille de délicieux contrastes. "First Kiss" présente une intro purement atmosphérique avant qu'une guitare lyrique vienne troubler cette douce quiétude. "Eat First, Ask Question Later" s'apparente à une espèce de jazz-metal façon King Crimson en plus divertissant. Le très jazzy "An Unusual January" est dominé par un piano plein de légèreté mais s'avère un peu trop conventionnel. "December Gaze" surprend par ses synthés aux sonorités d'instruments à vents (cor, trompette) et ravit par sa montée en puissance dans sa partie centrale. "Tapestries" est un solo de guitare acoustique digne de Steve Howe, très agréable mais manquant un peu de personnalité. Enfin, "Paralysis" est une magnifique conclusion dans un esprit prog symphonique avec des claviers emphatiques menaçants. Comme vous pouvez le constater, Comeuppance couvre donc une large variété de styles et d'influences tout en dégageant une formidable originalité. Pleine de fraîcheur et d'enthousiasme, cette œuvre authentiquement 'progressive' est source de plaisir intense même si l'on relève quelques baisses ponctuelles de régime. On est à cent (voire mille) lieues d'un jazz-rock froid et hermétique faisant la part belle à d'interminables soli. L'excellence technique des musiciens est toujours mise au service des compositions. Celles-ci sont intelligemment construites, articulées autour de thèmes mélodiques forts et bannissent toute virtuosité stérile. Enfin, la richesse harmonique et la diversité rythmique apportent la matière indispensable pour leur donner du corps et garantir leur bon vieillissement. Sphere³ signe une entrée remarquée dans la galaxie des musiques progressives. Future étoile ou simple comète ?

Yann Carreau, Big Bang Magazine / Cosmos Music

Długo oczekiwany album, na którym wszyscy czterej muzycy w pełni zaprezentowali swoje wszechstronne talenty. Dziesięć zamieszczonych na płycie utworów obejmuje wiele rłżnych stylów, od rocka i metalu począwszy na jazzie i fusion kończąc. Słuchając tego albumu, nikt nie może już mieć wątpliwości dlaczego Sphere³ cieszą się tak wielkim uznaniem i zbierają pochwały za swoje wyszukane kompozycje, jak również za elektryzujące publiczność występy. A grali już z takimi sławami progresywnego rocka jak Focus, Flower Kings, IQ i Magnum.

Translation:
This is the album that everybody was waiting for, for a long time, on which all four musicians have shown their miscellaneous talents. Tracks on the album present different styles from rock and metal to jazz and fusion. After listening to it nobody would have any doubts why Sphere³ are so appreciated for their compositions and electrifying gigs. They have played with such famous progressive musicians as Focus, Flower Kings, IQ and Magnum.

Rock Serwis, Poland.

Sphere³ es una banda inglesa de Londres. Tocan música instrumental del estilo de bandas como Bruford, Brand X, Alan Holdsworth y la banda de Simon Phillips. Su música la podríamos etiquetar como "jazz fusión progresivo". Quizás un lanzamiento extraño por parte del sello Cyclops pero esta discográfica siempre ha reconocido la calidad, y esta banda la tiene. Y creo que muchos fans del progresivo pueden también disfrutar de este álbum.

La banda: Steve Anderson - Guitarras; William Burnett - Bajo; Neil Durant - Teclados; Jamie Fishe - Batería.

Encontramos 10 temas en este álbum que dura 53 minutos. Se abre con "A good example of arbitrary presumption" (6:20), que no sólo tiene un buen título sino que, además, es un enérgico buen comienzo con una guitarra a lo Holdsworth al más puro estilo UK. La pieza tiene estupendos momentos de jazz-fusion con geniales teclados y sección rítmica. Pero también se pueden escuchar influencias neoprogresivas en los sintetizadores y un bello y bombástico final con Mellotron. El segundo tema se llama "Shrimp.sng" (4:08) e incluye órgano Hammond, melódicas guitarras y buena batería. "Sidewalking" (4:39) nos muestra un genial trabajo de bajo fretless por parte William Burnett y este feliz tema a veces me da un sentimiento de deja-vu de Level42.

Después llega "Natural light" (5:42) una pieza en la que Steve Anderson muestra su admiración por Allan Holdsworth. Neil Durant crea bellos y variados sonidos de teclados, aunque esto también vale para el resto del álbum. "First kiss" (5:44) se abre con sonidos atmosféricos de teclados seguidos por un lento, delicado y melódico solo de guitarra mientras la tensión de la música crece lentamente. Tras el beso la tensión poco a poco va desapareciendo. "Eat first, ask questions later" (3:16) es otro tema enérgico. El sonido general de esta canción es agresivo aunque en la sección intermedia tiene un trabajo de piano jazzy y teclados tocada con mucho gusto. Después "An unusual January" (5:47) el piano jazz y el fretless bass hacen que la pieza tenga un ritmillo swing. En este tipo de piezas es dónde la banda muestra su lado más jazz-fusion, aunque todo suena divertido y fresco. Uno de los puntos fuertes de la banda es que, pese a haber estructuras bastante complicadas, el sonido parece sencillo.

"December gaze" (8:39) es el tema más largo. Es uno de mis favoritos. La apertura es una especie de bella y melódica balada. Lentamente la música se va haciendo más potente hasta que adquiere un sonido más compacto. Al principio de la crítica he mencionado a bandas como Bruford, Brand X y Allan Holdsworth. Pero mientras estaba escribiendo la crítica he pensado que algo se me estaba escapando... ¡y ya lo he encontrado!. La atmósfera de la música me recuerda a veces a la banda japonesa Kenso. "Tapestries" (2:41) es una bella y delicada pieza con guitarra acústica a lo Steve Howe. Junto al primer tema "A good example of arbitrary presumption" y el octavo "December gaze", el último tema "Paralysis" (5:59) es lo más impresionante de todo el álbum. Tiene un comienzo agresivo y bombástico, y está repleto de geniales sonidos de teclados. Deliciosos sonidos de Mellotron y cuerdas se combinan con un melódico trabajo de guitarras.

Para mí este álbum es una agradable sorpresa por parte del sello Cyclops. Las primeras demos de la banda estaban más orientadas hacia un estilo neoprogresivo, pero la banda parece haber escogido un estilo más Jazz-Fusion con este primer álbum titulado "Comeuppance". Siempre que mezclen esto con influencias progresivas, la banda tendrá un estilo único atractivo tanto para los fans del progresivo como para los fans del Jazz-Fusion. Los músicos tienen un alto nivel y el sonido en general es fresco y ameno. El mayor cumplido que puedo dar a Sphere³ es que puedo escuchar la diversión en su música.

Prog Visions.

2002 was a banner year for English instrumental quartet Sphere³ with the release of the band's first recording, Comeuppance. Since the group relied heavily on organ and guitar unison phrasing and intense riffing their style spans classic progressive rock with appropriate nods to IQ as well as to English jazz fusion heroes such as Brand X. The opening cut, "A Good Example of Arbitrary Assumption" sets the tone for the entire record with guitarist Steve Anderson injecting a Steve Hackett style controlled angst against Neil Durant's jazzy piano interludes and flaying Moog synth lines. One aspect of the band's compositions is that many solos and main musical interludes have been trimmed short thus squelching any common criticism for prog fusion as being overly self indulgent. Pieces such as "Sidewalking" are much more concise and well balanced between hot chops and crafted musical passages not far removed from the approach of bands such as The Yellowjackets or Level 52. The quartet evaded heavy handed posturing on most of the ten pieces relying on a steady set of guitar arpeggios and digital keys (as heard on "December Gaze"). That is until the disc closer, "Paralysis" which highlights swelling mellotron choirs and plenty of well placed classic prog pomposity. The band has been hard work on the follow-on recording expected in 2006 with two completed tracks hopefully much in the same vein.

Jeff Melton, DVDivas.

The Cyclops label has long been the home of many of the UK's up-and coming neo-prog bands, but rarely do instrumental outfits get represented on their rather large roster. Sphere³ however breaks the Cyclops norm with their brilliant new album, titled Comeuppance, an all-instrumental recording filled with fiery fusion, symphonic prog, and dashes of prog-metal. This formidable four-piece has all the chops, as well as great songwriting skills, which results in a melodic feast of tight and vibrant songs.

Keyboard player Neil Durant is quite the find, as he alternates from blistering synth solos to majestic jazz piano breaks to walls of ominous Mellotron. His duels with guitarist Steve Anderson on the fusion ripper "A Good Example of Arbitrary Presumption" are a pleasure to hear, and his insistant organ fuels the tasty guitar licks on the upbeat "Shrimp.sng." The rhythm section of William Burnett on bass and Jamie Fisher simply burn on the metallic "Eat First, Ask Questions Later", a heavy tune with big guitar riffs and haunting Mellotron. Fans of more symphonic and jazzy material will love "An Unusual January" and "December Gaze", two songs long on gentle melodies and calmer arrangments. The acoustic "Tapestries" contains some lush arrangements, and the CD closes out with fiery fusion of "Paralysis", a track that comes close to matching the band Planet X in intensity. Burnett's acrobatic bass rumblings and Fisher's nimble fills provide the perfect foil to Anderson's meaty riffs and Durant's symphonic explosions, providing a very enjoyable end to a satisfying album.

With ten hot tracks, there's plenty to dive into here, and plenty of variety to keep most prog fans happy. At times the band comes across sounding like a modern day Finch, which to this reviewer's ears is a good thing. Cyclops has a real winner here!

Pete Pardo, Sea of Tranquility.

They went down a storm at Whitchurch 2001 by all accounts. Yet to release an album, they have released a number of EP CDs the latest of which is Paralysis. Eagar to hear what all the fuss was about, I duly ordered the CD from Sphere³ (Sphere Cubed if you're wondering) and some ten days later (!) they rushed the thing to me. Still, I've got it now, so what do I think of it?

Let me start by painting an overall picture. Marvellous. Superb. Tremendous. Somehow they have managed to pack most of the things I like in prog in the space of the first two tracks. Tight performance, powerful, yet not overdone, chords full of exuberance and emotion, a theme which remains firmly implanted in the mind using instruments and styles not dissimilar to those of certain well known artistes, not to mention rib cage pounding bass.

The first track, Paralysis, starts with a tinkling for a couple of seconds leading straight into power chords creating an air of foreboding. Keyboards (Neil Durant) sound as though they have been borrowed off that nice Mr Orford of IQ and Mr Wakeman (Six Wives era). Fast, flowing and surprisingly upbeat.

Second track, Shrimp.sng (no idea what the .sng is about), is a delightful Camel-esque composition of the Moonmadness era, emotion and jazzy - an absolute corker. Like Paralysis, the track is far too short. Keyboards at times on this track have the sound of both Camel and early Genesis and guitar (Steve Anderson) could be Andy Latimer himself.

The first two tracks are instrumentals, but the third, Lights Going Down, incorporates vocals like, and don't be put off by this if you're not a fan, early Greg Lake (think ELP The Dove). Very much a mix of Genesis meets IQ, the result is quite interesting.

The first two tracks will be on a forthcoming album Comeuppance to be released by Sphere³ on the Cyclops label later this year if all goes to plan. Meanwhile, check out the sound samples on the Sphere³ website www.sphere3.co.uk or better still order this EP while it is still available.

A final note, on the back of the inner sleeve, we are informed that Sphere³ and the Launchable Spaniel Trading Company are subsidiaries of the Canine Propulsion Laboratory Group. Not paid up members of the A.L.F then!

Jem Jedrzejewski, The Hairless Heart Herald.

One question fellow Proggers- Why isn't this band known? Heck, another question- As these talented musicians have been together a while- Why the small body of work? I want more!

Sorry to begin the review of Sphere³ in such a greedy frame of mind, but Sphere3 (I'm not going to raise the 3 anymore to make typing easier ), is a band that I'd love to hear more albums from! Their EP totally impressed me with their amazingly mature compositional skills, musical talent that rivals Prog legends; while dazzling my senses with many textures, their use of dynamics, ear-grabbing hooks and technicality.

The EP contains three tracks- roughly 4-6 minutes in length- the last including vocals.

Though Sphere3 is a unique band, you can hear snippets of various prog styles (only for the sake of the comparison for the uninvited) I hear a small hint of Weather Report, Hatfield & the North, possibly Camel, some Anthony Phillips and even a bit of Citizen Cain on one track, but please do not be deceived- this is complex, technical-brilliant progressive music that is unique and isn't afraid to hook you in with a great groove or riff, then hit you with a mellotron blast that emits the right power and emotion without entering the work of pretensiveness. Complexity at it's most simplistic nature and it works!

Cover artwork is slick, simple and effective. It has many textures to it, which fits the music perfectly. Nice job Steve!

My favorite track is the brilliant instrumental- Paralysis which builds up solid dramatics and textural tension. Lots of temp changes, excellent bass playing and drums with powerful keys, as well as some great guitar riffs/keyboard interplay from Steve Anderson (guitar) and Neil Durant (keys). I love the interjection of piano into the mix of classic keyboards and powerful mellotron- the bands adds layers and layers of sounds without getting too muddled- which can hurt song structure. Shrimp.sng- the second track, brings a pronounced use of the Hammond organ and instrumental riffs, melded into another composition that is more upbeat that Paralysis, with a livelier tempo and excellent percussion. The finally track: Lights going down, includes the disks only vocals. The composition and keyboards reminds me somewhat of Citizen Cain (not the vocals). Talented bassist William Burnett vocals sounds a tad like Anthony Phillips- but with a better voice (in a Hatfield style), he could use some polish, in terms of range, but his voice doesn't hurt the music at all. His lyrics and bass dynamic playing added with Neil Durant's synths- create great emotion to the complex piece. Steve Anderson's guitar work- always perfect for the tempo or style, is limited to a short solo here and there and though some have said that the guitar mix should be lowered, I disagree- the piece is mostly keyboard driven and the strong guitar mix works well (but this is only an opinion from a Prog fan and not from a qualified musician). On these three tracks, Sphere3, has accumulated so much of what I like in progressive rock: time changes, dynamic sounds, fusion of different musical styles, etc. Many new bands can dazzle you with technical brilliance, but forget song structure, melody, and hooks and grooves that made me love bands like 70's Genesis, Camel, Bill Bruford, Steve Howe, etc. Musicianship is technically at a very high level and the band has the ability to synthesize their technique with song-based compositions that I haven't heard in a long time. On the negative side is the production quality, which has that `done at home' quality. Mixing and engineering could have been more bold and even. But this could be easily solved with a good sound person and a quality studio or better equipment. The band deserves it.

Though three songs are not a great cross-section of a body of work or a all-encasing reviewable opinion of a `new' band... I recommend this small EP. If this is what's in store for Prog fans, then their long-waited for album- Comeuppance should dazzle the senses and the soul. This is a Prog band to revere and follow. Hopefully after all the past drummer changes, Jamie Fisher will now be a stable member of the band behind the kit and Sphere3 will now be able to create a larger body of work to reap the needed attention to survive and progress in the Prog world and hopefully beyond.

Cover art is intersting... though the word paralysis could have been put in a better place to inhance the composition. Can't wait to hear more from four very talented musicians. Hey guys! More music! What took you so long?

8.6/10 --L. Gaskins-- Original review.

Early Saturday evening at Whitchurch and it's still light outside. The doors are supposed to have already opened but Sphere³ (cubed) have only just started setting up their equipment due to earlier delays (Martin Orford and his band were not able to start getting their equipment out until some two and a half hours after their allotted time).

The doors open to let in the audience as Sphere³ are still sound checking and the band leave the stage to return almost immediately to play their set...

They open with the title track of their new single, 'Paralysis'. This is a work that contrasts slow meandering, semi classical sectors against heavier and more upbeat parts and was well received by the audience.

Very quickly Sphere³ launch into 'Shrimp.SNG', another track off the single. This is a lighter and more easily accessible piece with a clear, clean sound and it comes over well.

'Cowpool' is a jazz-fusion number combining smooth rhythms together with classy and sophisticated instrumentation ... an excellent piece.

A full on, up tempo jazzy numbers comes next. 'An Unusual January' features strong keyboard work set against a rounded instrumental backdrop ... nice!

Next up is 'A Good Example of Arbitrary Presumption' - what a splendid title that is! This begins and continues strongly with a full rich sound which calms towards the end to a moody introspective feel prior to the huge finale.

The final number of the night is 'Lights Going Down', an older track that appears on the single with vocals. Here it is, as was the rest of the band's set, an instrumental piece. This cleverly bows an acknowledgment to the historical prog sound while presenting it in a new and updated fashion and finishing the set on a high to much applause.

Sphere³ certainly created a favourable impression at Whitchurch and I expect that the performance got them noticed by many who had heard of the band but did not know what they sounded like ... I know, I'm one!

Marisa, Elrose.
Review of Sphere³, The Whitchurch Music Festival, 4th Aug 2001

Sphere³ - Wow. This band's set was NOT long enough. Here is a band which will confound the view that the UK can produce only neo-prog. Energetic, intricate and majestic prog full of twists and turns played by a band that were as tight as a gnat's arse. Imagine what Anglagard would have sounded like if they had been into jazz fusion. Oh, and NO VOCALS. Prog Heaven, THE band of the festival. Have I given you the impression that I liked them yet? Once they work on their stage presence, these guys will be a live act to be reckoned with.

Martin Orford Band - Martin's a nice guy, and a good performer, but I've seen him play before and it's just not the same kind of music as what I'd just heard. I went outside to shmooze with other musicians around the site.

Flower Kings - Played very well, nice music, but nothing earth shattering. Good stage presence though. Jonas Hellborg is a very good bass player and did a very entertaining solo slot towards the end of their set. Thomas Bodin was producing some great organ sounds, so I collared him afterwards to find out what he was using. It turns out he has an endorsement deal with the people who produced the Nord Lead, but the keyboard he was using for the organ sounds is so new it isn't on the market yet.

Paul Beecham, rec.music.progressive
Review of Sphere³ / Martin Orford / Flower Kings, at the Whitchurch Music Festival, 4th Aug 2001

A marvellous venue for a progrock feast, definitely worth the journey from Leicester. Having not seen IQ for several years, I was curious to find out how the band had progressed? Also Sphere³ had come to my attention several years ago with some impressive material. How would they sound live?

The support was Sphere³, now a foursome with no vocalist. Their style of music is more demanding than the straight forward approach of say Grey Lady Down, and perhaps therefore not as accessible. What followed was 40 minutes of inspired instrumental prog/jazz/experimental rock. I feel Sphere³ lean slightly towards how IQ sounded on their very early tape release from the 1981/2 period, but there the comparison stops. One monster epic track entitled Paralysis is an innovated heavy weight progrock track that does the band full justice. Again, slightly more complex than other UK progrock bands, but worthwhile getting to know them better. They finish with a track off their second cassette tape - Signatures - entitled "Lights Going Down". Even with a few (admitted) technical problems Sphere³ sounded awesome. A CD is promised at a later date - I cannot stand the anticipation.

Peter Beaman
Review of Sphere³, supporting IQ, Palace Theatre, Newark, 17th May 1997

Three long years, it's been. Not a murmur of a mesmerizing melody, not a single eclectic epic, not a foot set ooh, within a foot, of a South London stage. But Sphere³ are back! And brandishing a hefty helping of their progressively-unique Progressive rock, some groovy new gadgets and a groovier-still batch of finely crafted, fresh-from-the-pen diamonds. And that they are. Three-chord ditties in 4/4 time are to Sphere³ what nursery rhymes are to Mozart. From the funky 'Sidewalking' and ambient 'First Kiss' to the heavy rock of 'Paralysis' and 'All Fall Down', each boasts an array of elaborately-woven textures, moods and time signatures. Unfortunately, this shimmering sonic tapestry was cloaked by some extremely iffy sound engineering - bassist Will jamming his ear to a 1000-watt stack seemed to indicate that something was amiss! (probably his hearing, by now) The top-range frequencies sliced like a polished machete, the bottom was large and scary enough to turn a Sumo wrestler green with envy, but the mids - keyboard melodies in particular - seemed to dissolve, apparition-like, in comparison. But not even the technical deficiencies could disguise the fact that Sphere³ possess talent, power and energy. It's said that patience is a virtue - and this band was worth the wait!

Jo Pitches, the Croydon Guardian
Review of Sphere³, The Cartoon Club in Croydon

It could almost have been rock's answer to the Royal Variety performance (disregarding the distinct paucity of any HRHs, of course): Progressive rock, pop-rock and punk rock! A hefty dose of the latter was served up by Eikon. And pretty appetizing it was, too! Although their music failed to wheedle its way into the memory banks, they are competent musicians with strong material. Peaches, on the other hand, experienced no problems wheedling their way into a fair few brains - those of the male variety, anyway! Glamorous twins fronting a band ensures an image unique from many rivals. But to entice success, they sorely need to work on the music: Imagine the voice of Lolly (double dose) combined with dance moves more frequently seen at a Brownies' karaoke night. Sadly, it's only a matter of minutes before the cringes set in. In contrast to their recent Cartoon gig, Sphere's sound was this time crystal clear. And what a difference it made! It was akin to unearthing a long-lost treasure, polishing it up and discovering a whole web of intricate and elaborate engravings. Melodies which had before remained stifled sprung to life, giving their music a whole new dimension. Amazing! Like a Royal Variety performance? Nah, on second thoughts this was far more entertaining!

Jo Pitches, the Croydon Guardian
Review of Sphere³ / Peaches / Eikon, The Cartoon Club in Croydon

Short, sweet 'n' snappy - that was Sphere³'s set. Lumbered with a pared-down support slot they may have been, but that failed to hamper an otherwise fine performance, writes Jo Pitches. Clearly blooming like a sunflower in a heap of fertiliser, the prog-rock quartet are certainly making steady progress. Each gig sees the melodies becoming brighter, the ambience shimmering more seductively, the heavy bits, well, having more welly? Rock influences, snippets of jazz, funky interludes - they're all evident in each intriguingly-woven mini-masterpiece. And tonight's christening of a spanking new electronic drum kit added yet another dimension to their diverse yet distinct sound. Wicked! Not quite the case with Grey Lady Down, however. Perfectly adequate musicians though they are, the vocals in particular border on epitomising the stereotypical prog-rock sound. An injection of originality - and perhaps a modern twist - would definitely boost their presence. And coupled with the band's evident musical ability, GLD would surely be on the up!

Jo Pitches, the Croydon Guardian
Review of Sphere³ / GLD, The Cartoon, 3rd Dec, 2001

Sphere³ er absolutt et av de mer lovende unge engelske progrock bandene. Jeg hadde gleden av se (og hore) dem live pe Rotherham Rocks '95 (seegen artikkel) og det var der jeg plukket opp denne egenproduserte (men velproduserte!) kassetten med Sphere³ for bare 30 kroner.

Sphere³ har et litt "drammende" lydbilde, med en avslappet vokal pe forholdsvis komplekse, men alikevel ikke stressende komposisjoner. Det jeg synes dette bandet klarer bra, er blande influenser fra en hel haug av forskjellige progband, bode fra 70-, 80- og 90-tallet, og sette dette sammen til noe som leter rett og slett som "Sphere³" og ikke noe annet - ihvertfall ikke noe man umiddelbart kan sette fingeren pe. Bandet legger tydeligvis stor vekt pe hele tiden velge orginale lesninger bode ner det gjelder lyder og arrangementer. Ingen av instrumentene er mer dominante enn de andre, og det er en fin balanse mellom Neil Durant's keyboards, Steve Anderson's gitar og Bill Burnett's svert se oppfinnsomme basslinjer.

Kassetten inneholder 4 lange leter (6-10 minutter hver) og selges som sagt for bare 3 engelske pund, noe den se absolutt er verdt. Jeg gleder meg allerede til e hare Sphere³'s ferste full-lengde CD - de er virkelig et positivt innslag i progrock scenen, og leter overraskende orginale og smakfulle, sammenlignet med gjennomsnittet av unge engelske progrock band.

Review of Sphere³ at the Rotherham Rocks 1995 festival, from a Norweigian magazine

God might have made the world in seven days, but it still took Sphere³ one year, three months and twelve days to return to the live scene! On Saturday the 15th of February, Sphere³ were reunited with their hordes of adoring fans - well, me! - at the Half Moon in Herne Hill, Sarf London.

"Tell us, Mark, what was it like? Was it worth the wait?"

Let's be honest, seeing Sphere³ play live is a bit like my sex life. It does not happen very often but it is great when it does. Of course it was worth the wait! I was a little alarmed when I first arrived as I thought Sphere³ had started. In fact they were just sound checking as one of the bands on the set list had had to pull out due to illness. Sphere³ were the support band to Station so sure enough at about 9-50 they hit the stage to the tune of Top Cat (how many of you remember that?). I will run through the set list first of all, courtesy of keyboard player Neil Durant who wrote this out for me in lovely pink ink...was that for my benefit, Neil? The songs were: Eat First, Ask Questions Later, Shrimp.SNG, Again, Sidewalking, Natural Light, The Cassini Division, improvisation, The First Kiss, Fallout, All Fall Down and Lights Going Down with the encore (Encore?!?) Red.

So, what were they like? Well, lively, for a start! After exploding into Eat First..., they went straight into Shrimp.SNG (?) one of the new tracks penned entirely by Neil Durant. An excellent track - as you can imagine; it begins with a nice little piano ditty that was a little reminiscent of The Stranglers' Golden Brown. At the end of this piece Neil glared very dirtily at bassist Bill Burnett as something had clearly gone wrong - although that was obvious only from the expressions on their faces.

After the U.N. Peace Keeping Force had withdrawn, we had their latest "release" courtesy of the 3rd Cyclops Sampler, Again. I loved the section in this after the guitar crotchet triplets and the whistle (was that the genuine whistle, Neil?) when the mellotron came in and hit us all like a 300-ton juggernaut, knocking us to the ground - fantastic! This was followed by the unbelievably good Sidewalking. This, for me, was probably the highlight of the evening as Bill went slap happy. I want this played at my funeral! If I could die listening to Bill slapping, I would be happy! In fact, I would not have minded if the entire set was just this one song, but of course there is a lot more to Sphere³ than just Bill's slapping. However, if I ever write a Sphere³ review without saying that Bill is the best bass player in the world, then you will know that the end of the world is nigh!

Progressing (!) through the set, we come to another new track The Cassini Division. This was followed by the improvised passage. "It was supposed to sound bad", Neil said to me afterwards. "It did", I replied blandly. It was bizarre! Mind you, it was also very bold. Who else could possibly even imagine live improvising in a song but Sphere³? You see, it could all go horribly wrong! It was during this bit that my friend said to me: "Are they still playing the same song?"

Onto the First Kiss, Fallout, the excellent All Fall Down, finishing with a hyperactive Lights Going Down from their cassette Signatures. For the first time ever Sphere³ got an encore. Congratulations, guys! As Bill pointed out - almost all other prog bands play Comfortably Numb - so they decided to play the King Crimson track Red. But this is the great thing about Sphere³ - they are not like other prog bands. They dare to be different - and it usually works!

After the gig I asked guitarist Steve Anderson and Neil how they thought it had gone. "Okay", said Steve, and "Terrible" was Neil's verdict. Typical! This band set themselves incredibly high standards, and when they do not meet them they get upset. But the crowd clearly enjoyed it - why else would they have been called back for an encore? And it was really good to see that, bearing in mind their lack of gigs recently, Sphere³ have inexplicably attracted a bit of a following. There were certainly more people who had come to see Sphere³ rather than the rather bland Station who were the main band. It really should have been the other way around!

And what of the band members? Neil was jabbing at his keyboards with enthusiasm and very accurately - on the whole. Bill and Steve were just great, as always. But what of new boy Jamie Fisher making his debut on drums? He really fits in with the rest of the band very well, and is not only an excellent drummer but also plays with real enthusiasm - you could always see his head bobbing up and down behind his drum kit. It must be nice for Sphere³ at last to have found a drummer who actually likes the same kind of music as the rest of the band! Very nice guy, too, as he was very lively and willing to chat after the gig.

Sphere³ are a very fast, technically brilliant band. I sometimes wonder if they strive for technical excellence at the expense of sound quality? The mixing was always fine except for the section in Lights Going Down during the guitar and keyboard duet near the end where the guitar dominated somewhat. I also wonder why in Again Neil choose to have his fast lead twiddly bit down an octave from what is on the 3rd Cyclops Sampler? I think it would have carried a lot better if it had been as on the album.

Forget these minor niggles. Sphere³ are back - hurrah! It is such a relief to see a band who clearly love what they are playing. Near the end of the set Bill was jumping around all over the stage, and Jamie's head was still bobbing! How nice it is to hear a band who have progressed; who are not bound by those unwritten Rules Of Prog that we have to sound like Genesis or Marillion. Prog with rules? Is that not that a contradiction in terms? Bands like Sphere³, Vulgar Unicorn, Porcupine Tree, Mr So & So - they are the real stars of the prog world. They all deserve much more recognition. There are too many Arenas, are there not? Sphere³ define our future - they do not reinvent our past.

Mark Nickol, It All Posts Here issue 347
Sphere³ at the Half Moon, Herne Hill, London, 15th Feb 1997

And onto the last three track - and all three are crackers. Sphere³'s Three Simple Words - a Sphere³ track with - gasp! - vocals, is brilliance-in-a-bottle. It has a strange almost dischordant chorus that somehow seems to work but still manages to get the hair on the back of the neck up. A seemingly simple track when you listen closer has a complex music construction.

Source unknown
Cyclops Sampler II

Sphere³: Again
Again starts as a jingly, happy little tune with interplay between the keyboards and the guitar before launching into a rocky instrumental. Although an instrumental it somehow manages to have a verse, chorus verse, chorus feel before disappearing into a funky-yet-atmospheric coda. While Again has a totally different feel to the Mastermind track Miles To Go Before I Sleep it is at least as good - an this is from a band yet to release their first album. Again is first Sphere³ release to feature Jamie Fisher, the band's new drummer. Hopefully now that the line-up has settled and they can concentrate on getting out that first album. Sphere³ have the excellent Three Simple Words on the 2nd Cyclops Sampler and Fallout on the Audio Directory part 1. Both these songs have impressed me and Again is no exception to the rule. The band are currently working on their debut album. They are rumoured to have a cassette-only EP Signatures still available; I must track that one down!

Source unknown
Cyclops Sampler III

Sphere³ are probably one of the best know Britprog bands never to release an album. Signed to Cyclops years ago, their debut album was already much delayed when Malcolm eventually gave it a catalogue number. That was two years ago - and CYCL 067 has still not reached the post production, never mind the stores! Why? Because these daft buggers are so much perfectionists that they are never happy with anything they produce. Shrimp.SNG is the first thing I have heard from them since their 1994 cassette release Signatures. They tour once in a blue moon too - so I think you ought to be honoured that Malcolm has managed extracted a track for this compilation. What does it sound like? Well, brilliant of course!

Frank Blades, Rockhaven
Cyclops Sampler IV

Sphere are one of the more progressive rock bands around. Currently touring as a four piece instrumental band, Signatures is a cassette-only releases harking back to 1994 when they were a three or four or five piece bands depending on the time of day. The core of the band has remained pretty constant over the years. Sphere was founded by keyboard maestro and young Dan Ackroyd look-a-like Neil Durant who teamed up with guitarist Steve Anderson. They soon added bass players Bill Burnett to their ranks but since then have been unable to settle with a vocalist or a drummer.

Over the years Sphere have had more drummers than Spinal Tap including - if Neil is to be believed (which is not something I would rely on) - TV's Shooting Stars drummer/baby/score-master George Doors. This cassette features two drummers: Pete Fisher, brother of the current - and hopefully permanent Sphere drummer Jamie - and John Allmark. In addition the cassette also features three tracks with the vocals of John Duncan - also no longer with the band - as well as one featuring Bill on vocals. It is perhaps this instability over the years which has led to the severe lack of Sphere releases over the years. This and a tendency never to be happy with anything they have done. When the first Sphere CD eventually arrived it will have been forged to perfection by three musicians who never settle for second best.

First up is Fallout, an angry lurking song festering with anger, pain and hate: "I never felt like this before. The shadow creeps across the floor as fading winter sunlight steals the image from my mind". Bill writes excellent emotive lyrics which tug at the heart and mind in equal measure. Fallout is a very clever song that does not filter round the room like songs should, but rather pounces at you from the speakers and clings on leech-like. The fact that their lyrics stand alone as well crafted artifacts in their own right - and yet the band are currently impressing the crowds as an instrumental band shows the depth and potential of this band.

Three Simple Words is another track with very good lyrics. It not the love song that the title suggests rather a yearning for a love that never happened: "You never stopped to listen, I never stopped to wonder why". And yet it is not the lyrics that are the main strength of Sphere. Their music is tremendous. Powerful, innovative, truly "progressive". It takes the best from the full spectrum of rock music, mixes bite-sized chunks of jazz and the odd drop of classical, rolls it into a ball of "Sphereness" and throws it into your face. Three Simple Words has so much to it. All right, it does last over nine minutes - but somehow it does not feel like a long track. The different sections mesh together to flow into one. Definitely Frankie's favourite track this one.

Islands In A Hurricane is a more up-beat song at least lyrically, although it is a much slower song - perhaps as close as Sphere get to writing a ballad. There are some wonderful tempo and key changes in this song - indeed in most of Sphere's work. Here they are brought to the fore giving an unpredictability to what is a flowing song. Some nice keyboard sounds from Neil too; here is a guy not limited to the General MIDI sounds!

Lights Going Down is a much more jazzy, cluttered song. The lyrics are sung by Bill who gives the song an almost pseudo-Canterbury feel to it which is mirrored by John Allmark's drumming style. This is off-set by Neil's keyboards which switch from heavy Pallas-style complete with choral effects, to Tony Banks mellotron sounds with other sections reminiscent of Keith Emerson. This is possibly the weakest track from the cassette - but that may be because it is so fast and complex and intricate. It is not a bad track, it is just highly confusing!

Signatures is not a new release; it is however the only Sphere release to date. If you do not already posses a copy of this cassette, all I can say is that your collection is sadly lacking a fine collection of tracks. Two of the tracks are also available elsewhere. Fallout appeared in a slightly different form on the 1st Audio Directory (see Review), while Three Simple Words appears on the 3rd Cyclops Sampler (see Review). It does not look as if there will be a new album release from Sphere in the near future. The band feel that a permanent vocalist is essential before they do for the debut album. This is something I do not necessarily agree with; I think they could produce a stunning instrumental album with the line-up that they currently have - but everyone is permitted their opinions!

Frank Blades, Alternate View Magazine

Der Name Neil Durant drfte Internet-Surfern hinlaenglich bekannt sein, denn Neil ist der Herausgeber der IQ-Mailinglist, der unverzichtbaren Informations- und Klatschspalte fur unbelehrbare IQ-Fans und Neoprog-Anhaenger im www. Weniger bekannt ist allerdings sein Wirken als Keyboarder der ritischen Formation Sphere³. Dabei ist immerhin Steve Anderson, der bei Grey Lady Down, den Kollegen von der Insel, die Gitarre schwingt, mit von der Partie. Zusammen mit dem Bassisten Bill Burrnett aben sie allerdings auch erst zwei Beitraege fuer die beiden letzten Cyclops-Sampler abgeliefert sowie das demotape "Signatures" herausgebracht. Die vier sechs- bis neunminuetigen Songs erinnern, was sicherlich niemanden verwundern wird, ganz verdaechtig an IQ. Bei aller Aehnlichkeit mit den Vorbildern besitzen sie jedoch auch sehr viel eigene Substanz und Ideen. Melodioese und rockige Passagen wechseln sich ab. Die Soundqualitaet ist auch gut, so da der Hoergenu des Tapes ungetruebt ist. Da es fur schlappe 4 Pfund zu haben ist, lohnt sich die Investition ohnehin. Inzwischen sind Sphere³ im Aufnahmestudio, um ihre erste CD aufzunehmen. Sie wird voraussichtlich im Februar bei Cyclops erscheinen und zu 100% instrumental sein. Allerdings ist laut Neil Durant beabsichtigt, die grossen Fussstapfen zu verlassen und neue Experimente zu wagen. Na, da warten wir mal ab.

Martin Dambek, Dutch Progressive Rock Page.