What the Florida-based alternative rock quintet Ghosts of Tallahassee (interview here) masterfully achieve on their new two-track release, Sleep, is diving headfirst into the immersive depths of electronic music—enhancing their enveloping melodies and guitar-driven foundations with rich synth textures, looping patterns, and pulsating rhythms as their sonic identity continues to evolve.
On Sleep, the band fuse these contrasting elements with finesse, creating a sonically vast work that merges precisely layered cinematic atmospheres with intricate electronic flourishes. The emotional weight of this release is carried by sparse yet blossoming guitar lines, which in the opener “Lights Out” swell organically into a measured eruption of melodic refrains—delivering a profoundly cathartic resolution to the track.
Their technical prowess is evident across both compositions, particularly when the gritty, distorted synths introduce tension and edge, most notably in the title track. Here, the guitars are given space to breathe, contributing ambient and melodic textures that underscore the electronic backbone. Each track swells from exploratory electronic beginnings into a crescendo of percussion, guitars, and sonic chaos, ultimately unraveling into silence as the final burst of energy dissipates.
Ghosts of Tallahassee have crafted a dynamic and evocative preview that channels a wide spectrum of emotions—flickering between visceral intensity and refined sonic nuance with remarkable control. This is a bold, cohesive, and—while admittedly brief—highly impressive effort from the Florida outfit.
Today (Tuesday, April 8th, 2025) I was invited to a press conference hosted at the Anthem with Ward 6 City Councilmember Charles Allen and several members of the local live music industry where they announced their proposed bill, the Restricting Egregious Scalping Against Live Entertainment (RESALE) Amendment Act of 2025. The bill aims to limit the amount a ticket can be resold by third party vendors to a 10% cap as well as banning the practice of selling speculative tickets (which is when a vendor lists tickets for resale it doesn’t actually have yet). Selling more than 50 tickets on the secondary market would force you to register with the city as a ticket vendor, and violations would incur a fine of $5,000 for the first offense and $10,000 for each additional offense. The bill would cover all non-sporting events in Washington DC. I shot video of the entire press conference, which you can watch above, and asked question #3 at 25:12 in. I feel like this is something that impacts not just metal heads but all concert goers in Washington DC so please take the time to listen and at least become informed on the topic regardless of your stance on it.
The accompanying press release is as follows:
Fix the Tix! Councilmember Charles Allen, DC Music Venues & NIVA Announce Bill Protecting Concertgoers by Reigning in Ticket Scalping
The bill caps re-sale prices on live performance tickets and ends speculative ticketing in which resellers are selling tickets they do not yet have in their possession.
WASHINGTON, D.C. (April 8, 2025) – Today, DC Councilmember Charles Allen (Ward 6), backed by a coalition of local venues, artists, and national independent music organizations announced legislation targeting scalpers and secondary ticketing platforms like StubHub, Vivid Seats, TicketNetwork, Ticket Center and SeatGeek by putting in place a price cap on resold tickets, banning speculative ticket sales, and requiring individuals and businesses selling more than 50 tickets a year to register with the District.
Joining the announcement were I.M.P. and 30 local venues and music industry organizations, including the National Independent Venues Association (NIVA), local musical artist CJ Johnson of Oh He Dead, and the Office of the DC Attorney General. The event took place inside The Anthem, one of DC’s premier live music destinations, and included representatives from many of DC’s music venues.
“Right now, people who want to go to a live show in DC are competing against companies and scalpers who make a lot of money by immediately scooping up as many tickets as possible and re-selling them at a much higher cost than the venue or performer is asking,” Councilmember Allen said. “A $40 ticket could end up reselling for over $1,000. The result is fewer fans can afford to see their favorite artist at one of the amazing venues DC has to offer. These middlemen are making millions by driving up prices, with the profit exclusively going to the scalper and never to the artists or venue. They aren’t performing, they aren’t running a venue – they’re just making it all more expensive.”
The Restricting Egregious Scalping Against Live Entertainment (RESALE) Amendment Act of 2025 proposes capping the amount a ticket can be sold for on the secondary market at face value plus up to 10%. It requires any individual or business reselling more than 50 tickets per year to register with the District, and bans the practice of “speculative ticket sales,” which means only people who already have a ticket can resell it. Violators of the law would be fined as much as $10,000 per ticket.
In just one recent example of speculative ticketing, tickets for Sparks’ show at Lincoln Theatre have not yet been released to the public, but are listed on StubHub, Vivid Seats, Ticket Center and TicketNetwork for as much as $767 at the time of writing. Tickets will be available from the Lincoln Theatre for $55.
“Washington, DC has the opportunity to stop deception and price gouging in ticketing across the nation’s capital,” said Executive Director of the National Independent Venue Association Stephen Parker. “NIVA will do everything possible to help the DC Council enshrine the RESALE Act of 2025 into law this year and fully protect consumers in the District from predatory resale practices.”
“We want fans to be able to buy real tickets at the price the artists set, not get deceived and fleeced by scalpers,” said Audrey Fix Schaefer, Director of Communications for I.M.P. “The RESALE Act, when signed into law, will protect consumers from price gouging, allowing them to go to more shows, which is good for the artists, our venues, and the city. I believe the Office of the Attorney General takes this seriously, and considering the proposed fines, I think the scalpers and the platforms that host them will take this seriously, too.”
“District consumers deserve fairness and transparency when deciding how to spend their hard-earned money,” DC Attorney General Brian Schwalb said. “As the District’s independent Attorney General, my office has taken action against companies across a range of industries —including hotels, food delivery apps, and live event ticketing companies — that deceive customers by advertising low prices and only revealing hidden junk fees later on in the purchasing process. I applaud Councilmember Allen for introducing this bill, which not only makes it crystal clear that drip pricing and junk fees are illegal under District law, but also introduces additional important and practical protections for ticket buyers.”
This legislation aims to protect artists, venues, and consumers in the District from unfair and deceptive practices in live event ticket purchases by:
Capping the price of tickets resold to the total price of the initial ticket plus up to 10%;
Clarifying the existing Consumer Protection Procedures Act with language specifying that ticket issuers, resellers, and secondary ticket exchanges must clearly and conspicuously disclose certain information upfront regarding ticket pricing;
Banning the sale of speculative tickets;
Ensuring the listing for a ticket and each step of a transaction shall clearly and conspicuously disclose the total price of the ticket, including an itemized listing of all charges, fees, and taxes;
Prescribing procedures governing the provision of refunds to consumers;
Prohibiting a ticket issuer from restricting the transferability of a ticket unless the terms and conditions on transferability are clearly disclosed to the consumer prior to purchase;
Permitting ticket issuers to maintain and enforce policies and conditions or requirements for ticket purchase with respect to conduct, behavior, public health and safety, or age at the venue or event, and establishing limits on the number of tickets that can be purchased;
Requiring a ticket issuer or secondary ticket exchange to maintain reasonable technology to prevent any machine, device, computer program, or computer software, with or without human assistance, from bypassing security measures or access control systems designed to limit the number of tickets that can be purchased by a person on a marketplace for initial purchase or secondary ticket exchange;
Requiring a reseller that sells or offers to sell 50 or more tickets per year to register annually with the Department of Licensing and Consumer Protection, and requiring that registered resellers provide certain information to the Department and maintain a surety bond of no less than $10,000;
Imposing responsibilities on secondary ticket exchanges to ensure fair practices on the secondary market;
Requiring the Mayor to issue rules to implement provisions governing the registration of resellers; and
Providing for civil penalties of $5,000 per ticket for the first violation and $10,000 per ticket for the second and subsequent violations.
Local Venues and Music Industry Organizations Supporting the Bill:
I.M.P.
9:30 Club
The Anthem
The Atlantis
Lincoln Theatre
Black Cat
Howard Theatre
Union Stage
The Hamilton
DC Improv
DC9
Songbyrd
Pearl Street Warehouse
Capital Turnaround
Pie Shop
U Street Music Hall Presents
All Good Presents
National Independent Venue Association
Future of Music Coalition
National Independent Talent Organization
Recording Academy
Opera America
Bandsintown
Association of Performing Arts Professionals
International Association of Venue Managers
Fan Alliance
Music Managers Forum-US
Black Music Artist Coalition
American Federation of Musicians
Music Arts Coalition
National Performance Network
National Cannabis Festival
The bill is being co-introduced by Councilmembers Robert White, Kenyan McDuffie, Zachary Parker, Christina Henderson, Brianne Nadeau, Janeese Lewis George, and Matt Frumin.
Emerging from the coastal city of Virginia Beach, Ocean Asylum are rising from the underground with a daring take on progressive metal with their emotionally charged debut EP Committed, released in November 2024. What began as a Dillinger Escape Plan cover project quickly blossomed into something far more ambitious and personal. With a lineup solidified by the addition of frontman Rickey Fowl and a shared vision for musical experimentation, the band has channeled their individual influences into a cohesive sound. In this interview, the quartet opens up about their origins, the creative chemistry that fuels their writing, and where their evolving journey is headed next.
How did Ocean Asylum evolve from a fun Dillinger Escape Plan cover band into a full-fledged progressive metal act with original material?
Rickey (vocals): I might have had an influence. Before I had my first audition, and they had sent me a few untitled songs that have become staples in Committed, and I realized I might be in over my head! My background is classic rock and reggae, I had never thought I would be shifting in the metal genre. I sure did let them know that I might not be the kind of vocalist they were after… but we found a groove for sure, and I have taken joy in challenging myself!
Wes (guitars): Rob (drums) and I were both writing original music well before we started doing covers together. We both had tons Guitar Pro files with various riffs and song ideas we had accumulated during, after, and through the pandemic. One day after practice, Rob showed me some of his original stuff and I was like, “Holy shit dude! This stuff is killer!” I showed him my original material and he really liked it. So, we both quickly arrived at the same conclusion: This is what our band should doing. The rest is history.
What was the turning point when you realized this project had the potential to be something more than just a cover band?
The moment Rickey joined was the turning point. We had several original pieces written and ready to go, I just had to add lyrics and vocals. It also helps that we genuinely enjoy each others’ company, it’s fun to hang out with your friends while also producing some tunes!
We knew we wanted to work on those ideas. But we weren’t sure if the other band members we had at the time would also want to go down that path. Once we had Austin (bass) in the band and he expressed interest in doing original music, that solidified things. That’s when we knew we had the core line-up on our respective instruments. We went through a few singers before we found our guy. The addition of Rickey elevated things and opened up way more possibilities for the vocals.
How did adding Rickey as a vocalist change the band’s creative direction and overall sound?
For most part, the instrumental side of things remained consistent after Rickey joined. Overall, we still have the same creative vision as before. That being said, Rob did introduce some musical ideas that wouldn’t have worked prior to Rickey taking over vocal duties. Those ideas have since turned into full songs, like “Make Me Human”. We have another song titled “Acceptance” that’ll be on our second album which will be coming out within the next few months. I think people will be pleasantly surprised by that song. I think it really showcases our commitment to not being boxed in creatively. It shows our range and the diversity of our sound.
Your music blends progressive metal’s complexity with classic rock’s soaring vocals. Was that an intentional goal from the start, or did it develop naturally over time?
Oooh soaring vocals, how eloquent! (thanks!) I don’t think it was originally intentional, but it’s hard to move totally away from your backgrounds, so when we all put our heads together we find something that works for all of us. Natural music progression!
Committed was mastered by Jamie King, who’s worked with bands like Between the Buried and Me and The Contortionist. What was it like working with him, and how did his influence shape the final product?
We were lucky because Rob had worked with him for his previous band. He did an excellent job mixing the guitar tracks. I wrote up a pretty detailed explanation of the tone I wanted and I even provided reference songs. Rob passed that information on to Jamie who absolutely nailed it. I think we went through three or four iterations before we got to the final mix. But the guitars were perfect in the first iteration. I was very happy. I remember talking to Rob about it and he said Jamie really liked the sound of the raw guitar tracks. We used an Ibanez Tube Screamer in front of Mesa Dual Rectifier amp and Mesa 4×12 cab. I think there’s something special about the sound you get with that setup. And Jamie knew exactly what to do it!
The song “Penance” features Adam Warren of Oceano. How did that collaboration come about, and what did he bring to the track?
Rob reached out to him and he really liked the song. I think Adam was excited to do some vocal stuff outside of what you might expected from him. I think he wanted to showcase his range and abilities beyond his amazing gutterals and screams. And I think he nailed it. He was a pleasure to work with. His passion for music and the creative process really showed, especially during that Twitch livestream.
We knew we needed something a little extra at the height of the song. He brought a dynamic that I (at the time) could not bring with the blending of his harsh fry vocals and lower growls. We watched him write, produce, and sing the song in real time on his Twitch stream, it was epic to watch the process unfold!
Committed has been described as rhythmically intense and precise. Can you break down the writing process behind one of the tracks and how you achieved that level of detail?
Rickey: We are intentionally precise in some ways, and perfectly messy in others. I wrote the lyrics to “Voluntary Excommunication” with a couple of famous evangelical pastors in mind, who take advantage of people that are vulnerable and seeking answers… And the perspective is getting cast out and set aside with a sly smile. This definitely comes across as anti-religion, but it’s far more “anti-megalomaniac-preacher” (false idols crave real attention). The mid portion of the track, we imagined a modern day Martin Luther with a megaphone trying to get a rise out of the masses that asks questions and is burned for it biblically. I definitely cannot take 100% of the credit for all the lyrics though! In certain sections you can hear us all…
Wes: “Voluntary Excommunication” started out as one of those Guitar Pro files Rob showed me before we switched from covers to originals. Rob sent me the Guitar Pro file and together, we worked on the structure and overall arrangement of the song. Rob plays drums, bass and guitar, so most of the parts were already written. I think I may have tweaked a riff or two. Just small changes. Rob intentionally left space in there for me and Austin to do our thing. The writing process for the other 3 tracks on Committed was pretty much the same. At least that’s how we handled the instrumental side. The process for vocals was different. Rickey would write lyrics and vocal melodies and everyone else would make suggestions to see if we could make the lyric or vocal melody better. Some suggestions stuck, others didn’t. It was a very democratic process. We trusted our ears and sometimes we’d weigh in the opinion of our engineer Chris from Whiskey Bear studios. We trust each other to come up with ideas that serve the song and in the end, I think everything came out great.
Progressive metal is known for its technical complexity. As musicians, how do you balance technicality with emotional impact in your songwriting?
I think that balance just comes naturally to us. And everyone has different tastes and influences, so we all contribute different and unique ideas when we’re writing. Rob seems to like dissonance. So, if you hear a really dissonant part that makes you feel tense or anxious, it was most likely Rob who came up with that part. I enjoy melodic stuff and riffs that groove, so that tends to be what I contribute. Austin challenges me and Rob with his unorthodoxed style. And Rickey adds his own flavor on top to turn it into a song. We try not to step on each other and bring a sum is better than the whole aesthetic.
Bottom line for us, “Does it sound good to us? Yes? Then we like it. Fuck Theory. We love it!” It’s another way to keep ourselves from being boxed in.
What has been the most rewarding moment for you as a band since the release of Committed?
Rickey: I love hearing professional quality streaming of my own voice. It’s a little weird for it to randomly play and I think “Oh, hey, that’s us!” As a band, it’s a leap of profound joy. We did this, we worked for it, and here is a little piece of our souls if you’ll only have a listen.
It’s so hard to keep a band together. We are brothers. We are “Committed” to this thing. To each other. This band can help the hard times for us and our families. Having the right guys has been the most rewarding.
How has the live reception been for the songs from Committed? Have they evolved in any way through live performance?
Because of the nature of our genre, we end up playing alongside bands that, quite frankly, I can’t understand what are saying. The passion is there, and the musicianship is amazing, but it’s an odd feeling to go on stage after their performance and start with “Make Me Human”. The hilarious confused looks say “Uhh I think you guys are at the wrong show” followed with the heavy start of “Voluntary Excommunication”. Seeing that reaction as the frontman always gives me an internal giggle.
People are starting to come around to our sound.
You’ve mentioned that a second release is in the works. Can you give us any hints about what to expect in terms of sound and direction?
Ooooh, there’s some heavy stuff in there both musically and emotionally. There’s a story of grief and loss to suicide, a story of emotional malice and abuse… A ballad of acceptance. I experiment a lot more in my newfound abilities with fry vocals followed by rock and punk notes. It’s a roller coaster and it has me pumped.
The second album is a natural evolution for us. The songs are even more collaborative than those from the first album. You’re gonna hear each band members’ personality and individual style come through a bit more. Everyone put their unique fingerprint on every song. And that made the songs better in my opinion.
Looking at the current progressive metal landscape, where do you see Ocean Asylum fitting in, and what do you hope to bring to the genre?
In the world of labels and ideas, I think we stand out by challenging the perception of what progression can be. Our sounds can be clean, complicated, and alluring alongside a thrash and heavier vibe. Sometimes simultaneously! I want to be able to bring that spark of joy to get people into the genre like I was.
In a way, I hope we don’t fit it. I hope we stand out. I don’t want to sound like another homogenized band. Eventually they all start to sound the same, even if they’re labeled as “progressive”. Is it progressive if you don’t progress? If you don’t evolve into something different and unique? One way to sound different and unique is the sound of the band. By that, I mean the original tones of the instruments and the mix.
Interesting riffs and rhythms, great melodies, cool chord progressions that subvert expectations while remaining cohesive to song as a whole, using interesting song structures. We want to employ all of that. We refuse to be boxed in and forced to do things the way a specific metal genre (or subgenre) dictates you should do. Music is art, man.
What’s next for the band in 2025? Any upcoming tours, collaborations, or surprises fans should be excited for?
The plan is to (hopefully) release our second album with a cool video before our June 26th show at Peabody’s in Virginia Beach. We’re playing that venue for the first time ever. It’s us and Por Vida, another amazing band from Virginia Beach. It’s a summer show at the oceanfront, so there’s the potential for a large crowd turnout. It should be fun! Tickets are on sale. Go to our Facebook page for more info. We hope to see you there.
After a two-decade hiatus that seemed to stretch endlessly for fans of the underground progressive rock trio, Cheat the Prophet (interview here) has roared back to life with Redemption—a fiercely personal and uncompromising collection of six songs that redefines the band’s legacy. Released on February 7, 2025, the album is not simply a reunion project—it’s a creative manifesto, a statement of identity, and a cathartic reclamation of artistic purpose. It’s also their most refined and emotionally honest work to date.
From the outset, Redemption reveals itself as an album steeped in reinvention. Gone is the youthful indecision and sonic hedging of their early catalog. In its place is a band that knows exactly who it is—and more importantly, who it isn’t. Fusing elements of progressive rock with ambient textures, metallic riffs, electronic atmospheres, and alt-rock grit, the album transcends genre without ever feeling directionless. It’s progressive in the truest sense: not confined by the tropes of “prog,” but guided by curiosity, experimentation, and emotion.
The album’s standout track, “Chaos”—featured on Progotronics 51—is a fitting representation of this new era. It’s raw and cinematic, layering glitchy electronics and haunting melodies with an aggressive drive that speaks to the band’s sharpened edge. The production is muscular, dynamic, and precise—reflecting the DIY ethos that permeates the album. Self-produced by the trio with help from producer Brett Kull, Redemption is a masterclass in how to leverage modern technology in service of heartfelt music.
But Redemption is more than just clever arrangements and pristine production. It’s an emotional record born from the band members’ shared experiences of adulthood—loss, growth, frustration, and ultimately, reconnection. The first three tracks delve into these themes with unflinching honesty, with lyrics that speak to pain and perseverance. Yet, despite the darkness, there’s a vein of optimism running through the album. There’s a palpable sense that Cheat the Prophet is not just processing their past but actively shaping their future.
One of the most striking aspects of Redemption is its restraint. With only six songs making the final cut, the band’s commitment to quality over quantity is evident. These are not filler tracks or half-baked ideas. Each song feels essential, a piece of a larger puzzle that reveals itself with each listen. The band initially workshopped nearly double the material, but anything less than unanimous enthusiasm was left behind. What remains is distilled and deliberate, capturing a rare sense of artistic clarity.
Musically, the album feels very expansive and intimate. The instrumentation is diverse, ranging from shimmering ambient passages to sludgy guitar-driven moments. Mizenko’s bass work remains foundational, but the lines between roles are beautifully blurred. Whether it’s a B3 organ solo from Todd Mizenko or a guitar motif suggested by Matt, there’s a fluidity to the process that mirrors the album’s overarching theme of liberation. Long gone are the days of rigid territory. Here, creativity takes precedence over ego.
The spirit of collaboration doesn’t end with the core trio either. Though the band chose to keep the process tight, when additional musicians were brought in, they were trusted allies—seasoned players like Dan Vitco who knew the mission and elevated the material without diluting it. This approach yields moments of true magic, such as the lush layering of guitar and keys on the album’s midsection, or the subtle textural details that breathe life into the ambient interludes.
While the band draws influence from a wide palette—citing everything from Frost* to Anathema to more modern acts like Spiritbox and Sleep Token—the sound of Redemption is truly owned by the band. It’s not just a return to form; it’s a redefinition of it. Tracks like “Marvelous World (Losing Season)” and “Whisper” balance emotional heft with technical precision, revealing a band that has matured not only in craft but in confidence.
There’s also something undeniably poignant about the band’s return after so many years apart. In a way, Redemption feels like the album that should have followed their earlier work—perhaps even what Ars Nova might have evolved into had history played out differently. In reclaiming their past and embracing the present, Cheat the Prophet has created something timeless. As Matt puts it, this album is the result of “giving 100% and leaving it all out on the pitch”—and it shows.
Redemption is not just the sound of a band reborn; it’s the sound of a band finally becoming what it was always meant to be.
Redemption is available on Bandcamp. Follow Cheat the Prophet on Instagram.
Daz from Benediction joined me to discuss their highly anticipated ninth album, Ravage of the Empires. Daz shares insights into the long and challenging recording process, the evolution of their writing style, and how the band adapted during the COVID years. We explored the unique dynamics of the new lineup, the creative process behind their music, and the excitement surrounding their upcoming tour.
MelodicRock Classics jumps back to 1989 and teams up with classic melodic pomp rock outfit GOTHAM to release their very obscure, but very special, cassette only released one-off album ‘Home Sweet Home’.
This album has deserved the remaster treatment for years and the audio for this release is straight off the original master tapes.
The release has been re-titled ‘Pictures’ and adds 3
You might know them as Manito Park but these guys had a previous life of creating meticulously grand 80s AOR. Evoking memories of early Honeymoon Suite, Da Vinci, Touch and Le Roux, Gotham were pure and masterful ‘feel-good’ bliss.
Formed in the heart of Spokane, Washington, Gotham began as a trio of passionate musicians eager to leave their mark on the Pacific Northwest music scene. Lead vocalist and keyboardist Dave DuPree, vocalist and bass player Cary Bear, and vocalist and guitarist Bob Burdett first made their presence known in the small bars and resorts of Eastern Washington and North Idaho, creating a sound that resonated with both the rugged outdoors and the vibrant, gritty energy of the local scene.
In 1989, with the addition of drummer Rusty Knorr, the band transformed into the powerhouse unit that would go on to record their debut cassette release, Home Sweet Home. This bold new era for Gotham was defined by a fresh direction in sound, blending rock, pop, soulful melodies and flawless vocal harmonies into an unforgettable mix that captured the spirit of a generation.
From Spokane’s underground venues to the very heart of the Pacific Northwest music culture, Gotham’s raw energy, unforgettable hooks, and honest lyrics continue to echo through the ages. Their journey was one of persistence, a passion for live gigging, and a love for creating music. Better days, indeed.
GOTHAM ‘Pictures’ will be released worldwide by MelodicRock Classics on May 30.
Track Listing:
Gotham (Remixed and Remastered from Original Master Tapes)
01. Prelude
02. Let It Go
03. Pictures
04. Dirty Love
05. House Grey Light
06. Stolen Moments
07. Brother Sung Unhero
08. I’ll Be There
BONUS TRACKS:
Manito Park (Remixed and Remastered from original Master Tapes by Max Norman)
09. Girl In Green
10. One Last Look
11. Daydreamer
MelodicRock Classics jumps back to 1989 and teams up with classic melodic pomp rock outfit GOTHAM to release their very obscure, but very special, cassette only released one-off album ‘Home Sweet Home’.
This album has deserved the remaster treatment for years and the audio for this release is straight off the original master tapes.
The release has been re-titled ‘Pictures’ and adds 3
You might know them as Manito Park but these guys had a previous life of creating meticulously grand 80s AOR. Evoking memories of early Honeymoon Suite, Da Vinci, Touch and Le Roux, Gotham were pure and masterful ‘feel-good’ bliss.
Formed in the heart of Spokane, Washington, Gotham began as a trio of passionate musicians eager to leave their mark on the Pacific Northwest music scene. Lead vocalist and keyboardist Dave DuPree, vocalist and bass player Cary Bear, and vocalist and guitarist Bob Burdett first made their presence known in the small bars and resorts of Eastern Washington and North Idaho, creating a sound that resonated with both the rugged outdoors and the vibrant, gritty energy of the local scene.
In 1989, with the addition of drummer Rusty Knorr, the band transformed into the powerhouse unit that would go on to record their debut cassette release, Home Sweet Home. This bold new era for Gotham was defined by a fresh direction in sound, blending rock, pop, soulful melodies and flawless vocal harmonies into an unforgettable mix that captured the spirit of a generation.
From Spokane’s underground venues to the very heart of the Pacific Northwest music culture, Gotham’s raw energy, unforgettable hooks, and honest lyrics continue to echo through the ages. Their journey was one of persistence, a passion for live gigging, and a love for creating music. Better days, indeed.
GOTHAM ‘Pictures’ will be released worldwide by MelodicRock Classics on May 30.
Track Listing:
Gotham (Remixed and Remastered from Original Master Tapes)
01. Prelude
02. Let It Go
03. Pictures
04. Dirty Love
05. House Grey Light
06. Stolen Moments
07. Brother Sung Unhero
08. I’ll Be There
BONUS TRACKS:
Manito Park (Remixed and Remastered from original Master Tapes by Max Norman)
09. Girl In Green
10. One Last Look
11. Daydreamer
MelodicRock Classics is honoured to partner with classic pomp-rockers Trillion for a physical release of their acclaimed 2011 EP ‘Trillion III’.
For this occasion, the release will be re-titled ‘Ray Of Light’ and feature brand new artwork by resident MRC graphic artist Nello Dell’Omo.
The songs were written and recorded by early band members Thom Griffin, Frank Barbalace, Bill Wilkins and CJ Vanston as well as bass by Dave La Rue.
As a very special bonus, we are adding 5 solo tracks from singer/songwriter Thom Griffin to round out the release. The 5 singles were individually released digitally by Thom over over the last several years, haven’t yet been cemented into history with a physical release.
Bill Wilkins sums up the band’s feelings: “I had always wanted to pick it up again and just see what might happen. After a number of years and a move back to Chicago I decided to test the waters and see if there was any interest. Thom Griffin, Frank Barbalace and I met together at a drum clinic given by Steve Smith of Journey fame. It was the first time we’d been together in the same room in years. We weren’t sure if there would be anything like the chemistry we had in the past but we were excited to find out.
We hope you’ll feel the same energy and excitement that we felt writing and recording the five songs that the three of us have contributed to this CD as well as the wonderful songs that Thom has contributed with so many talented artists that you’ll recognize. If you close your eyes you just might be able to see the crowds and that Golden Sun Beyond!”
Thom Griffin added a few thoughts about his solo songs: “I just recorded and released each song as it came to me. When my “music muse” pays a visit, I try to pay attention! I still love doing this, the music has never failed me!”
The Trillion III Featuring Thom Griffin release ‘Ray Of Light’ will be released via MelodicRock Classics May 30.
Track Listing:
Trillion III
01. Ray of Light
02. Golden Sun Beyond
03. She Hates Sunday
04. In My Blood
05. Innocence
Thom Griffin
06. One Last Time
07. How Long
08. One Fine Day
09. Eight Get Bye
10. Stand By My Side
MelodicRock Classics is honoured to partner with classic pomp-rockers Trillion for a physical release of their acclaimed 2011 EP ‘Trillion III’.
For this occasion, the release will be re-titled ‘Ray Of Light’ and feature brand new artwork by resident MRC graphic artist Nello Dell’Omo.
The songs were written and recorded by early band members Thom Griffin, Frank Barbalace, Bill Wilkins and CJ Vanston as well as bass by Dave La Rue.
As a very special bonus, we are adding 5 solo tracks from singer/songwriter Thom Griffin to round out the release. The 5 singles were individually released digitally by Thom over over the last several years, haven’t yet been cemented into history with a physical release.
Bill Wilkins sums up the band’s feelings: “I had always wanted to pick it up again and just see what might happen. After a number of years and a move back to Chicago I decided to test the waters and see if there was any interest. Thom Griffin, Frank Barbalace and I met together at a drum clinic given by Steve Smith of Journey fame. It was the first time we’d been together in the same room in years. We weren’t sure if there would be anything like the chemistry we had in the past but we were excited to find out.
We hope you’ll feel the same energy and excitement that we felt writing and recording the five songs that the three of us have contributed to this CD as well as the wonderful songs that Thom has contributed with so many talented artists that you’ll recognize. If you close your eyes you just might be able to see the crowds and that Golden Sun Beyond!”
Thom Griffin added a few thoughts about his solo songs: “I just recorded and released each song as it came to me. When my “music muse” pays a visit, I try to pay attention! I still love doing this, the music has never failed me!”
The Trillion III Featuring Thom Griffin release ‘Ray Of Light’ will be released via MelodicRock Classics May 30.
Track Listing:
Trillion III
01. Ray of Light
02. Golden Sun Beyond
03. She Hates Sunday
04. In My Blood
05. Innocence
Thom Griffin
06. One Last Time
07. How Long
08. One Fine Day
09. Eight Get Bye
10. Stand By My Side
Nuova Era are among my favourite bands when it comes to vintage sounds and classic Italian prog. Walter Pini and his friends are veteran proggers and this 2025 album, retelling Jule Verne’s masterpiece novel Twenty Thousand Leagues Under The Seas, is their sixth official release, but their sound is as refreshing and creative as it used to be during the ’80s. First things first: the tempo, mood and instrumentation changes are stunning.
Nemo and friends under the prog seas!
Stately organs, dainty acoustic passages, strong vocals, breathtaking progressions, intricate rythms and of course beautiful melodies… al things Italian Prog are there! Being a 36 minutes suite, divided into 8 parts, “20.000 leghe sotto i mari” is a true musical ordeal, treating the listener with both compositional and performing skills. Each variation introduces a different world and even the marine sound effects perfectly fit into the great picture. All in all, this is IMHO one of the best pages of Nuova Era’s flushing repertoire.
