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Progressive Rock CD Reviews

Fatal Fusion

Land of the Sun

Review by Gary Hill

Perhaps some of this album doesn’t fit firmly in the progressive rock realm, but overall I am confident putting the whole thing there. It’s basically a cross between classic rock, fusion and more standard prog. It never seems to feel redundant or boring. There’s definitely a jam band element here and this is just plain cool.

This review is available in book format (hardcover and paperback) in Music Street Journal: 2011  Volume 5 at

Track by Track Review
Land of the Sun

The sounds of a storm open this, then the bass powers into play. They work it out from there in a fusion meets jam band kind of sound that’s very cool. Later, there’s a mellow movement that has some tasty instrumentation. It serves as a segue as they move it out to a melodic progressive rock jam from there. Still further down the musical road there’s a cool fusion movement with a soaring guitar solo. It works through some cool changes and then we get a symphonic prog jam that’s quite cool.

Cry No More
The riff that opens this just screams “classic rock!” The vocal riff that comes in continues that theme and the track really feels a lot like Kansas. This is more straightforward and constant than the opening number was, but it’s killer.
Starting mellow, this powers out into something with both progressive and classic rock sounds in place. While not as dynamic as the opener, this does have more changes and alterations than “Cry No More” did.
Love in the Sky
Opening with keyboards, this powers out into a screaming rocker with a real classic rock texture. There are some symphonic segments here, but also a real rocking theme. It’s kind of like a proggier version of Deep Purple. This one works through a lot of changes and differing movements. It’s another killer tune.
Shot to the Ground
Once more Deep Purple is on the stage here, combined with Kansas for a classic rock meets progressive rock kind of jam. There’s a lot of real blues to be heard here, too. There’s a cool jam mid track that’s has a real retro soulful element to it.
This basically qualifies as a hard rock ballad with a lot of progressive rock built into the arrangement. It’s a powerful number that gets quite dramatic and rather hard rocking as it continues.
Broken Man
At over twelve minutes in length, this is one of two epics in the set. It’s also one of the most blatantly progressive rock cuts. It comes in with some dramatic hard edged and mysterious progressive rock. It almost feels like a retro sounding Dream Theater. After a verse section this is modulated between the hard rocking sounds and a mellower, almost classical interlude. It works out to some Latin-styled, acoustic guitar dominated sounds. They take us on quite a cool ride. This is an exceptionally dynamic and powerful piece of music that works extremely well. There are some extremely potent moments, emotionally and musically. Around the 8 minute mark, this becomes nearly metallic. This powerhouse really rocks. It certainly has that Deep Purple meets progressive rock element well displayed. It moves out to a rather jazz-like keyboard dominated section from there. Eventually we’re taken back to the seriously hard rocking sounds and at points it almost feels like Rush.  
Out to the Fields
They bring this one in with some mysterious sounds that give way to a staccato, building jam. It powers out to some retro elements that again combine Deep Purple with progressive rock. As this continues to build it has a bit more of that Dream Theater turned retro sound. Around the three and a half minute mark it drops to ambient motifs that combine the earlier sounds with something closer to Pink Floyd. It continues like that for a time. It builds gradually from there and eventually it powers out into a killer guitar solo that maintains the Pink Floyd sound and feels very much like something David Gilmour might play. Eventually it modulates out to a keyboard solo dominated section that definitely continues the Pink Floyd stylings. Eventually it turns out to one of the coolest grooves of the whole album while maintaining a definite Meddle-like vibe. Around the eleven and a half minute mark (this clocks in at almost 16-minutes in length), it shifts to a new mellow section then powers out to some smoking hot fusion inspired sounds. This is a real screamer from that point for a time. It drops down to mellower material, but then rises upwards again in dramatic hard rocking sounds. That movement builds until it eventually takes the cut out.
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