the rock side of keyboard player: VITALIJ KUPRIJ

	Glacial Inferno & Revenge Review by www.dprp.net First of all I have to apologize to all concerned and interested for the long delay in finishing and publishing this review! A long time ago, when I was still young and ignorant, I started to discover the wide variety of modern pop music and that there was more to it than Abba and The Bee Gees and everything else that was in the hit parades. Although it was still many years before I fully encountered the well hidden world of sympho and prog music, the first few elements of that world already reached my attention. But first I went through my hard-rock years when the more heavier, guitar driven, rock sounds were what appealed most to my feelings and needs; that was in the eighties when bands like Europe, Bon Jovi, Whitesnake etc surfaced. I developed a preference for groups as Deep Purple and Uriah Heep, mostly because of their splendid and frequent use of keys and organs. Even then I wasn't that keen on vocals and preferred instrumentals that often pleased my ears the most. On a certain day I stumbled on the debut album of Yngwie J. Malmsteen and I was totally swept off my feet by it! I never knew this kind of music existed and it was right up my alley; great instrumental tunes, very melodic, heavy and often influenced by fine classical music; I was sold. After that I naturally also fell for Yngwie's followers like Tony MacAlpine and Vinnie Moore and those other guitar masters like Steve Vai and Joe Satriani and also the great keyboard wizards like Rick Wakeman, Keith Emerson, Jordan Rudess, Pär Lindh, Erik Norlander etc; again because of their musical variety and melodic creative style of music making with classical influences. Making a modern or proggy version of classical music or incorporate classical music into modern symphonic music, both often described as 'neo-classical', is something I have been affectionate with ever since. And now I can add Vitalij Kuprij to my short list in that category! Vitalij Kuprij was born in 1974 in Ukraine and began his serious piano studies at Kiev's Mykola Lyssenko Music Academy for highly talented and selected students. After graduation from this major conservatory he went to Switzerland to study at the world renowned Basel Conservatoire where he obtained his second degree. In 1995 Vitalij Kuprij went to the United States upon recommendation by Sir James Galway to begin further music studies and where, while on full scholarship, he obtained another degree and graduated from this world famous institution in 2000. So it's clear this musician is an excellent piano player, totally trained and educated for classical music and is without doubt more famous in the world of classical music than the prog world we focus on. So you might wonder what his album is doing here on this site, but in this respect a slight comparison with W.A. Mozart comes to mind who has often been described as the rock star of the 18th century. So even though Vitalij is highly acknowledged as a classical piano player and has won several prestigious prizes around the world he seems to have the urge to make modern rock music as well, naturally with some classical sauce poured over it. In fact his own website actually consists of two divided sections, a classical side and a rock side. Being totally incompetent of making any sensible comments on the classical accomplishments of Vitalij Kuprij I naturally will focus only on his rock side. This album, Glacial Inferno, is already the fifth solo rock album by Vitalij and next to that he's also a member of the group Artension who already released seven albums and an ex-member of Ring Of Fire who produced three albums including him on keyboards. Besides that he also was a guest musician on more than a dozen albums by other artists! Adding all his classical albums to that it seems it's hard to find any longer period in which not some kind of musical outing by Vitalij has seen the day of light. On Glacial Inferno he gets assistance by Michael Harris on guitar and the former Yngwie Malmsteen and Ark rhythm section consisting of John Maccaluso on drums and Randy Coven on bass. This latest album, released early 2007, also came out as a limited edition double pack of just 2000 with Vitalij's latest band project release Revenge, which until now has been unavailable outside Asia. It's a promo of this double pack we're reviewing here, that by the way does contains a few mastering errors that hopefully have been eliminated in the final product. About Glacial Inferno Vitalij comments: "The aim of the album was to express myself musically and compositionally in the best possible way to make my friends and fans enjoy it and relate to it, as well as to grow further as an artist and composer/instrumentalist and producer". Indeed that reveals nothing much about what to expect from this album, so let me inform you about that. I actually already gave it partly away earlier in this article, placing Vitalij Kuprij in the category along with those mentioned guitar and keyboard wizards. Just as most songs by the aforementioned artists this whole album is totally instrumental and features some impressive musical extravaganza and a showcase of virtuosity and creativity. A comparison to the early instrumental work of Yngwie Malmsteen certainly applies and it's clearly no coincidence his name pops up so often in relation to Vitalij's work. The main difference, although it's not so prominent, between Yngwie and Vitalij is naturally the instrument they master most and therefore use as a basis for their music, for Yngwie it's the electric guitar and for Vitalij the piano. So you won't be disappointed when you expect a more keyboard based version of the neo-classical music Yngwie started his career with. This album delivers the several kind of songs in that category, the bombastic, turbo-speed power songs, real instrument-battles; almost concert-like orchestrations, mellow ballads in which the keyboard almost howls; short piano-only recitals of some classical piece; it's all in there. Although the music was surely composed on piano first you won't find a lack of wide instrumentation on this album, nor an overdose of fiddling about on the piano. It's really as if some classical pieces have been re-done by a heavy metal group with great respect to the original work. Vitalij's piano or keyboard, sometimes simultaneously, is often accompanied by the rest of the band and leaves plenty of room for the excellent guitar playing by Michael Harris. As a result of the high musical qualities and virtuosity of Vitalij and the people he gathered around him there isn't really a weak spot on this album and I surely did thoroughly enjoy it. Glacial Inferno offers plenty of variation, lots of progressive and innovative surprises and even some elements of fusion and folk. It doesn't get boring anywhere and Vitalij cleverly manages to avoid the standard mistakes when making this kind of album like a total overdrive, too much notes per minute, or that it's just a showcase of musical abilities; the kind of things that make the ears and brain of the listener utter some serious complaints. No, that's really not the case with this album, so I can really advise it to anyone interested in high quality, innovative instrumental music and I think it's an absolute MUST for all interested in neo-classical prog-rock and everyone who gets excited by musical extravaganza and like powerful, bombastic tunes with lots of keys! Glacial Inferno & Revenge Review by www.revelationz.net This is probably more Vitalij Kuprij than any sane musical listener can handle. You get two full length albums for the price of one and a fourth (the double disc set does command a slightly higher sticker price, but still not as expensive as buying two individual discs. For fans of neo-classical metal, where song writing and sensible structuring takes a backseat to the spotlighted mind boggling instrumental breaks - this is an absolute treat. Michael Harris is a great guitarist in the spirit of Malmsteen and Kuprij is one of those absolutely insane keyboard players that makes magic out of the keyed instrument. In his hands, its a frenzied weapon that rains down relentlessly. This can be heard in his band Artension and in Ring of Fire. The Ukranian born keyboardist is well known, well loved, and for the niche he fills, deserving of all the attention. He's comparable in ranks to Andre Anderson of Royal Hunt and the ever lovable Jens Johansson. These are all wizards of the keys. Vitalij has been standing out a bit more from the others lately. According to his press release he has been providing the piano for flute virtuoso James Galway and has also entertained with piano recitals at Carnegie Hall. Stepping a little out of the metal world are we? This has undoubtedly increased his visibility beyond the limited neo classical world of Artension and his solo works. Harris himself is no stranger to the guitar or being heralded as a master wizard either, having been the core of band Arch Rival in the 80s and in more recent years performing with David T. Chastain in Zanister. Here you get two discs, first up is the instrumental solo disc "Glacial Inferno". This one is brand new for 2007 and finished up recording right at the tail end of 2006. It toes the line between fire and ice, with blistering sunny pieces like "Fire in the Sun" that explodes like sunflares, to the exotic warmth of the folksy "Dancing Flame" that teases and swirls like a desert flame. "Liquid Rain" pours down like little needles and takes cover for a blast of synthesizer antics. "Glacial Inferno" sweeps in with all the ice and cold of winter's fury and the epic sweep that recalls the giant iceblock of a glacier itself. Dark, frozen, terrifying in mass and destructive potential. "Burning Ice" is finger flying fun and "Dying to Live" is heavy weighted pleading desperation. All of these places and feelings painted only with music, sans words. Therein lies the difficulties of the album, being instrumental as it is, and somewhat of a themed album, "Glacial Inferno" struggles to set itself apart but falls prey to being too much of the same thing. As a technical piece, its a marvel, but for just the joy of listening, it becomes cumbersome and repetitive. A person's mind can only take so many keyboard solos before they all begin to sound the same, especially when they are relentless and neverending as they are here. An occasional outburst in the structured confines of a song, it is a rare, delightful treat. But here, when its the main and sometimes sole attraction, it is taken for granted and becomes part of the mind numbing flow. "Glacial Inferno", for all its talent brought forth, is still just an exercise in virtuosity and fails at being a cohesive disc that beckons long term enjoyment. "Revenge" is the second disc in this little two pack. Previously released only in Asian territories in 2005, now the rest of the world can experience more of Vitalij's keyboard antics but with an array of vocalists this time around. Its all very much like the Artension project, which he also heads, but with a theme this time. Its about hard times and trying to fight your way back out from hardship to the light. Very uplifting in theory but the execution often makes it come off as a weird extension of the Artension brand. That's simply Vitalij's style, his imprint. And this, being another of his projects is forced into that small world that spews forth his inspiration. Its a tiny box of goodies he works out of, but for those that are fans of the sound or need a neo-classical injection, on the double, they could fare worse than plundering through this keyboardist's emotional core and worked out solutions from his soul in "Revenge". Doogie White lends voice to "Burning My Soul", a track where he neither stands out nor fades away. He's just there, the voice for another high octane neo-classical wankfest workout. The chorus is a flat cat, wayside roadkill for the chaotic keyboard outbursts from Vitalij Kuprij. Then again if you paid your coin for this disc, that's likely what you are hoping for an expecting. If that's the case, you get your money's worth and tenfold, because even moreso than in Artension (which is already nauseatingly stuffed with keyboards) he runs wild here throwing virtuosic runs all over the song. "I Don't Believe In Love" delivers more of the same but with Doogie White sounding like frosty smoke in a cold wind and the song cooled down in places overall. Not quite as in-your-face on-fire, and still lacking a discernable hook that separates this song from the billions of other virtuosic displays of musical wankery. "Into the Void" is a cool track that beats an instrumental heart. The rhythm section is funky cool, keeping a steady quirky rhythm for Michael Harris' blistering guitar to bedazzle over. Its all very reminiscent of the prog/neo classical movement that occurred in the mid 90s. Apollo Papathanasio's vocals are commanding and quite striking in this setting. "Revenge" has power. It also has finesse and the return of Apollo. The vocals pour out in undoubted conviction and the guitars and keys twine around the soundscape with breathtaking agility. Its another amazing showcase workout of talent, but one that is pulled together to feel like a song instead of just an excuse to showboat. Good stuff, in that strong neo-classical vein. "Just Another Day" sees Goran Edman quirky enough to stand out amongst the musical invasion. His voice is a chameleon, able to work its way into almost any genre and come out smelling, not like a swampy lizard, but as sweet and mysterious as scarlet dew drop encrusted roses. Its the loveliness amongst the madness, bringing individuality and a sense of melody to the conforming chaos. "Classic War" is an instrumental fan's dream, plenty of cool performances, clashing together like two forces battling in some great war that we are privy to only through the context of this musician battlesong. "Emperor's Will" is darker heavier, hitting with force and vengeance, walking on the deathlier side of the metallic force. The grit, grind and darker themes, are a breath of musty air that feels so fresh amongst the crystal clean songs found elsewhere. This fits the voice of Shawn Leahy perfectly. "Follow Your Heart" seems to be born from the Malmsteen movement and has that midtempo pacing that is jammed with instrumentation in every available orifice. Strong, expressive vocals from Joe Lynn Turner, help to melt the ice that composes the song structures. Goran Edman smashes "Stand Up and Fight" out of the ballpack. The keyboards and guitars dance and twirl like two ballerinas of destruction, dancing to doom on top of the thunder crunch rhythm section of Randy Coven's bass and John Macaluso's drumming. Edman manages to fly in amongst the instrumental backlash and leave his mark. "Let the Future Unfold" is a wonky wanna-be tearjerker that elicits more chuckles than it does soul stirring emotional outbursts. Its just so hokey, cheesey to the max. The sentiment is there but the delivery of it is abysmally silly. Chris Catena milks it to the point of being ridiculous. And that about wraps things up. Two discs, one instrumental, one with vocals (and still a few instrumentals), 21 songs in total...for the neoclassical lover, its not a bad deal at all. "Glacial Inferno", the vocal-less album is a nice curiosity. "Revenge" has a handful of decent tracks and the rest are average as songs, but masterful where performances are concerned. Their record label was smart to offer this as a package deal, because as a two disc set, its easier to recommend than if the two cds were left to fend for themselves on the market alone. "Revenge" also gets bonus points for featuring Doogie White, Joe Lynn Turner and Goran Edman, three singers that are fan favorites and always a delight to hear. Apollo also makes quite the impressional mark on the material. If this sparks your interest then Kuprij's twosome might be something worth looking into for your collection. Rating: 7/10 Written by Alanna Glacial Inferno & Revenge Review by www.hardrockhouse.com Ukrainian born Vitalij Kurrij is consistently at the top of the keyboard player polls worldwide having been involved in some of the most finest progressive/neo classical albums of recent years from acts such as Artension and Ring Of Fire. In addition to these band works, Vitalij has had a very prolific solo output and his new album Glacial Inferno marks his fifth solo adventure to date and second solo release on Lion Music following 2005’s “Forward & Beyond”. The new solo album sees an extremely powerful line-up of Vitalij with Michael Harris on guitar, and the former Malmsteen/Ark, rhythm section of John Maccaluso on drums and Randy Coven on bass. “Glacial Inferno” is being released as a limited double pack of just 2000 units with Vitalij’s latest band project release “Revenge”, which until now has been unavailable outside Asia. As with “Glacial Inferno”, ”Revenge” sees Vitalij teaming up with American guitarist Michael Harris. On the new album Vitalij comments “The aim of the album was to express myself musically and compositionally in the best possible way to make my friends and fans enjoy it and relate to it, as well as to grow further as an artist and composer/instrumentalist and producer”. After listening to this album for a number of weeks I can say that lovers of neo-classical, progressive hard rock and instrumental music in general will be in for a real treat if they pick up this album. Sonically it’s a pleasure to listen to and performance wise it’s jaw dropping. The album opens with” Symphonic Force” which goes straight for the neo-classical jugular. Virtuoso guitar and keyboard playing dance around each other, sometimes meeting in the middle, sometimes going off on a tangent but always being supremely melodic. This track has everything form drama, excitement, tension and release. What a way to start the album. “Liquid Rain” blends tense classical phrases with a gently progressive feel. There is some glorious drumming gluing it all together and a wonderful breakdown in the middle with a stunning keyboard solo. As the song progresses we get a gorgeous guitar solo, which sounds even more impressive, thanks to the wonderful chord changes in the backing. “Fire In The Sun” begins with a delicate classical solo introduction but soon bursts into life with a galloping rythmn.there is superb unison keyboard/guitar phrases and the song has a great sense of drama thanks to some clever time changes. At the latter half on the song there are some fantastic call and response keyboard and guitar trade offs as the song gets denser and heavier. “Divided Horizon” is built on a rock solid rhythm, which seems to drive this song along. There is dazzling technique on display as Kuprij and Harris match each other note for note. The song leaves its main melody behind and explores some dark and heavy progressive moments before taking its foot off the gas and getting moody with a cool and unpredictable guitar solo. “Glacial Inferno” has a sumptuous opening, which gives Randy Coven (bass) space to show off his melodic chops. The track develops into a monstrous guitar groove allowing the keyboard to subtly enter the fray. This track features some virtuoso solos from both guitar and keyboard, which will pin the listener to their seat. “Dancing Flame” is an intriguing track where bass, keyboards and guitar weave exotic lines around each other. It’s an intoxicating mixture of unusual melodies and sophisticated playing. “Forgive” is an enchanting solo keyboard song, which dazzles in its simple beauty. “Dying To Live” is full of drama and melody. It builds to a dark and explosive climax helped by the drums picking up the tempo “Burning Ice” is a surging neo-classical romp. It’s full speed ahead straight from the off. The players have kept plenty in reserve as they go fro broke at breakneck speed, even John maccaluso gets a few bars for a solo drum break. A new flavour is introduced as a superb bluesy guitar solo jumps out of the mix. “Theme By Albioni” is a solo keyboard track and is also a European bonus track. It pays homage to the timeless classical melody loved my millions. Vitalij plays it straight but embellishes the music with some beautiful flourishes. “Revenge” (bonus album) is simply a neo-classical masterpiece. For those people brought up on album such as Yngwies “Odyssey” and “Trilogy” this album will send them to rock heaven. There are stunning performances from Joe Lynn Turner, Dougie White and Goran Edman and more. Every track is a corker and full of excitement and clever composition. This release is a musical triumph and the inclusion of the bonus “Revenge” album in the limited edition release makes it an essential purchase. The whole package has something for everyone as it is not just a fabulous keyboard album but also a stunning guitar album and to top it off you have the vocal tracks on the “Revenge” bonus c.d.Muiscally its very accessible and it’s an album you can put on at any time. It’s not one of those releases where you have to be in the mood before you give it a spin. All in all a fantastic release which will keep rewarding the listener time and time again. Rating - 9/10 Review Al Hay

	High Definition Review by Rog the Frog / Stringed Insanity Could this be spearheading a comeback of supercharged neo-classical instrumental albums? If so,and if they are as good as this album, keep'em coming. Kuprij is the keyboard whiz in prog-melodic-metal outfit Artension, a pretty good band with two albums out on Shrapnel (get'em). His first solo outing has him paired up with Greg Howe on guitar, bass and engineering and Jon Doman on drums. It's a great keyboard album, but it's mostly (as far as I'm concerned) one of the best neo-classical instrumental guitar albums ever. Imagine Chopin fiddling with a Marshall stack and you're close. Eschewing his current one-of-a-kind fusion style, Howe plays blazing melodic neo-classical runs (speed picking, legato, sweep-picking) that really smoke. He also plays a mean bass and is responsible for the album's crisp sound. The interplay between Howe and Kuprij recalls the most inspired pages of Rising Force (Johansson and Malmsteen). The compositions (including Kuprij's take on pieces by Mozart and Paganini) are long, coherent and very melodic. All in all, a great instrumental album that fans of Malmsteen, MacAlpine and early Vinnie Moore should relish. High Definition Review by M.J. Brady / ProGGnosis The after effects of Yngwie Malmsteen continues, what Yngwie did by mixing classical music with metal inspired a whole generation of artists. Vitalij Kuprij is a rarity amoung all of these neo-classical shred guitarists, the reason is... he is not a guitarist, though his attack on keyboards is of this same conviction as the guitarists playing this style. Vitalij is not alone on this CD, as he has made use of the talents of Greg Howe, who has climbed to the top of the instrumental guitar virtuoso charts, with his deft and effortless playing, he is following Vitalij's lightning fast keyboard runs note for note. The driving force is drummer John Doman, who's thunderous, and intense double bass rhythms propel the soloists into frenetic, speed injected thrill rides. Music like this is not at all for the meek and mild mannered, this is for those who like to do things fast and efficient, perhaps driving 80 mph, or motocross riding, or giant slalom skiing, are the things that come to mind when I listen to this, it's a virtual soundtrack to thrills and extreme sport. Kuprij plays homage to some of classical musics' greats on songs like "Opus I" (Paganini), and song five "Excerpt From A Minor" (Mozart), and in most every song the inspiration of classical is the root of the music. Kuprij has made a name for himself as one of the top virtuosos on the keyboards in the progressive metal community, this, his debut as a solo artist proves why. And the guitars and drumming of both Howe and Doman make this a solid neo-classical CD, worth every penny, especially if you do a notes to cents ratio! High Definition Review by Chris Ruel's Neoclassical Metal reviews High Definition is a monumental instrumental effort that sets the new high water mark in the neoclassical arena. High Definition has taken the neoclassical genre to an entirely new level that definitely rivals and may even exceed the traditional European predecessors of the neoclassical movement. This album is highlighted by the blistering fast, synchronized dual lead work and lead trading of Ukrainian-exported keyboard wizard and performing classical pianist, Vitalij Kuprij of Philadelphia, PA, on keyboards and his newly found neighbor and guitar slinger, Greg Howe of Easton, PA. Be prepared if you have not heard this one yet, because it will take you straight between the eyes. The composition is superb. The execution is unbelievable. The breadth and depth are staggering. This album is a nonstop cavalry charge from start to finish. Greg Howe, known mainly for his jazz fusion or really undefinable, eclectic style, demonstrates that he is a very capable candidate in the neoclassical arena. The composition contains all of the elements that I like to see: melody, harmonization, structure, time changes, catchy rhythms, unexpected changes of direction, and relentless drive. The playing has finesse, precision, feeling, and grasp that has never been known in the neoclassical sphere before this CD was released. Greg Howe delivers his brand of barely contained aggression with blinding speed that that is so refined that it is deft. The synchronized sections with Kuprij will have you scratching the sand off your jaw after it hits the ground - the speed and synchronization are that amazing. It is as fast as anything I have ever heard and it is musical and accessible at the same time! This level of sophistication coupled with playing this speedy and tight has never been seen before in any type of music. So, now if you have bought High Definition based on this review, you need to be prepared for the way that this CD unfolds. If you hate it when somebody tells you the plot to a movie you are going to see and don't like it when somebody ruins a surprise for you, then skip over this paragraph. Otherwise, you should be prepared for a slow opening, a sort of an ominous prelude that is a build up to the real punch that is kept in store. Vitalij and Greg are going to play with your heads on the first track, "Beyond Infinity", which merely hints at what is to follow. And, this build up continues into the second track "High Definition" for about three minutes, until it finally delivers the neoclassical punch melody that has been promised. And, then you know, if only for a brief time, that you are in for some serious virtuoso fireworks. Now that you have been teased and tormented for two tracks, Vitalij and Greg are done messing with you and they are ready to pull out all of the stops. The ascending arpeggio theme lets you know that High Definition is coming on straight ahead for you with "Symphony V" into the neoclassical frenzy you have been promised. Listen closely for the synchronization of keyboard and guitar on "Symphony V". The synchronization is so tight that some people that I have played it for can not tell that it is two different instruments. That is how good it is. Well, after "Symphony V" you can expect this virtuoso level of musicianry and composition to continue for the remainder of the album. Every track on High Definition is exceptional and lends balance to the album in some way. The standout for me is "Opus I (Theme By Paganinni)". This single track really captures all of the positive elements of the synergy between these two great virtuosos, Kuprij and Howe, not to exclude the inspired and exceptional drumming of Jon Doman that sets the pace and drive of the entire effort. Jon Doman must have been ready to run a marathon after the exercise he got making this album. "Opus I" is loosely based around a theme by Nicolo Paganinni, the legendary violin virtuoso and composer that the two pay tribute to in this composition... or should I say the virtuoso that the two shamelessly outdo and relegate to the recesses of history for all time, leaving Paganinni only his compositional skills to distinguish him. Greg Howe clearly demonstrates that the electric guitar is the instrument of choice for modern virtuosos by enunciating the wide scope of technique, speed, tone, dynamics, and feel that is available in the electric guitar that can not be gotten out of the violin or any other instrument for that matter. But, Kuprij steadies our thinking by reminding us that the piano and keyboard with a talented player can keep up with just about anything Greg Howe can do on the guitar... except, arguably, the nuances that can only be gained by direct contact with the strings. (But, if you have any doubt about this, take a listen to "Sky Overture" by Uli Jon Roth and he will prove my point here!... I'm sure I might get some disagreeable e-mail on this one though...) The music in High Definition is intense, driving, speedy, precise, inspiring, overwhelming, moving, enthralling, and will have you jumping out of your chair, frothing at the mouth like a wildman before you are through listening to it! On a scale from 1 to 10, High Definition is an 11. It is the single album that is the best of breed in the neoclassical genre and has not yet been topped. If you like or ever liked neoclassical, you must buy this one. Your life will be incomplete without having heard High Definition. If you are a neoclassical fanatic, High Definition will be the centerpiece of your collection. Truly World Class. For those of you who have undergone continual disappointment ever since Yngie's Rising Force album, this is the one that takes it to the next level and delivers what you have been wishing for... but maybe had given up on. So, if neoclassical depression has got you down, Dr. Chris prescribes a dose of High Definition to bring your heart back to life and get your pulse going once again. When you hear the speed and precision, you will understand why they named it High Definition... they weren't kidding around with you now!

	Extreme Measures Review by edgeoftime.net When Extreme Measures was first released, I was skeptical that it could maintain the level of excellence set by Vitalij Kuprij and Greg Howe in High Definition. Boy was I wrong. George Bellas picks up right where Greg Howe left off, bringing with him a different feel that is a little more raw and openly aggressive, closer to an Yngwie feel in its raw energy. The composition on Extreme Measures demonstrates a depth and indominatable character that will not be limited by any bounds as Vitalij Kuprij does what no other neoclassical virtuoso has been able to do before him... follow up his debut album with a second effort that is comparable to the debut and in this case possibly exceeds it. Extreme Measures opens with "Prologue", a slow, contemplative prelude with a longing melody that sets the backdrop to provide a drastic contrast for the fiery keyboard work and singeing guitar melodies and runs that are about to ensue with "Destination". When the transition from "Prologue" to "Destination" occurs, you will know what you are in for this time. Kuprij is not going spend as much time toying around with you at the beginning as he did on High Definition. But though it is impressive on its own, "Destination" is really just another prelude of sorts to the real scorcher that is to follow. "Extreme Measures", the title track, pulls out all the stops as Bellas asserts his abilities, demonstrating that he is truly a world class player, along with his Kuprij-predecessor, Greg Howe, as well as his obvious influence Yngwie Malmsteen. And, Vitalik Kuprij, well, his virtuoso talents are just assumed at this point after High Definition. But, unlike some predecessors, Kuprij has been able to maintain a comparable level of composition and proficiency to his debut release, on this, his second effort. Anyway, the title track, "Extreme Measures" is a driving, vibrant instrumental that is carefully orchestrated and features some really scorching guitar work by George Bellas. I had heard George Bellas' solo material (which is pretty good on its own) prior to this release, but even then, I was not prepared for his playing on Extreme Measures. Bellas' guitar work on the track "Extreme Measures" is so conspicuously incredible that this single track will make you need to reevaluate his capabilities altogether. The sweeps are so smooth, fluid, and fast they are surreal, transcending the mechanics. The feeling is both inspiring, mesmerizing, and haunting at the same time. The precision and cleanness are staggering. The arrangement of the sophisticated, guitar-intensive runs and sweeps is brilliant. And, the emotional content that Bellas imparts to his playing is so clearly stated that he probably could not get it across better if he were to state it in words. Did I mention how amazing Bellas' sweep picking is? OK. I just didn't want you to miss this point! And, though I am primarily pointing out Bellas' contribution on this track because I think it is probably the biggest feather in his career hat to date (though he is building a headset that rivals an Indian chief), it should also be understood that Kuprij is right there taking it to him the whole way and that he is not in the background in a secondary role. But, Bellas presence on "Extreme Measures" is noteworthy because it was a surprise to me (but maybe not to his many students around Chicago), even though I was already aware of his capabilities to some extent. Vitalij Kuprij sets a new type of standard with his heart-wrenching ballade "Crying In The Shadows". Kuprij has really blurried some lines that were previously clear between classical, neoclassical, and world music on this track. He demonstrates a strength in his personal character by bringing a composition that is obviously so sentimental to the aggressive neoclassical genre. However, this may not be so unusual for a musician of European origin. But, you probably will be surprised the first time you hear it. The slow melodies in "Crying In The Shadows" prove that there is more to being a great musician than merely possessing the capacity for speedy playing. Kuprij has composed a captivating instrumental love song (of lost love) that is built primarily around his mastery of the psychological effects of tonal relations and timing between notes, much like Chopin's and Mozart's melodies hinge upon. Kuprij works around his main theme with many variations that maintain the slow melody feel, but also arranges some very quick grace notes and seamlessly integrated faster runs within these melodies. "Crying In The Shadows" is one of the most moving and absorbing compositions I have ever heard, classical, neoclassical, movie soundtrack, or anything else. I would love to know what the inspiration for this composition was! Another notable track on Extreme Measures is "Track On Fire"... and the name is not misleading because this track is a-blazing fast and definitely ablaze with fire! Kuprij and Bellas trade off blistering fast lead work on "Track On Fire" as they reassert their prowess over their respective instruments. You are not going to believe Bellas' playing on this track as he fortifies his standing in the world class arena. And, again, Kuprij is right there taking it to him. On Extreme Measures, Kuprij ventures further into his straight classical recordings with coverage of two Chopin etudes, as well as coverage of LVB's "32 Variations In C Minor". This coverage of straight classical piano works clearly demonstrates Kuprij's capabilities as a performing concert pianist for traditional classical music. Kuprij executes these complex works with world class precision, timing, dynamics, and comprehension. For you younger listeners, this is a really good disc to trick your parents into taking a listen to neoclassical music. You can lure them in with these Chopin etudes, then let the CD just run into one of the neoclassical pieces, and watch their expressions while you sit back and grin. Extreme Measures is great fun for the whole family! ;) Just be sure to remind your parents that once musicians have mastered classical music like Chopin and Beethoven, that they move up to the next level of performance... neoclassical!!! ;) They will never be able to give you a hard time about blasting neoclassical on your stereo again. I have looked at Extreme Measures from a number of different angles since I originally purchased it when it was first released in 1998 and I have not been able to find anything bad to say about it since then. The production is first rate. The instrumentation and tones applied are perfect. The playing is simply unbelievable... state of the art. The composition is as good as anything that has ever been written. The thematic development, structuring, and counterpoint are enthralling. The rhythm section is outstanding... surprisingly, Jon Doman must have survived his first marathon sprint session in High Definition and was sadistic enough to try it again on Extreme Measures... John Onder probably just didn't know any better ;) but showed skill, composure, grit, and amazing drive to keep up with the blazing tempos. And, the overall impact and emotional projection from the music are devastating. Bellas has assimilated that Yngwie quality of drive and presence in his feel, that he may have exceeded even Yngwie in that Yngwie quality. ;) Extreme Measures has cemented a position in my permanent rotation with its display of dual virtuoso proficiency and superb composition. On a scale from 1 to 10, I give it a 10 without second consideration. Extreme Measures is world class and balances precariously at the pinnacle of modern Western music of any genre. Maybe Extreme Measures is as good as High Definition, but it is never quite the same after your first time, no matter how good it is! But, at least Extreme Measures does not come up short and that in itself is astounding. I will leave it up to the listeners to decide if Extreme Measures exceeds High Definition... We're onto you now Kuprij! Oh, and just in case you noticed those flames on the cover art, they are there for a reason... this CD will set your stereo on fire!!!

	VK3 Review by edgeoftime.net The prolific Ukrainian pianist is already releasing his third album since 1997. As with previous records, he hired a well-known master shredder guitarist to team up with. This time it's a member of the "old generation": Tony McAlpine. Stylistically, it is still a solely instrumental metal release, but one can notice a slight shift: Vitalij became more progressive and his compositions more mature. It seems like each vintage is getting better! Of course, his incredible keyboard virtuoso skills are still put in the foreground, but more space is left for more calmer passages with "layered" keys. Furthermore, progressive elements are more and more replacing what was before a mere shredding feast. Hence, several tracks display and intricate structure and typical progressive elements (time change, etc.). Another interesting point to mention is the increased range of influences. Particularly noticeable in the jazzy one. Previously, Vitalij was almost only focused on neo-classical stuff. His style range has now definitely broadened, with tracks reminding of fusion bands. As before, the mix of distorted guitar riffs with clean piano playing creates an incredibly good sounding blend. One of the best 1999 instrumental prog metal albums. (AS) 4 1/4 [GM 4 1/2] VK3 Review by Chris Ruel's Neoclassical Metal reviews Tony Macalpine steps up to the plate on guitar with Vitalij Kuprij on his third outing on the mound, VK3. I was curious to see what would happen in this effort because both Tony and Vitalij are virtuoso keyboardists with a mutual interest in Chopin. And, Tony MacAlpine is one of the premiere guitarists in the neoclassical arena, so I really had high expectations when I had learned that the two were teaming up for this release. VK3 is different from Kuprij's previous two efforts. The composition covers a broader range and is not characterized by the same raw drive that the previous two efforts had. This is not to say that the music is without drive, but it seems as though the drive takes on a different nature in VK3. Maybe it is just that Bellas' presence was so stunning on Extreme Measures that it was just difficult to follow. The high level of composition and sophistication delivered in the previous two CDs is maintained in VK3. The album follows a format that seems to be emerging in the Kuprij releases where the first two tracks build up to the centerpiece which is the third track. My inclination for Chopin makes "Alternate Diversion", the third track on the album, my favorite. "Alternate Diversion" is based upon a Chopin prelude that Kuprij then decides to develop in his own way into a more involved composition. "Alternate Diversion" remains true to its namesake and goes in the directions unexpected, even though we are expecting it from the title. The opening theme, taken verbatim from Chopin, is MacAlpine's finest moment on the CD. The Chopin theme is played with an overpowering, haunting feel that is absolutely captivating. "Forever" is another good track that can be characterized as having a feel of appealing resignation to it. On a scale from 1 to 10, I would give VK3 an 8 overall, which is good enough to put it into my permanent rotation with the others by Kuprij. VK3 did not live up to my expectations of Maximum Security meets High Definition that I had anticipated was going to be the best Kuprij release to date. Tony's guitar work seemed to me to be lacking in the characteristic melody-centric style that I have come to like so much about MacAlpine. VK3 is still an awesome CD and maybe my assessment is a little tarnished by my high expectations for the album that I just felt were not delivered. With the common interest that Kuprij and MacAlpine share in Chopin, I thought there would be more chemistry and synergy, but apparently Kuprij had more synergy with Bellas on guitar, in my mind anyway! VK3 is still better than most neoclassical stuff out there.

	Forward and Beyond Review by European Progressive Rock Reviews "The Ukrainian Vitalij Kuprij releases his new solo album Forward And Beyond on February 18th 2004. He is well established in both classical and rock and is a piano master, composer and performer. For this album he has surrounded himself with some well known guitarists e.g. George Bellas, Michael Romeo, Michael Harris, Jeff Kollman, Javier Leal, Roger Staffelbach, Borislav Mitic and Francesco Fareri". What a blistering opening this album has, it's instantly in your face, fast, furious, heavy and as exciting as you could wish for. Breathtaking guitar and keyboard solos blend in with the occasional quiet interlude, progressive rock and metal with classical overtones. Track 2, "Piano Overture", also demonstrates this to perfection with manic piano solos of which you don't hear too often. The pace does drop just a touch for track 3, "Time Will Tell", to let the chorals take over, occasionally giving this track an air of grandeur but before you know it your back into the superb manic presentation that this man is capable of. There is also depth of emotion shown with the inclusion of the piano recital "Phantom Flurries" (one of two bonus tracks), "Illusions", an atmospheric and reflective piece, "Far From Home" with its more laid-back light approach, although it is still electrifying, and finally the second bonus track "Idol Tribute", another piano recital where Vitalij pays homage to his classical hero. This album is always melodic and portrays emotion far beyond the norm. One can imagine Vitalij Kuprij playing this with "steam breaking on his brow" as his hands move at the speed of light. This is the only album I have heard by this artist, even so he shoots straight into EPRR's Hall Of Fame at the speed of light; this is amazing stuff. 100% Forward and Beyond Metal Shock Special thanks to Francesco Fareri for translating this review from the Italian magazine. Once again Vitalij Kuprij swepts us away with his neoclassical series dictated by his ivory keys. A sequence of songs where his hands really fly , playing virtuoso sequences that leave a mark. In the past recordings he played together with great guitarists as Greg Howe, George Bellas and Tony MacAlpine and now on 'Forward and Beyond' he is in presence of the best of the 6 string's world can offer. The title track starts furiosly and beyond the fatastic keyboards parts there is George Bellas's guitar that duels with him. Great symphonic moments on 'Piano Overture', with keyboards and piano parts that give us great moments and Micheal Romeo's guitar, from Symphony X, fills all the empty parts. Another excellent guitar player is ready to help Kuprij in 2 songs, 'Time will tell' and 'Solar Impact', he is Micheal Harris who shows a great guitar playing. There is other space for 'Variations in D minor' with classical parts with Vitalij Kuprij and Jeff Kollman which can move us, and on 'Far from Home' with Javier Leal, his friend in the project called 'Promised Land'. A sea storm is 'Message of Hope', speed and symphonic with neoclassical moments without equals and with Roger Staffelbach (Artension), the excellent Borislav Mitic (I can advice you to get his 2 albums) and our Francesco Fareri who divide the solos between themself. A great album that will satisfy the ones who love neoclassical metal. Vote 9/10 Melodic Rock Magazine The Neo-Classical Touch (an interview with Vitalij Kuprij) "Vitalij Kuprij is a strong person, totally dedicated to the music: classical, neo-classical, keyboards or whatever. His words speak for themselves..." Read the full interview here! Note: This interview is available in PDF format. You will need to download the free Adobe Acrobat PDF Reader in order to view the file. interview by: Alessandro Ballini for Melodic Rock Fanzine Forward and Beyond Review by Detritus Fans of neoclassical metal probably don't need to be introduced to keyboardist Vitalij Kuprij. With stints in Artension, Ring Of Fire and Ferrigno, Leal, Kuprij, guest collaborations with artists such as Greg Howe, James Murphy and Tony Hernando plus his own solo outings, Vitalij has made a name for himself as one of the premier virtuosos on the scene today. Stylistically drawing from classical music and predecessors such as Keith Emerson, Jon Lord, Rick Wakeman and Jens Johansson, Vitalij plays with the style and creativity to match his dazzling technical skills. My favorite release from Vitalij is his first solo CD, HIGH DEFINITION, an exceptional instrumental work featuring none other than Greg Howe on guitar; EXTREME MEASURES followed and was nearly as good, but strangely VK3, his last solo outing (with Tony MacAlpine handling guitar chores) left me bored. Happily I can say that FORWARD AND BEYOND is quite a bit better than VK3 and manages to recapture much of the excitement and quality of the compositions on his first two releases. This time Vitalij has employed the talents of no less than eight (!) guitarists to help him realize his vision, and he largely succeeds. Opening with the title track, you realize after about 95 seconds that you are in for something special as keyboards and guitars swirl around with an intensity only advanced musicians can generate. George Bellas continues to impress as he did on his latest disc VENEMOUS FINGERS, displaying a strong sense of melody and emotion. Another highlight follows with Michael Romeo laying down a devastating solo on the next piece, entitled "Piano Overture." Vitalij is all over the place on this disc, with a production that really emphasizes the keyboards this time around. The production is really the sticking point on here, however, as the drums and rhythm guitars are somewhat buried in the mix with even some of the lead solos sounding distant and thin. This is especially apparent on "Time Will Tell," a great composition in the MacAlpine mold but seeming to relegate the guitars into the background a bit too much. The guitar's loss, however, is the piano's gain as Vitalij's keys come through loud and clear in the mix, as precise and hard-hitting as ever. "Far From Home" is probably my favorite piece on the CD, once again with a flavor reminiscent of some of MacAlpine's solo stuff, a more balanced guitar/keyboard mix and a really nice solo by newcomer Javier Leal. Vitalij's acoustic side comes through on the sensitive bonus track "Phantom Flurries" and second bonus "Idol Tribute," but shred fanatics will have a blast with "Message Of Hope" as it features three guitarists battling it out with Vitalij and each other -- some fantastic playing here! Fans of awesome keyboard playing should put this disc in their collection, as should those with a love of neoclassical instrumentals. Aside from the production reservations, an excellent release. review by: Neal Woodall Forward and Beyond Review by Pete Pardo www.seaoftranquility.org Neo-classical metal keyboard ace Vitalij Kuprij has a brand new instrumental CD, titled Forward and Beyond, containing eight jaw dropping numbers, plus 2 solo Kuprij bonus tracks if you get the European digi-pack version. The current Artension keyboard wizard, and former Ring of Fire member, brought along a host of virtuoso guitar shredders for this outing, so if you dig aggressive, classically inspired instrumental metal, this release will be right up your alley. Symphony X guitarist Michael Romeo is on board for the complex "Piano Overture", adding his impeccable technique alongside Kuprij's amazing synth and piano lines. The two together create a huge wall of sound, much like a metal symphony, with Kuprij and his bank of Korg synthesizers trading blazing solos with Romeo's thick and chunky lines. The aggressive title track features some wicked playing from George Bellas, while "Time Will Tell" is a more symphonic and melodic affair, with Michael Harris adding the guitar histrionics. Guitarist Jeff Kollman strays from his normal hard rock/fusion material on the classically themed "Variations in D Minor", but succeeds mightily, throwing in some bluesy licks as well as burning, neo-classical shredding. Tasty arpeggios from Javier Leal battle Kuprij and his spacey textures on "Far From Home", while Harris returns for round two on the bombastic prog-metal of "Solar Impact." Here, Harris and Kuprij trade amazing and complex lead lines that will have you shaking your head in awe. More balls-to-the-wall prog-metal can be heard on "Message of Hope", where fellow Artension mate Roger Staffenbach joins forces with guitarists Borislav Mitic and Francesco Fareri, for an all-out shred fest of the highest degree. The only real time you can relax and take a breath on Forward and Beyond is on the three solo Kuprij numbers "Idol Tribute", "Illusions", and "Phantom Fluries", where the keyboard maestro goes for a more introspective and majestic flair, while still showcasing his serious classical chops. While there is a fair amount of what some people will term "wankery" going on here, there is no denying the talent of Vitalij Kuprij and the guitarists that he has amassed for this recording. For an intense instrumental mix of classical, metal, and fusion, it doesn't get much better than this. Score: 4 Stars Forward and Beyond Review by metalexpress.no It’s true; timing is everything. A few months back, I decided to go to the stereo store and purchase some new speakers. I remember searching through my inventory of music, trying to find those CD’s that would best challenge whatever high-end tweeters and subwoofers the sales people could throw at me. Too bad for me I didn’t know I should have waited it out until Forward And Beyond from Ukraine native Vitalij Kuprij fell into my itchy palms, because this CD will provide about as thorough of a test to any stereo system as is imaginable! From my school days, I recall learning the human ear can detect frequencies between 20 and 20,000hz…and, you know, I’m pretty sure Kuprij touches on each frequency within that range at least once in Forward And Beyond. Kuprij, from the band Artension, is a classically trained pianist/keyboardist who developed a passion for music with an aggressive edge. In his 30 years, Kuprij has either been a student of, or has played with, the best musicians the world has to offer. In Forward And Beyond, Kuprij assembles some of the best guitar talent in the industry to complement his superbly accomplished keyboard skills and ingenuity. Mix all of this together, and you have one of the more enjoyable, skillfully written, and unique Metal instrumental albums in the history of the genre. I’ve come across a number of Metal fans who are immediately turned off by bands that incorporate piano and keyboard compositions within their music – in all fairness, sometimes this sentiment is indeed justified. Kuprij, though, completely takes keyboard/piano composition within the framework of Metal music to a new level – even those with the most steadfast of keyboard/piano distaste in Metal should give Forward And Beyond a listen. Kuprij couples aggressively growling bass and guitar rhythms with unbelievably fast, diverse, and imaginative keyboard/piano work. Topping off the already impressive and enjoyable, is the phenomenal guitar work by some of the industry’s best. They say “winners” rise to the occasion when the occasion to shine presents itself. Clearly, Kuprij’s talents cause each of his guitar guest accompaniers to put forth likewise remarkable efforts. The result is Metal music with multiple, complex layers that demonstrates plenty of depth and delivers innovative stereo effects at every turn (best appreciated when listening with headphones, by the way). The first track, the title track, features the talents of guitar teacher guru George Bellas. Anyone familiar with Bellas knows that he may be the absolute fastest axe-wielder in the land (yep, even faster than Yngwie Malmsteen). Kuprij matches Bellas’ guitar speed with exceptionally fast-paced keyboards. Kuprij also interestingly pairs up many of the guitar sounds with his keyboard sounds, causing the listener to have to listen closely, at times, to decipher which instrument is indeed responsible for the solo at hand. The second track is “Piano Overture” and starts/ends with solo conventional piano pieces. In the middle, however, is a multitude of keyboard diversity, showing Kuprij is a master of all keyboard variations. Couple this keyboard assault with Michael Romeo’s guitar expression, and you have a second winner. Track number three is “Time Will Tell” and features Michael Harris. Harris is also featured within the “Solar Impact” track. Overall, my take is Harris logs in the overall best guitar work of all of the virtuosos. It’s really like comparing Porsches to Ferraris, though, because each guitarist puts in unparalleled performances. Fourth is “Variations in D Minor.” This song begins with a classical piano intro, but incorporates a punchy guitar rhythm that has an underlying growl to it very similar to early Malmsteen. Overall, though, this song is designed to primarily focus on Kuprij’s classical piano aptitude. Jeff Kollman provides the guitar accompaniment for this track. Softer in tempo is the fifth track, "Far From Home.” Kuprij opts more to let his keyboard passages playfully dance here rather than sizzle like in the first four tracks. The slower interludes allow Javier Leal to shine when showcasing his accomplished guitar playing. Kuprij delves into “impressionistic” keyboard play during the track “Illusion.” Unlike the other tracks, this song really has nothing to do with the Metal genre, and probably would have been better either left off of this album, or placed at the end to let the listener fade out with parting music. This Pink Floyd-ish track is only 2:57 long, so no real damage is done here to the overall groove of the CD. Last is the track “Message Of Hope,” which kind of serves as the “grand finale” of the CD. If you’ve ever been to a fireworks show, you’ll recall the grand finale usually involves a multitude of rapidly delivered aerial bombs and the “best” aspects of the show that just transpired. Kuprij does essentially the same thing with “Message of Hope.” Roger Staffelbach, Borislav Mitic, and Francesco Fareri all take advantage of their opportunity to let their guitar talents shine at various intervals throughout the song. As has become customary by this point, Kuprij’s keyboard work is again beyond rational comprehension. The European version of Forward And Beyond includes two bonus tracks, both involving Kuprij flying solo on his piano. Great stuff, but no apparent roots in the Metal genre. Unless you’re hooked by this time on the beauty of keyboard/piano solo music, you’ll probably find yourself no better off after hearing these added songs. All in all, if you’re in the mood for aggressive music with a different edge and approach, check out this Kuprij release. If you’re not familiar with Kuprij from prior works, you definitely owe it to yourself to give this CD a shot and become acquainted. I think you’ll be both amazed AND glad you did! Oh yeah, did I mention Kuprij also personally handles all of the percussion work? To be expected with the stellar production quality of this CD, the drums are powerful, drive the pace of the songs well, and simply rock…it’s hard to believe Kuprij has had the time to become such an accomplished percussionist amid his piano/keys training and performances…but I suppose I shouldn't be all that surprised! REPORT CARD: Guitars: A Bass: B Percussion: B+ Keyboards: A+ Recording Quality: A Originality: A- Overall Rating: A- Forward and Beyond Review by Metal.news The latest solo album from respected keyboard maestro Vitaij Kuprij (Artension/Greg Howe/Ring Of Fire etc...) which also includes assorted respected guest musicians, like Michael Harris, George Belas and Jeff Kollman etc.. The songs around "Forward And Beyond" flux with fantastic musical ambience, prolific with illustrious melodies, the music is based heavily on harmonious style technical/classical; keyboards and neo-classical guitar, so what you hear is a lot of musical electricity styling itself alongside Jason Becker and Alex Masi. The glorified pompous melodious textures are continually outstanding, like on the marvellous opener 'Forward And Beyond' which flows with frantic neo-classical style guitars from George Bellas in the Vinnie Moore, Jason Becker vein, while the exquisite 'Piano Overture' is superbly performed and has a very pompous taste, a'la Queen in places where the music traces that classic rock cycle, the keyboards glitter brightly, swiflty performed with zeal as is the guitar work from the ever excellent Michael Romeo, it all manifests simultaneously like an instrumental Robby Valentine/Valensia meets Jason Becker track, fantastic and quite enthralling as the song builds to a furious musical finale that fades out intimately and just has to be heard. I found 'Time Will Tell' melting in a Deep Purple groove at the start, the song climbs into another neo-classical pomp grind. It is very melodic and engaging, more laid back than the former two tracks, very refined and commercial circa Dream Theater with Michael Harris on guitars. 'Variations In D Minor' is a Beethoven stirred neo-classical composition with rapid adorable pompy keyboards, coupled with melodic guitars performed by Jeff Kollman. At just over six minutes in duration 'Far From Home' comes over as one of the albums high points, this is an exceptional piece, it has a reasonably melodic texture, sweeping with dazzling keyboards and guitars from Javier Leal, the song sits itself inside your head leaving you hum along to it's illustrious Malmsteen flavoured overtures, only it's not as hasty like Malmsteen and the classical guitars mid-way through are gorgeous reminiscent of Patrick Rondat. 'Phantom Flurries' is a short sweeping classical piano fragment, while 'Solar Impact' with Michael Harris on guitars, sounds very technical and current with its distinctive keyboards adding a flare of Gothic progressiveness a'la Spock's Beard. It's a really catchy piece overwhelming in wonderment as all the musical styles knot together and give way to another short lush spacious melodic/progressive piece called 'Illusion' that also gives way to the fast and furious 'Message Of Hope', again the song is neo-classical and sprinkled in keyboards/guitars and is quite a towering symphonic piece that features numerous guitar players, specifically Francesco Fareri, Roger Staffelbach and Borislav Mitic. Lastly the harmonious 'Idol Tribute' is another cultivated Mozart/Beethoven gala that delicately ends the album in majestic pomp bliss taking its rank from various well known classical melodies and melts them together to create the icing on the cake. I feel at home listening to "Forward And Beyond", reason being that allot of these melodic rock albums seem to dehydrate, often sounding identical, the music on this album is inspiring and it really charms you and relaxes you, the feeling of the songs wash through your body enthralling you with the amazing eloquent music that Kuprij has constructed, he truly is a rare talent. Nicky Baldrian