ARZ: Buy

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Eclectic instrumental progressive rock that blends elements of metal, classical, and world music into sonic tales embodying literary and spiritual themes. ARZ weaves guitar textures of hard-edged distortion, classical fingerstyle technique, crystalline acoustic, intermittent mandolin and banjo, layered against classic Moog and string sounds. Each track seeks to tell a story, akin to a graphic novel -ranging from tales of Lovecraftian eldritch horror, modern sorceries, medieval warfare, to the aftermath of a very strange experiment conducted in Victorian London. Reviews “Serai is a modern masterpiece of soaring guitar instrumental music that combines rock, jazz and classical…” --Twentieth Century Guitar Magazine “It rocks, it swings, and sometimes it just lays back and lets the music whisper. For all this though, it is Steve’s acoustic guitar playing that impresses most, and the man has style and technique to spare.” --Tom Karr, ProgressiveWorld.net “…instrumental neo-prog in the style of YES, GENESIS, RUSH, FOCUS, IQ…Without a doubt the 2 CDs are a pleasure to listen to, with Steve’s musicianship reaching a very high level. Any progfan will love this band…” --Gabor Kleinbloesem, Strutter Magazine, The Netherlands “…it twists and turns blending Hackettonian and Fripperian styles to form a soundtrack to a story told only by the music. Powerful stuff indeed! …Adams manages to keep the listener enthralled and engaged, spinning off on weird tangents…the sheer profundity of musical ideas makes each listen anew…” --Mark Hughes, Dutch Progressive Rock Page “Sure technique and inner fire combine in “Spindlehsank” and on the country-tinged “Stomp,” organic showcases for Adam’s astonishing finger and fret skills”….“Combined, the two discs make for a bold but inhabitable journey into a fantastic world where the view is often breathtaking.” --Lee Williams, Oregonian

The Last Kingdom was originally written intended to be a soundtrack for an RPG online computer game. Unfortunately, funding for the project failed to materialize. However, aside from this, good music was produced. I was given full creative license, just a brief description of the locations and moods of the game scenes. About the songs: THE LAST KINGDOM—This was the main theme; I wanted it powerful, with an orchestral feel, however still maintaining a strong guitar presence. I personally love the march feel in the beginning and the textured acoustic guitar. I think this was the most exciting piece to write; I was ecstatic at the thought that this work potentially would be heard by thousands of gamers. MINES OF MORIA-- This piece was intended to depict a huge, underground cavern. As the work progressed I couldn’t help but picture Gandalf and crew trudging through Moria. I wanted a mystical feel in the beginning, a sonic description of the caverns indescribable beauty coupled with extreme darkness and ensuing fear. So in great respect, I humbly dedicated this piece to Tokein’s genius. WINTERREISE—Named in homage to Franz Schubert’s famous Winterreise. This tune was intended to be heard between adventures when the gamer’s character wandered in search of activity. Originally three minutes long, I was asked to extend it keeping the feel and instrumentation, namely piano, bass, and drums. This almost has a jazz feel to it, however the harmony is not in the jazz idiom. CROM—I honestly don’t remember what the intent was here. I knew though that I wanted something powerful and barbaric. Named in adoration of the work of Edgar Rice Burroughs. SCHOLA MYSTERIUM —“School of Mystery” would be the English equivalent. As the gamer entered the magic shop this tune would be heard. The player could purchase/trade items in the merchants shop. As I composed the piece, it took on a greater aspect than the original game criterion. I pictured a school of wizardry (this predated the Harry Potter craze) more akin to the school fictionalized in Ursula Leguin’s A Wizard of Earthsea. What came out I’m very pleased with as a whole; in retrospect some things I would have changed. LADY OF THE LAKE—Again, I forget the game intent; I vaguely believe it was a lake that regenerated the life of the player…oh well. Aside from that, I’m very proud of this piece. I’ve always wanted to write works that flow, and emotionally move the listener. The tune does that for me…hopefully a few listeners will have the same experience. As a kid I must have read every Arthurian legend available. I was entranced with tales of his Knights and was especially intrigued by Merlin and Lady of the Lake. Ah, to feel like that again… BATTLEREALM—The only piece not intended for the game. I wrote this a few years later working with vocalist Martin Edward. The piece may still be released with vocals; however I felt that the work stands on its own as well, and is consistent with the mood and feel of the material from the Last Kingdom. Something told me it belonged…

From an interesting one man project of Steve Adams, Arz is now a duo project. On their new album, Solomon's Key, the music is a little heavier, more on the progressive metal side, but still excellent to my ears. I have goose bumps listening to it. As I have said in a previous review, this is my king of progressive rock; beautiful melodic soundscapes with a powerful sound. Now with the addition of Merrill Hale on drums and guided by Steve Adams as guitarist, composer and leader the music is even better than on Serai and The Magi. I am thrilled by the result. As always the guitar is fabulous. Most pieces clock at more than 7 minutes, with two epic length tracks. The universe visited on this opus is the mythological Middle East. Almadel, this piece immediately sets the heavier tone of this album, but remains in the melodic blissful universe of Arz. What superb soundscapes! Their use of powerful metal passages followed by more tranquil melodic ones made me think a little of Porcupine Tree on their latest albums. This is definitely a great track to open this opus (since I first wrote this review I have listen to it quite a lot and I found it fantastic). Babylon is another prog metal piece who shows interesting complexities and a mind blowing melodic line. The guitar is in shredder's mode at times. The drums are excellent which is interesting since in metal the drums are rarely subtle. Saracen has an eastern oriental sounding like beginning, but rapidly moves to a neoprog sound and texture. India begins with tablas sounding like percussions and acoustic guitar (maybe sitar?). This offers a contrast with the preceding tune, a kind of mellower tone that I like very much. The timbre of the electric guitar is exquisite to accompany this composition. Lemegaton is an extended track who clocks at 13:40 minutes. Its structure is subtle and its unfolding really shows the excellent musicianship of the band. Definitely a PT inspired track in the wake of Pink Floyd style of composition; another great success. Jester's Court, the shortest piece of this album, returns to an oriental feel in the form of a quiet ballad. Once again it has a soothing effect after the preceding musical storm. It is a real catchy piece. Burning Bush seems in the continuity of Jester's court, and then the electric guitar enters and exploded like in the best days of hard rock. With the solos, we are near guitars heaven... What will Solomon's Key opens? At 18:26 minutes, it is a joy to hear it unfold the answer. This piece alone is worth buying the album. It made me imagine vast spaces, alien landscapes and other stars. The percussions are blending incredibly well with the guitars. Since I love all the pieces on this great album, I strongly recommend this CD for all lovers of progressive metal. Certainly near the top of my best albums of the year. This CD really kick ass. It is at the same time powerful and melodic. Don't miss it. I am looking forward for their next project. Reviewed by MichelF ProGGnosis

ARZ continues the “sonic story” ideal, telling tales of ancient mythos and future worlds in the second release The Magi. The Magi features five tracks that exemplify an array of electric and acoustic guitar textures embracing fresh progressions and chordal voicings. Unlike Serai, ARZ’s first release, this album is understated in its approach focusing on bringing the listener to a “state,” a mental and spiritual receptivity to the sonic tales. Ur and The Magi are part of an ongoing song cycle that began with “The Strange Experiment of Dr. Trent” a track from Serai. Ur was an ancient Sumerian city home of the Chaldeans and also of Abraham mentioned in the book of Genesis. The Magi were the “priests” of Sumer; practitioners of the divinatory arts and magic. Much in the tradition and length of the symphonic poem (a form popular in the late Nineteenth century) both Ur and The Magi are rich in timbre variation and thematic material, blending elements of rock, metal, and world music.