Sweden’s Reach have straddled the line between classic rock and modern melodic rock for their first two records, but album number 3 sees them go completely overboard…or completely AWOL. Take your pick.

Gone are any anchors to the traditional melodic rock sound, with the band fully embracing modern experimental rock, with touches of electronic rock (Muse), pop (Coldplay) and falsetto rock (The Darkness). Add in the most flamboyant aspects of Queen’s experimentation with pomp-rock and some 70s symphonic ELO and you might get some idea of what’s going on here.

I have tried and tried and tried again with this album, but its not for me. And I think for those that followed the band as they trod a similar path as One Desire, Palace, Wildness and the like will probably find this album too ‘out there’ to appreciate.

There are some lush orchestral parts to the album, almost symphonic in the elaborate production and the layers of programming included. To the perfect audience, it is a really well-made record.

The guys have made a clear determination of their musical path with this record and it’s not 80s rock. For that reason, they might find themselves picking up a completely new fanbase – ones with an appreciation of modern commercial alt-rock and retro rock acts like Cats In Space. I’m not sure how many fans of the first two records will follow them into their third.

You have to admire the lads for their bold musical exploration here. But they aren’t The Darkness or Muse and I was personally thankful for that.

Their bio now describes themselves as an alternative rock band. Fair play to the guys, but I’m not a fan of alternative rock.

The two new solo albums from Toto’s Joseph Williams and Steve Lukather were signed in tandem, released in tandem, but recorded in completely opposing ways. Putting the two together showcases two very different sides of the Toto musical spectrum and being solo albums, it lets the listener sink into those individual realms a little longer than on an normal band record where you get a more filtered view. Luke has gone on record saying playing parts of the two records on shuffle would give fans a new Toto record and he’s not far off that truth.

Given that Joseph and Luke make multiple appearances on each other’s records as do fellow Toto alumni, it’s a neat crossover and a double dose of songs for Toto fans.

However, the two records could not be more diametrically opposed.

Steve Lukather’s I’ve Found The Sun Again is the essence of raw, stripped back, live by the seat of your pants, live in the studio recording. Taking just 8 days to record with guests Williams, David Paich and a core band of drummer Greg Bissonette, keyboardist Jeff Babko, and bassists Jorgen Carlsson and John Pierce all playing live in the studio, this record has an organic energy that really captures the talents of all involved.

With songs running from just 3 minutes to an epic 10 minutes, there is something special happening here. There will be some that simply don’t get the jazzy, free-form rock vibe of the album’s 8 tracks, only one of which is a rocker in the traditional Lukather solo sense. The Opener Along For The Ride is a splash of targeted energy and a biting lyric typical of Luke’s sharp mind.

At the other end of the spectrum is the epic The Low Spark Of High Heeled Boys, a mid-tempo track that slides in and out of full jazz instrumental arrangements and moody vocals. The piano/percussion mid-song section is to die for, as is Luke’s slow riffing and soloing throughout the song.

Journey Through is one the finest Luke instrumentals I can recall and despite my firm love of vocals, is another album highlight.

A pair of 6 minute mid-tempo songs continue the raw, live energy, while never once feeling underdone or missing anything like multi-layered overdubs and other production effects.

Run To Me is the obviously ‘happy’ song of the album and has a full Beatles vibe going on, propelled by guest drummer Ringo Starr playing his part.

Another epic closes the album. The 8 minute Bridge Of Sighs is musically intense, drenched in organs and guitar and some brilliant solo pockets where the guys all get to shine.

Some won’t get this album. It’s not all rock and it’s certainly not a commercial record. it’s largely mid-tempo and its very loose. But dropped into the Lukather discography, it really is a perfect fit. It makes total sense and blends a little of everything from the legendary guitarist’s career.

And there you have it. One loose, raw and live record paired with a highly structured, methodical production piece. Both records have unique personalities and distinct characteristics but also intrinsic crossed-over musical alliances and both work equally well in their own right and shuffled together. It is a unique situation and I hope fans embrace both records for what they are.

I’m equally comfortable playing one individually and the other the following day, but also back to back for two glorious hours of perfectly executed musical genius.

No need for any introduction to Neal Schon. The guitar legend delivered his long awaited new solo album late last year and has been almost universally praised and appreciated.

So I will simply add to the chorus of platitudes that this wonderful piece of work has already been laiden with.

One of Neal's most expressive solo instrumental albums to date, the 15 track/70 minute record touches a myriad of emotions and musical styles, all under the direction of producer/multi-instrumentalist and songwriter (plus new Journey drummer) Narada Michael Walden.

The album sounds a million bucks and is one of those types of records that you can just hear all the time and effort that's gone into it. Smooth, sultry, rocking and complex. Love it!

I absolutely love this album. It has everything I love about the two principles behind it and a added freshness that has been missing in some recent AOR releases.

Art is Work Of Art – that is, vocalist Lars Safsund, who is his usual blindingly good self, delivering a classic vocal that gives me the best of WOA, but more so, I hear him stretching out with some of the more adventurous material on offer and he knocks it out of the park.

Illusion is one of my favourite pomp songwriters, Grand Illusion’s songwriter/producer Anders Rydholm. Fans of Grand Illusion can hear Anders’ trademark pomp AOR all over this record and there are a few tracks which could easily be Grand Illusion tracks.

But there’s so much more on offer here. There are a few tracks that are completely bananas. It’s part classic rock opera and part falsetto overture and it sounds so good. Lars is extraordinary in his varied vocal delivery. There’s Queen, ELO and Styx influences throughout.

But it isn’t every track – its mixed in and around some traditional WOA style keyboard-AOR mixed in with some typical Grand Illusion pomp. There is a good dose of piano and some sentimental ballads, but also a few driving guitar tracks.

All in all it is quite the mix, but the superb quality of the songs and the performances make it work cohesively.

I won’t make a point of highlighting any particular songs as id like the listener to hear it fresh start to finish. Just be assured that this is a quality piece of work.