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Disney Crossy Road Special Character Differences Guide
It all started with a simple chicken trying to cross the road, dodge traffic, and ride on lily-pads across bodies of water in an effort to get to the other side. That was in Crossy Road, the original mobile title that took the world by storm on Android and iOS.
Now, Disney has entered into the fray with Disney Crossy Road, which features some of the very best, and most favored, characters from the entire Disney roster.
Some of these characters manage to change the entire world around you, with others offering little tidbits of change. So this guide will tell you exactly what differences characters make in Disney Crossy Road.
Here's the rundown of the characters and their special alterations:
- Officer Clawhauser (Epic Character) - While playing as Officer Clawhauser, the road is littered with donuts that can be collected.
- Gazelle (Rare Character) - While playing as Gazelle, the player will notice some passing vehicles snapping photos of the character as she gets close.
- Chief Bogo (Rare Character) - While playing as Chief Bogo, the player will pass by other characters from the world of Zootropolis on the roadside.
- Doug (Rare Character) - If you unlock Doug, you will notice chemistry set tables scattered around the roadside, though they do not unlock anything special.
- Mr. Big (Epic Character) - Mr. Big changes the music within the game, and a mafioso in the form of a polar bear can be seen on the roadside.
- Mr. Otterson (Classic Character) - Mr. Otterson can eat the purple flowers along the road to temporarily turn him back into a regular otter.
- Manchas (Classic Character) - Just like Mr. Otterson, by eating the purple flowers, Manchas will turn back into a jaguar momentarily.
- Goofy - While running, Goofy will often pause near a body of water and pull out a fishing pole. This will stop you for a moment.
- Pluto - Bones appear on the map while playing as Pluto, which do not appear to do anything at the moment.
- Woody - While playing as Woody, toys will appear in the game, all of which will fly at the player. Avoid them with speed!
- Pete - While running as Pete, the character will occasionally pull out a watering can and leave a few puddles behind him. If this happens on grass, flowers will begin to bloom.
- Horace - Players will notice that some of the cars have been replaced by swarms of black mosquitoes.
- Willie the Giant - When jumping, the ground around you will shake upon landing.
- Chip - The world changes ever so slightly as Chip, with acorns popping up around the world. Collecting them does nothing, though.
Massive to the World
Upon unlocking new characters, the player will be greeted with brand new game worlds to enjoy, all of which change things drastically.
- The Haunted Mansion - The world of The Haunted Mansion tends to be much darker than what you're commonly used to. Ghosts will be the main issue to deal with here.
- Toy Story - In the Toy Story world, players will be required to dodge various hostile toys flying at them.
- Zootopia - The world of Zootopia is icy and cold, with snow piles covering the bushes and slush falls from the sky.
- Wreck-It-Ralph - Wreck-It-Ralph is a unique world, as it is bright pink, has race cars as the vehicles, and everything just seems to be centered around a race track.
- Classic Disney - The Classic Disney world is incredibly basic. It is the one that appears most similar to the original game in style.
- The Lion King - As in The Lion King, the player will be dodging their way across trails of various animals, including a herd of wildebeest.
- Tangled - Tangled is, of course, a fairy-tale story, so it makes sense the game world is set in a luscious forest with horse riders and other henchman to dodge.
- Big Hero 6 - The world from Big Hero 6 is recreated quite nicely, as everything has a slight foreign futuristic vibe to it.
There are currently 100s of characters to collect within the game. You're sure to find one that suits your style in a Disney world you've come to know and love over the years.


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OceanEye® finds new markets in hydrocarbon exploration
Date 22/04/16
OceanEye® is now offered as a standard component in CGG's NPA Satellite Mapping and Robertson Geolab (Geolab) methodology to find and verify hydrocarbon seepages on the sea-surface. The combined solution offers the ability to combine offshore seepage mapping with a follow up validation service of in-situ slick observation (using the OceanEye®) and sampling. This represents a full CGG seepage validation chain that seeks to highlight potential new areas of hydrocarbon accumulation and reduce exploration risk.
View / download flyer: NPA_Geolab_flyer

subset: commoncrawl


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Learn about common water problems in South Central Wisconsin, access the latest water quality reports and find answers to your water questions.
For Homeowners
Get up to speed on what types of contaminants could be left behind in your water and the different types of filtration systems available for your home.
For Commercial
High-volume water treatment systems are fully customizable for your specific commercial application and designed for top efficiency.


text: Hi, just wondering what everyone does about health insurance. What type of coverage, cost, deductibles, and co-pays. I have a Blue Cross, Blue shield plan through Alfa Insurance that costs me $580.00 every 2 months. My deductible is $1500.00 per year for family or $500.00 per person. After that my co-pay is relatively small, 15.00 for prescriptions and 20.00 for visit. Is there a better way, a group plan that may be carried by an orginization dedicated to the Green Industry, or is this just the cost of being self-employed? Let me know something!!!<p>Homer


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COUNCILLORS clashed over support for trade unions and the costs of a public inquiry at another tempestuous full council meeting last night.
Held at Leigh Town Hall due to the Wigan equivalent being closed for repair work, proceedings threatened to boil over on several occasions.
But unlike the previous meetings held in Leigh 12 months ago, no elected members were voted not to be heard due to rude outbursts.
And council officers did not require assistance from Greater Manchester Police to deal with unruly behaviour.
Instead, the borough's councillors voted through a motion proposed by leader Lord Smith outlining the local authority's concerns about the Government's upcoming Trade Union Bill. Although it was the ongoing controversy over the costs of the Ashfield Park village green (VG) inquiry that initially caused tempers to flare.
Coun Gareth Fairhurst, who applied for VG status for the Standish park, refuted claims from the town hall that he has wasted £36k of taxpayers' money on the inquiry after a government inspector rejected the bid.
The message from the residents of Standish is that they were hoodwinked into giving moneyCoun George Davies
He said: "Has Gareth Fairhurst got the power to order a public inquiry? No. Any citizen has the right to make an application. It's up to the inspector to decide whether the application goes forward."
He added that the figures the council had quoted for the costs of the inquiry were false and pointed out that a "London barrister" had been used to present its case.
Coun Fairhurst received a stern rebuke from Wigan Central's Coun George Davies, who told the chamber: "It was a complete waste of taxpayers' money. The message from the residents of Standish is that they were hoodwinked into giving money to the (Save Ashfield) campaign that was doomed from the very start."
Leader Lord Smith later called for an investigation into how the funds donated to Save Ashfield were spent.
Coun Fairhurst, who became more exasperated with Mayor Susan Loudon's handling of the meeting throughout the evening, has maintained that all funds can be accounted for.
Deputy leader Coun David Molyneux called for Coun Fairhurst to admit he was wrong about the council's intentions for the park.
Adding: "This council never has or never will have any intention to develop (houses) on Ashfield Park.
"The number of people who feel they have been misrepresented (by Coun Fairhurst) is unbelievable."
Before the issue came to a close, and the inspector's decision to reject the VG application was formally accepted, Coun Fairhurst claimed the council would unveil plans to build on the park after next year's elections.
The debate then turned to the Government's controversial Trade Union Bill which leader Lord Smith, in his motion to the chamber, claimed would "harm existing good working relations with staff and trade unions" if it receives approval from the House of Commons in its current form.
The Bill will increase the threshold for strike ballots, a proposal that opposition leader Conservative Coun James Grundy said was "perfectly reasonable".
He added that Labour was attacking the bill because the party is primarily funded by trade unions.
Coun Grundy told the chamber: "There's only two options on a strike ballot. What this will do is ensure that people know that the workforce is behind that strike and not just a group of hardcore militants. This is an issue that needs to be addressed."
The motion calling for chief executive Donna Hall to write to Westminster expressing concerns with the Bill was voted through although Coun Grundy and his two Conservative colleagues voted against it.


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By law, all unclaimed Virginia Lottery prizes go to the Literary Fund. The Literary Fund is used solely for educational purposes, such as upgrading technology in schools and teacher retirement funding.
The Lottery transferred $14.1 million to the Literary Fund in Fiscal Year 2018. Since 1988, the Lottery has transferred more than $289.2 million in unclaimed prizes to the Literary Fund.
The Lottery also participates in the Set-Off Debt Collection Act, in which prize payments are withheld to pay certain obligations that the prize winner owes. Examples of these obligations are state and federal taxes, child support and tuition from state universities or colleges. The Virginia Lottery collected $1.97 million in FY 2018, for a total of more than $32.3 million since 1988.
Here at the Virginia Lottery, we take playing very seriously. Fun matters. Excitement matters. And so does the education of Virginia's youngest residents. It's the very reason we play so enthusiastically. Every time you scratch a ticket or pick your numbers for the big jackpot, you are creating winners in education all over the Commonwealth. Last year, the Lottery contributed more than $606 million to Virginia's public schools. While all Virginia Lottery profits go to K-12 education, now school divisions can spend nearly 1/3 of those dollars as they wish giving them more control of where those dollars go.
Since 1999, all Virginia Lottery profits have been used for public education in the Commonwealth, for kindergarten through 12th grade.
In Fiscal Year 2018, the Virginia Lottery had sales of more than $2.1 billion. Of this total, the Lottery generated more than $606 million, or 28.3%, for public education grades K-12; 61.1% went back to players in the form of prizes; 5.7% went to the retailers who sell Virginia Lottery tickets, and 4.9% went to operational expenses.
When Virginians voted in 1987 for a state-operated lottery, some people may have made the assumption that they voted on how to spend the Lottery's proceeds. This was not the case. The lottery proceeds, which are approximately one-third of lottery sales, were to be used as determined by the General Assembly. The use of the proceeds has changed over time. In 1989, lottery proceeds were dedicated to capital construction projects. From 1990 to 1998, the lottery proceeds were transferred to the state's General Fund. Starting in 1999, a state budget amendment sent lottery proceeds to local public school divisions to be used solely for educational purposes. In the year 2000, more than 80% of Virginia voters said yes to the creation of the State Lottery Proceeds Fund. The measure, now a permanent part of Virginia's Constitution, directs all Virginia Lottery profits be used solely for educational purposes.
Fiscal Year
Retailer Compensation
Operating Expenses


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East Washington Avenue warming shelter for homeless closes Committee continues search for permanent facility By Joe Tarr on Thursday 03/28/2013 On Sunday, the warming shelter located at 827 E. Washington Ave. will close its doors. The facility was intended to be open for only one season, but Dane County officials wanted a permanent, year-round day … Continue reading
City-County Authorities From Ronnie Barbett The beautiful parks are about to reveal their true selves after the Spring thaw. The ice will melt; our bodies warming up as the sun rises over Lake Monona. The water fountains will be turned on and the Spring season begins…lovers, campers, fishermen down at the lake. Portable toilets for … Continue reading
A Better Outcome by Ronnie Barbett After all I've been through it may be wishful thinking…we have got to do this again. The successful operation of this program that was presented at this Daytime Warming Center proved itself worthy of continuation. It wasn't meant to be. The authorities at Rainbow Project was given a guarantee … Continue reading
Please join us for the next Homeless Services Consortium Tuesday, April 2, 2013 12:00 p.m. – 1:30 p.m. United Way Dane County 2059 Atwood Avenue 3rd floor Conference Rooms Agenda Mental Health Service Availability Presentation – Dane County Human Services & Recovery Dane; Announcements; Committee Reports; Networking & Sharing of Information Questions? Kristina Dux – … Continue reading
They Knew by Ronnie Barbett During my time writing for Street Pulse and all the meetings that I attended on Martin Luther King Drive about the homeless issues, it's no surprise to the people reading this. The homeless are about to overflow the square and beyond. It's happening now, as predicted. I don't like the … Continue reading
Sarah Gillmore, Z! Haukeness, Ronnie Barbett, and Nate Abrams accept the written commendation last night (Tuesday 3/19/13) from the Madison Common Council to the Daytime Warming Center. Thank you to the staff & the many, many volunteers who have made this short-lived community of care a PHENOMENAL SUCCESS. We appreciate all of you!


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This writer has a diverse collections of interests, the first and foremost of which is naturally reading any kind of book. He is passionate about non-fiction, biographies, history and Western literature.
In his spare time he enjoys fitness and exercise, with weight training being his favorite. He also spends time cycling, and especially likes to ride on converted rail trails and dirt paths.
Jesse received his Master's Degree in Psychology from the Florida State University in 2011. He received a 4.0 GPA throughout the duration of the graduate program.
Jesse enjoys writing about different aspects of automobile ownership, maintenance and racing events. He has been captivated by racing sports since he was young, and has devoted a lot of spare time into following different racing events.
Jesse has experience working in SEO marketing, having completed tasks that involved search engine evaluation. He has also directly written articles containing extensive SEO related content. His writing style will help ensure that your marketing strategy connects you with a relevant reader base, which will in turn help increase page views and drive a possible increase in sales.
Jesse has written extensively on the topic of real estate from a variety of perspectives. He has experience writing about the specific features of properties listed on various real estate websites, as well as the nature of the communities in which they are located. He can tailor his writing skills to match the style you desire and meet the expectations of your readers.
Jesse has written many articles on various ways to improve the look of your home's decor, as well as methods of providing essential home maintenance. He is knowledgeable about many aspects of home ownership, and has volunteered in the past for Habitat for Humanity projects.
This writer does not have any industry experience listed on their profile.


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SHARE'd Treasures Testimonials
Customer Testimonials
"I shop at SHARE because of the excellent customer service and the marvelous treasures I have found over the years."
~ Claudia
"I have been shopping at the SHARE'd Treasures for 20 years and still love the price and all the treasures you find, its so much fun and great for my budget. I have had huge medical challenges for many years. In this shop I always felt at ease and welcomed. For me, it has been and still is, great therapy. I thank you for everything you do."
~ Anna
"I have been shopping at SHARE'd Treasures for 5 years, they have great products and prices. I love to save money and will continue shopping here."
~ Anonymous
"I have been shopping at SHARE'd Treasures for 3 years, and continue to because of the wide variety & styles of the clothing & accessories. I come back because of the cost and the convenience. The volunteers are friendly and it's for a great cause."
~ Anonymous
Volunteer Testimonials
"I have been volunteering at the SHARE'd Treasures for 4 years, I choose to volunteer at the store because SHARE is a very well respected local agency with long standing service to families. It's a great way to give back to the community. The best part of my volunteer experience is meeting all the people whether they are other volunteers, staff, customers. & to know you are contributing & giving back to the community while having fun doing it."
~ Anonymous


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Stacey Kade
I enjoyed Kade's first book The Ghost and The Goth and am looking forward to reading her second and third books Queen of The Dead and Body and Soul, respectively...
If you're a fan, make Sure to check out Stacey Kade's twitter page and tumblr page.
The Lizzie Bennet Diaries
The Vlogbrothers, Hank and John Green, have undertaken the project of re-making Pride and Prejudice - modern day. I have to say - it's awesome!
Even if you don't know much about Pride and Prejudice, you should still watch it... Viewing is enhanced by a knowledge of the books though.
You can go the Lizzie Bennet's Channel here
Some Cool new Blogs that I like
Nice Girls Read Books - I have read this blog for a while, but I love the new design - awesome choice Brittany!
Stacey Kade - author of The Ghost and the Goth
Maggie Stievfater - Author of The Mercy Falls Wolves series and the Faerie Series
Richelle Mead's blog is always funny. I especially like the posts about her 'neighbours'!
Highly Random and Unrelated to the book world, yet still a lot of fun...
All I can say is... Rex Velvet... What a great name.
Meet Rex Velvet, Seattle's self-proclaimed "people's villain." I admit, I was surprised to learn that Seattle had a supervillain who was challenging our city's superheroes because I hadn't known we had those either. But, apparently unbeknownst to me, Seattle's been a battleground for costumed superheroes walking our streets. Their leader is named Phoenix Jones, who appears to be the main target for Rex Velvet's villainy. Rex released a video on YouTube earlier this month, calling out Phoenix and stating that Seattle would no longer put up with costumed antics. - Richelle Mead
Stephanie Perkins - Links
Stephanie Perkins, author of Anna and the French Kiss & Lola and the Boy Next Door, has put up a bunch of awesome links that she likes, as well as a heap for writers. Be sure to check them out here... It's the cool thing to do!
That's all for now folks! Stay Tuned for more...


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The Minister of Information, Mr Labaran Maku, says the Federal Government is expected to inaugurate 10 power generating plants by December 2013.
Maku stated this on Monday when he inspected N78 million Maigora electrification expansion projects being executed by the Katsina state government in Faskari Local Government Area (LGA).
The Minister, who is on `Good Governance Tour' in Katsina state, said other separate power generation projects were awarded in Niger and Adamawa states with combined capacity to supply huge megawatts for nation's consumption.
Maku expressed satisfaction with Katsina State Government's preparation to maximally harness the Federal Government power generation projects.
According to him, such efforts will surely boost economic activities of the rural areas.
`When the plants became operational, Katsina will be among the high benefiting states from the development on the ground.
"The effort would facilitate active performance of local entrepreneurs, cottage industries and other small scale businesses that would rejuvenate economic growths in the communities."
Maku also inspected the ongoing N167 million Yankara water supply project in Faskari LGA awarded by the state government.
The minister expressed optimism that the initiatives would improve the wellbeing of the people.
He also inspected the 35 km Yankara-Maigora road, 40 km Shema-Kankara road as well as the 45 km Kakume-Guga-Bakori road, among others in Katsina south senatorial zone.
Speaking during the inspection tour, Katsina State Deputy Governor, Alhaji Abdullahi Garba, reiterated the state government's determination to provide people oriented projects, aimed at enhancing the standard of living of the people.
He said the projects executed have touched all aspects of their standard of living, such as education, health, agriculture, infrastructure and economic growth.
Abdullahi said that all projects were in line with the Federal Government development policies as well as the Millennium Development Goals (MDGs) initiative.
Also speaking, the Transition Committee Chairman of Faskari LGA, Alhaji Isiyaku Faskari-Ahmad, said that adequate arrangements were made to ensure that people benefited with the electrification project.
He said that rice processing mills and other agro-allied industries as well as domestic businesses would be encouraged at the grass root.
NAN reports that the Minister was received by Katsina State Deputy Governor at the Zamfara state boarder.


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Hey ya'll! Ready for your weekly update? We are very much looking forward to posting new professional photographs by Keli Keach, but for now, you'll have to bare with my i-phone snapshots.
For the first 72 hours of living in our new home, I'm pretty sure we were experiencing symptoms of shock. We were doing all the normal things–putting things away, cleaning, etc….but to us, it was all happening in an out-of-body kind of way. I suppose when you accomplish a goal of magnitude, the "holy shit I actually did it" moment is actually pretty normal.
My greatest excitement right now is how comfortable the space feels. You think you know the space that is being created, but until you're living in it, it's hard to know for sure. The layout may not work well for everyone, but for us it feels just right.
Most evenings have consisted of a fire in the wood burning stove. The smell, the sound, the glow…divine.
Our lack of shelving/closets has been an organizational obstacle, but we're mastering makeshift…
The bedrooms are functional as is the kitchen and we've finally got a door on the bathroom, phew..
A few days ago, we received the most amazing delivery of house plants from our friend Anna. We can feel the love in every leaf..
The second Great Flood came within hours of moving in. We ended up with three leaks. One from the chimney, one from a window and one from the sliding glass door. All caulk-fixable. Oh, and the rain chains work great!
So what's up next? Lotus is creating an amazing aeroponics system which will be housed on top of the 40 foot container, along the giant windows. To prepare for this system, we need to install a sub-floor. Ryan is nearly finished with this project, photos to come.
I'm starting the penny-floor process and together we will begin to finish the second bathroom. The urge to shower is a driving force behind this last task.
Thank you all for checking in. It's sure to be a busy week ahead. See you next Monday!


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Vamos hacia atrás en el tiempo y dejamos el disco anterior a "La Potestad". Otro disco con muy buenas referencias a nivel de críticas de todas partes del mundo, y para que vean que no miento copio algunas en la entrada. Si bien no llega al nivel de su última producción un muy buen disco que tiene muy buena lírica y un clima muy bien logrado.
Artista: Alejandro Matos
Artista: Alejandro Matos
Álbum: Freak
Año: 2009
Género: Rock progresivo ecléctico / Progresivo crossover
Duración: 70:53
Nacionalidad: Argentina
Año: 2009
Género: Rock progresivo ecléctico / Progresivo crossover
Duración: 70:53
Nacionalidad: Argentina
Lista de Temas:
1. Falso primogénito
2. El más allá
3. Agujero de sueños
4. Verde por dentro
5. Veneno ilustrado
6. El Infierno de Los Buenos
7. La pasión según el caníbal
8. La pasión según el caníbal II
9. Invernadero de preguntas
10. El resto
11. Sombras sin filo
1. Falso primogénito
2. El más allá
3. Agujero de sueños
4. Verde por dentro
5. Veneno ilustrado
6. El Infierno de Los Buenos
7. La pasión según el caníbal
8. La pasión según el caníbal II
9. Invernadero de preguntas
10. El resto
11. Sombras sin filo
- Alejandro Matos / guitars, voices, programming, bass and keyboards
Support musicians:
Veronica Marjbein / violin
- Alejandro Matos / guitars, voices, programming, bass and keyboards
Support musicians:
Veronica Marjbein / violin
En 2006 el señor Matos editó "Persona", su primer disco que presentaré entre hoy y mañana, y cuenta la historia de una lucha por la conquista de la máscara verdadera. La música suena por momentos sinforockera, por momentos psicodélica, por momentos alternativa y ahí aparecen las experimentaciones de Matos. Tres años después de "Persona", Alejandro Matos lanza otro álbum: "Freak". Básicamente, este disco muestra un estilo similar a la "Persona", el rock progresivo oscuro con influencias argentinas en las melodías, pero el enfoque en "Freak" es mucho más sinfónico. "Freak", muestra una mayor diversidad en el uso de instrumentos: hay más teclados e instrumentos acústicos. La interpretación vocal ha mejorado con respecto a su anterior trabajo aunque sigue siendo, desde mi punto de vista, su lado más flaco. Verónica Marjbein en el violín aparece como músico invitado, todos los otros instrumentos son interpretados por el propio Alejandro.
Freak, se moviliza en las expresiones del rock progresivo suramericano actual sobre tres aspectos: La música, la lírica y la gráfica; o también explicadas como el juego, lo normal/anormal y la suerte.Mario Anzola
El juego se refiere a la música. A lo largo de toda la obra se puede notar, que algunos temas contienen ideas, melodías, arreglos, armonías que remiten a otros temas del disco. Con esto se intenta crear una pertenencia de las canciones a la obra musical que las contiene. El leit motiv de toda la obra son las primeras 5 notas de la melodía del primer tema, que aparecen de una u otra forma a lo largo del disco.
El pilar de la moral, está referido a las letras. El concepto está basado en una reflexión sobre lo normal y lo anormal.
El último pilar es la suerte, y afecta a la gráfica. En la lámina interna se muestran cartas de un tarot tan extraño y caprichoso, como cualquier otro. En las cartas, hay un número, un dibujo simbólico y una sentencia, pero además alguien ha escrito interpretaciones.
Freak es una producción independiente, lanzado por intermedio la UMI (Unión de músicos independientes).Grabada en Casandra y mezclado en Estudio Orión por Alejandro Goldstein (Hilda Lizarazu, Hijos del Oeste, Richter, entre otros). La guitarra, voces, programación, bajo y teclados fueron llevadas a cabo por Alejandro Matos.
Aquí les dejo el cuarto disco del músico... ¿Qué mejor que traerles una buena reseña del disco para explicarlo? ¿Quién mejor que nuestro columnista involuntario de siempre?... vamos con el comentario de César Inca y luego seguimos con nuestras torpes palabras.
Un freak progresivo desde ArgentinaCésar Inca
En esta ocasión es el turno del joven y talentoso guitarrista/multi-instrumentista argentino ALEJANDRO MATOS, quien con su disco solista del año 2009 "Freak" nos ha ofrecido un trabajo muy a tener en cuenta en el contexto del rock progresivo sudamericano actual. En este disco, así como en ofertas anteriores, MATOS se hace cargo de las guitarras, teclados, bajo y programación de ritmos, aunque también incorpora la colaboración de la violinista Verónica Marjbein en algún tema del repertorio. Las principales influencias que se hacen notar en el esquema sonoro orquestado por Matos provienen de PINK FLOYD, GENESIS, PORCUPINE TREE y los aspectos menos tortuosos del KING CRIMSON clásico. El concepto global de "Freak" porta una omnipresente naturaleza existencialista, y su repertorio se divide en tres grandes bloques: el primero se titula 'Anormal' (los 5 primeros temas), el tercero se titula 'Normal' (los últimos 5), y entre ellos se sitúa la suite 'El infierno de los buenos'.
'Falso primogénito' inicia el disco y la sección 'Anormal' con un lirismo grisáceo eficazmente enmarcado en un clima de rock psicodélico semi-lento cuya arquitectura reclama un justo manejo de los riffs y las bases de teclado. 'El más allá' perpetúa el ambiente anterior y le añade ciertos matices tétricos, un marco apropiado para introducirnos en la aureola flotante de 'Agujero de sueños', pieza en la que MATOS aumenta la densidad sin hacerla aparatosa ni agresiva. Las minimalistas capas de teclado con las que concluye esta pieza elaboran una conveniente expectativa ante la reiniciación de ambientes sobriamente tétricos que tiene lugar en la etérea 'Verde por dentro', una canción que refleja elegante y convincentemente una inquietud parcialmente contenida y un miedo a los misterios de la propia mente. Los aportes del violín ayudan bastante a completar la idea temática de la canción. El concepto de 'Anormal' se termina con 'Veneno ilustrado', un estupendo ejercicio de psicodelia progresiva que recoge buena dosis de la ansiedad vertida en las piezas anteriores con un poco más de músculo y un aire cósmico más atenuado. A continuación sigue el extenso 'El infierno de los buenos', que dura casi 19 minutos. El aire existencialista se instala de manera firme y consistente a través de la ilación sucesiva de sus cinco secciones. Varias intervenciones de teclado portan una inocultable vibración sinfónica, aportando así una prestancia moderadamente dramática a la vitamínica fortaleza ya emitida desde los riffs y solos de guitarra: desde el punto de vista del más estricto estándar del progresivo sinfónico, se puede extrañar la presencia de variaciones de ambiente y ritmo más pronunciadas, pero por lo demás, la estructura compositiva de esta suite es refinada y bien acabada. Las cinco canciones del concepto de 'Normal' concluyen el disco. La secuencia de los temas de 'La pasión según el caníbal' tiene una soltura que viene muy bien después de la incesante tensión emocional retratada en la suite precedente, y además, porta uno de los desarrollos melódicos más sofisticados de todo el álbum. 'Invernadero de preguntas' es una secuencia de voces y efectos cuya carga cinematográfica sirve de descanso musical, un pasaje abstracto que prepara el arribo del blues progresivo 'El resto', un tema que bien se puede calificar como relajado aunque no se sumerge en un ambiente precisamente "dulce". Dicha dulzura sí se hace presente en la conclusión acústica provista por 'Sombras sin filo', tema que porta un espíritu cálido y amable, aunque el canto peculiar de Matos hace que la tensión emocional se siga haciendo presente de alguna manera. En conclusión, tenemos aquí un testimonio del entusiasmo y talento de un músico al cual habría que prestar más atención dentro del círculo de amantes y coleccionistas del rock progresivo. ALEJANDRO MATOS nos ofrece a través de "Freak" una visión peculiar sobre cómo explotar el lenguaje del rock desde aspiraciones netamente artísticas.
Vamos algunos comentarios en inglés y adéntrense en el disco, que vale mucho la pena:
This album is on the pretty much the same basis as the previous one. Which is not necessarily bad thing, as it worked very well last time. There's however one difference - I feel veil of enchanted land over these tracks, that something magical is here, like migty misty, glowing forest in the night. While it's of course still dark in mood. I wonder where this guy gets inspiration from.Marty McFly
Now I'm without doubts, there's no electronic drummer, this sounds perfectly like rock band. I wouldn't know that there is just him, if he hadn't told me.
There's progress in something. It's still high class music, but this time managing to capture more and more "moods", atmosphere changes. And I think that it's because of synths that are quite prominent here. And also compositions are more adventurous and dramatic than before. These things helps.
Example of these magical traits can be heard in first minute of Verde por Dentro, through the track and after all in other tracks as well. And again, word "enchanted" pops in my mind, because that's what this it. Now that I ran out of synonyms, let's move forth.
4(+)/5, and try to think about three wishes when you're listening this album. I hope some of you will be.
Little bit better than previous album, but not masterpiece. Yet.
Freak is the fourth and, on the moment I write this review, most recent release by Argentinian multi-instrumentalist Alejandro Matos. The music on the album is mostly driven by guitar and more so than the preceding release, atmospheric synths, over which Alejandro often sings memorable vocal melodies. The melodies here often are more memorable than on Persona, and again are sung in his native language. Though Alejandro plays all the instruments himself, the album features a broad range of instruments, giving it an overall rich feel.Loek
As mentioned before, Alejandro sings in his native language, which in combination with in particular the atmospheric synths and gives the album a mysterious and exotic feel. Perhaps a good example of this is the opening of "El As Alla", with its ethnic percussion and dark synths, that gradually get accompanied by other instruments and vocals. The musicianship on the album in general is excellent, though the drums aren't really special. I don't really mind this though, as it already stuns me how one man can master so many instruments. Also Alejandro's vocals sound very clean and passionate. My only really negative point is that the album seems to lack diversity, which causes it to lack a dynamic feel at times. This might be because I do not understand the lyircs, which I suppose leaves me less touched than if I would understand them, but also the synths tend to get a bit dull and repetative at times.
Nevertheless, Freak is a very good release that unfortunately tends to drag a bit. The album has a more atmospheric feel than the previous release and in general a softer approach. Three stars is a suitable rating for it in my opinion, as it's a good release but not an oustanding one.
Freak is the 4th solo album from Alejandro Matos, a one-man project from Arentina that shows an impressive range of skills but that also suffers from some typical one-man project syndromes.Karl Bonnek
Let's start with the strong points. Matos is a guitar player with good riffing skills, nice picking on atmospheric chords and a talent for splashing solos and fluid leads. The guitar is the main attraction on the album and enjoyable throughout. The synths are rather prominent and heavily influenced by Richard Wright? They provide a very lush texture and lend a great spacey feel to the music.
The disadvantage of the one-man approach is that some essential ingredients to make for consistent listening are neglected. The weaknesses appear in the drumming and the vocals. Matos' voice is pleasant, and his Spanish vocals give the album a recognizable identity, but the melodies strike me as rather unremarkable, or let me say they are not memorable enough. They also miss some intensity. The main problem sits with the drum programming though. I don't have anything against drum programming but it simply doesn't suit progressive rock, which needs a more creative and dynamic realization.
The songwriting is very strong, varied and original, but is not consistent enough to convince for the total running length of 70 minutes. A more concise 50 minute highlight selection of the material at hand would have made for a much better album. In the 70 minute form as it is currently presented I tend to dismiss al tracks following the 19 minute centrepiece El Infierno De Los Buenos. It's not that the remaining material is inferior, but it's simply uncalled for. I understand an artist's enthusiasm to share all his creativity with us but I prefer a bit more self-scrutiny in order to offer us only the best 45 minutes instead of all 70.
There are few artists that can pull off convincing solo albums. Even geniuses like Hammill and Gabriel were surrounded by a big pack of guests and collaborators on their masterpieces. I think the seeds to achieve excellence and wider recognition are here, but the songwriting and the ideas need to be fleshed out by a real band. Especially a dedicated drummer will be crucial to deliver on the promise of this album.
Freak is Argentinian Alejandro Matos´s fourth and, at time of writing, most recent release. Although the songwriting here is quite similar to his previous one, Persona, I tend to like this one more, maybe because the songwriting has developed a bit, maybe is his vocal delivering is stronger (even though I still think that a more powerful and versatile singer would do wonders to his music). As usual, he plays all the basic instruments (guitars, keys, bass and programmed the drums), but unlike Persona, this time we have somes guests, most notably violinist Veronica Marjbein. Sometimes the atmosphere reminds me of some Arena´s darkest and slower songs.Tarcisio Moura
As a instrumental unit Freak is impeccable: Matos is a superb guitar player and also does a great job on bass and keys. He is an outstanding songwriter. I liked the acoustic guitar parts on this album (something almost nonexistent on Persona). But have in mind that this is no background music in any way. Freak demands great atention and if you don´t you´ll probably miss some very interesting, subtle and intricated parts that make this 70 minute album something so unique. Quite dark, ok, but still very good, with some strong lyrics written and sung in spanish (an english translation on the boolket would be a good idea if this CD gets released in Europe, Japan or even the USA). Those words are much too good to be lost in translation. (or lack of it)
The production (again done by Matos himself) is quite good, with all the instruments very well balanced and clear. And again the only reason I don´t give this CD a four star rating (or even higher) is the rather underpowered vocals. For some reason I get the image that a strong female singer handling the vocal duties would make it a real masterpiece. Matos has an ok voice, and his interpretations are good, but they are also clearly no match for what he does instrumentaly and not nearly what his music (and lyrics) demand. At least in my opinion. Still is a dense and important work that should not go unnoticed. Let´s see what he will do in the near future. He is quite promising and I would not be surprise if he comes up with another fine work soon. For now, 3,5 stars.
This is Alejandro Matos` fourth solo album, which was recorded in 2008 and it was released in 2009. This album also is an independent release (not connected with major record labels), so I think that it gives Matos the freedom to create the kind of albums he likes. This is also a conceptual album which (I think, because it is not very clear in the lyrics) tells the story of the old fight of humans between good and bad in relation to religious beliefs and social norms. So, if one person chooses to follow that morality, he or she is considered as a "nomal" person, but if he or she has questions or criticizes that morality, he or she is considered as an alienated person, a "freak" who is considered by the others as an "anormal" person. In the end, the message of this conceptual album is that it doesn`t matter if the persons don`t agree very much with that morality (which sometimes is false and hypocritical), and that the world could be a better place to live if that so-called morality could be less heavy and more real. The music is also dark and dense, but not very dark, having more musical variety and even having some Classical and World music influences in some parts. I think that in this album everything sounds better than in his previous album ("Persona"). It sounds like Matos has improved and matured as musician, composer and singer. His vocals are better, but the musical chords changes are more complicated and his voice sometimes sounds a bit forced. Again, I think that a stronger lead singer could have done a bettere work. The programmed drums are programmed better, and they really sound like being played by a "real drummer", and the rhythms are more complicated sometimes. Matos also plays more distorted guitars, but he also plays some acoustic guitars which give more varitety to the album. The keyboards are also played better, with the use of piano, organ and other keyboards, which are mixed more at the front and having a more notable participation in the sound of the album and even a main role in some tracks. The keyboards create very interesting sound atmospheres, and that is a very good improvement in his musical arrangements. The recording and mixing are also better. In comparison to "Persona", the music has more variety, with more use of contrasts between "heavy" and "quiet" parts, and in the end it leaves a more optimistic view to the listener. Still, and that is inevitable, there are some musical influences from bands like the early Marillion, Pink Floyd and The Cure. But I like this album more than his previous album called "Persona", even if the repetition of some musical themes leaves the listener a bit tired. I suggest you to visit www.alejandromatos.com.ar to listen to this album and to buy it, if you like it. And if you want to read (in Spanish) about how the album was created and more details about the concept of the lyrics, visit his blog : ruidosagrado.blogspot.com/2009_09_01_archive.html.Guillermo Vázquez Malagamba
Freak is the most recent studio album of Alejandro Matos, a talented Argentinean songwriter. I didn't know him or his production so I was skeptical about what it was about. I'm pleased to say that his music is a great effort in a moody dark progressive rock, strange to find in Latin America. I think there's a lot to say about this music and the artist. The album is divided on three "chapters". The first five songs under the name of "Anormal" and it talks about different struggles on a "regular" life. The second, a single epic song called in Spanish "The Hell of the good ones (The absurd)" and the third part, "Normal", with the last 5 tracks of the album. So, let's see...Juan Pablo Mijangos
He is a great guitar player and the compositions focus on this particular instrument, mixed with prominent layered keyboards that set the mood and the dark vibe of the whole piece. The music is soft paced, with some ambience oriented music and heavy guitars. The compositions are strong and well oriented, I feel that the music never became self indulgent or flashy in any way. The songs are strong and the flow travels very well through the album. A special mention is the drum work, which is programmed but at the end it feels very "real", strong and matches great with the music. The sounds, the musical choices and the structures are quite great and it's easy to dive into the atmosphere, dark and very dark.
On the other hand, the vocals are maybe the most evident weakness of the album. As a personal single man project, is understandable that the musician and songwriter takes the duty of vocals but it's too evident the limitation of the range and technique he has. That been said, I have to point out that after the first listening the vocals are starting to grow on me. At the end, the style fits very well with the soft paced dark music and that's good, but I wonder how different it could be if Matos would invited a couple of guess singers into the album, that would help to make some songs shine better but I can live with what I get in this album.
Maybe another problem is that, even though the music flows great, it would need a couple of tracks a little different to make the journey less alike. It's a long piece of music and sometimes is good to have some breaks and escapes. Again, this do not take down the album, is just something that could be used for best results. The lyrics are interesting, the concept is very good and solid and there's always a twist here and there, and leaves you wondering what the real meaning of some sentences is. This strange piece of music is really great, professional, well produced and strong enough to be appreciated by any prog fan. I do recommend anyone to check this album. Not flawless but still great. 4 strong stars. Great addition to any prog collection.
Anormal, Normal, o Freak?Guillermo H. Urdapilleta
Alejandro Matos, as some of you know, is a very talented musician from Argentina whose first album was released in 2000. However, his musical skills have been improving ever since. With "Persona" we can find a very interesting album that shows Matos intelligence at the moment of composing the music and writing the lyrics. His style is particular and reflexive. Now, with the release of his latest album entitled "Freak" in 2009, we can find a more mature Alejandro Matos, with (in my opinion) a more interesting proposal and overall a better album. Once again, I thank Alejandro, for his music and his kindness.
"Freak" consists of eleven compositions divided in two (or three) parts. The first part has the name of "Normal" and features the first five songs. The sixth piece is an 18-minute epic entitled "El infierno de los Buenos", which is also divided in five passages. And the last part, from song seven to eleven takes the title of "Normal".
So the album opens with "Falso Primogénito" which starts with acoustic guitar and Alejandro's voice, later keyboards and guitars appear and produce a strong symphonic sound. The song makes some minor changes through the minutes; sometimes it slows down with some choral vocals keyboard effect. After minute four there is like an interlude where only the keyboard and soft drums sound, and later it opens the door to an excellent guitar solo.
The second song has some percussion which adds a different flavor to Matos' music; it is entitled "El más allá" and it is a soft composition that besides that percussion features some nice acoustic guitar, soft synth sound and vocals. After minute three it makes a little change and creates an interesting atmosphere.
"Agujero de Sueños" starts with some ambient synth which later will be accompanied by nice bass lines, drums, guitars and vocals. Later a heavier yet emotional sound appears due to those electric guitars. Here the atmosphere has tension on it, so the listener can feel trapped under the music and will take part of the song itself. This is a very interesting composition actually.
"Verde por Dentro" is a wonderful composition, the lyrics are pretty good, and the atmosphere is excellent, I really like the way he uses the synth and creates different nuances while the song is passing. He adds some figures and puts different elements on it, which makes it really interesting and of course, enjoyable. Another wonderful thing, is that he also added the sound of a violin in the last minutes, and the result is a heartrending but beautiful sound.
"Veneno Ilustrado" is a quite different track from the previous one, the keyboard sound actually reminds me a bit to the first song of the album due to the symphonic sound created. This song has a stronger flavor, actually it is one of those tracks that suggests movement, I mean the atmosphere and emotions created do something on me. It has also some mood and a rhythm change, the end is soft but intriguing. With this song, we have reached the end of the first part.
Now, "El Infierno de los Buenos" is one excellent track, an epic one which shows Alejandro Matos talent and skills as a composer, it is not easy for a one-man-band to create an eighteen-minute song. It starts with voice and piano, making a soft and tranquil sound until minute two where guitar appears and though the rhythm might be the same, we can clearly notice that little by little the song is progressing. There are some funeral drums which give another perspective to the music, however it lasts some seconds only and the "normal" drums appear. Before minute five there is a short stop, where bass and synth sound for some twenty seconds or so, later vocals reappear along with guitars and drums. The structure is actually really interesting. Later a guitar solo enters and makes its contribution to the piece, all the instruments play a leading role, the thing is that in moments is the bass what takes most of my attention, sometimes guitars, and sometimes keyboards, this is why the song is so strong.
At half the song, there is a moment of tension and nervousness, where one don't know what is going to happen next, I mean the music creates an ambient where the listener enters deep into its realm and becomes part of the music itself, and maybe of the story. The guitars play actually a very important role here because besides the keyboards, they help to create that dark and nervous sound. Later there is a wonderful passage where the music and lyrics really interplay and produce something on the listener. The last minutes are pretty interesting and entertaining, the music is still wonderful and the atmosphere created amazing. One excellent song, without a doubt.
Now we have reached the last part of the album, whose first two songs are named "La Pasión Según el Caníbal (parts 1 and 2). Nice bass lines and keyboards accompanying the vocals, the structure is pretty good, and the lyrics better. There is again a guitar solo after the half of the track, later some new guitar and keyboard figures appear. Soft piano and raw guitars for some seconds, in order to give pass to the last part of the song, which is fading out. Then, where new bass lines appear is the sign that the second part of La Pasión has started. And this part is great, the rhythm might be the same but this time the music flows naturally and creates a wonderful atmosphere. This time vocals do not appear, for the first time in the album, and it is a nice decision.
"Invernadero de Preguntas" is a short two-minute track, with odd noises that make me thing of a city of emptiness and desolation; I don't really know what the purpose of this short piece was.
"El resto" returns to that interesting and symphonic like feel due to the keyboards sound. There are some short passages where the music sounds soft and calm, but in moments it becomes heavier, faster and intriguing. There is a moment after minute two where the guitar solo is evident, but when it appears it is really enjoyable.
"Sombras sin Filo" is the last track. Another short piece that since the very first seconds sounds like a goodbye due to that acoustic guitar sound. Actually this song is only Alejandro with his guitar, showing their relationship and intimacy. The last words are "lo que te espera es mejor" a nice way to end this great álbum.
Freak is a most complete album, its sound shows how Alejandro has improved with the years, and also shows a more mature sound. If you know Persona and Freak, you will clearly notice the difference between them, however, all is a matter of subjectivity, you may like better Persona than Freak, or the other way around. This time my final grade is four stars
Freak is the 4th full-length studio album by Argentinian artists Alejandro Matos. The album is an independently released affair.UMUR
The album is pretty long with its 70:53 minutes playing time distributed over 11 tracks, but Alejandro Matos manages to keep the listener entertained all the way through the album with his melancholic progressive rock. The songs are generally very vocal oriented and while I sadly miss the lyrical dimension of the album because the lyrics are in Spanish, Alejandro Matos provides emotional impact anyway. Just as the case was on Alejandro Matos last album Persona (2006), he plays all instruments and sings all vocals on the album. In addition to that he also produced the album. So this is another "true" one-man project. There´s some violin on the album which is courtesy of guest musician Veronica Marjbein though. The guitars and keyboards on the album are well played and that´s obviously where Alejandro Matos has his forces. That and the at times intriguing songwriting. The rythm section is a bit more questionable. There´s nothing wrong with the things that are played, but especially the programmed drums seem a bit stiff IMO. It´s exactly the same I felt when listening to Persona. A "real" drummer might have done the trick.
The production is good considering that Freak is a self-released affair.
Freak is another good album by Alejandro Matos and compared to Persona I think the positive development is obvious. Freak is a better written and more mature album and I think a 3.5 star rating is deserved.
I want to congratulate Alejandro on this his most recent album called "Freak". I felt his previous record "Persona" had it's moments but it was too inconsistant. I was encouraged after reading Memowakemen's review because we have similar tastes, and thankfully my expectations have definitely been met. It's another concept album but as usual for me it's all about the music, especially when the lyrics are in Spanish (haha). I like how there is this similar sound and mood throughout.John Davie
"Falso Primogenito" opens with strummed guitar and vocals. It kicks in nicely before a minute as drums and organ standout. Great sound here. It settles back 2 minutes in with vocals. Love the relaxed guitar solo before 5 minutes. Vocals are back as that good heavy sound continues. "El Mas Alla" opens with percussion, light guitar then reserved vocals around a minute. Mellotron-like sounds 3 minutes in when the vocals stop, then it gets fuller. It's spacey after 4 minutes then it kicks in heavier than ever. Nice. It turns spacey again and blends into "Agujero De Suenos" where it continues to be spacey then the organ followed by vocals take over. It's spacey with a beat before 3 1/2 minutes then the vocals return. Spacey to end it.
"Verde Por Dentro" is spacey to start as reserved vocals join in. We get some brief heaviness before 2 1/2 minutes as the contrasts continue. Violin before 4 1/2 minutes with a spacey atmosphere. "Veneno Ilustrado" sounds great after a minute when it gets heavier. Piano then guitar before 3 minutes. Vocals late. "El Infierno De Los Buenos" is the almost 19 minute epic. Fragile vocals and piano to start. The guitar replaces the piano around 2 minutes. Drums join in.The synths before 5 minutes are brief.The electric guitar before 6 1/2 minutes sounds really good as the vocals stop.Vocals are back after 8 minutes when the guitar stops. Organ 8 1/2 minutes in then spacey synths roll in and dominate. It's kind of haunting as reserved vocals arrive. Drums and guitar after 11 1/2 minutes as it builds. It's heavier a minute later. A calm 14 minutes in with piano, light drums and bass. Electric guitar a minute later as it gets heavier again. It's spacey 18 minutes in. What a track !
"La Pasion Segin El Canbal" has relaxed sounds with vocals. It picks up after 2 1/2 minutes then it gets heavier. A calm after 5 minutes with synths. It blends into part two of this track. It picks up then synths come in followed by guitar. Organ before 4 minutes. "Invernadero De Preguntas" is such a cool track with all the atmosphere with voice samples. "El Resto" kicks in quickly then settles some when the vocals arrive as contrasts continue. Some nice relaxed guitar 2 1/2 minutes in then it turns heavier before 5 minutes. "Sombras Sin Filo" is the short concluding track with acoustic guitar and reserved vocals.
An enjoyable listen throughout and worthy of 4/5 stars.
Alejandro Matos' recording style has become much more polished since the release of his previous album, "Persona". The songs are all slick and well composed. Even his singing voice, which was somewhat warbling in the previous album, is now much more steady, and easier to listen to.Scott Evolver
His music varies from symphonic prog, to heavy, almost metal sounding prog, to strong arena rock with prog leanings. He plays all of the instruments here, except for a guest violinist, and excels on just about every one. I especially enjoy his bass lines, and low-register synth work. I would, however, suggest that he add some variation to his drum progamming. The plain beats he often sets up sometimes are too drab for the music he creates. Otherwise, this is a fine album.
Argentinian composer and multi-instrumentalist Alejandro MATOS has been active as a musician and band member since the early 90's, in particular from 1993 and onwards when he moved to Buenos Aires to study music. As the years went by he also started gathering material that needed additional outlets, and in 2000 he started a solo career with the album "Lo Que Qeda". Three more solo productions have followed, and "Freak" from 2009 is the most recent of those.Olav Martin Bjørnsen
Those who enjoy late 70's Pink Floyd and have a soft spot for the Italian art rock scene seem to be just as much a core audience for "Freak" as for Matos' 2006 creation "Persona". The songs appear to be subtly more sophisticated this time around, the performance marginally better and the technical work arguably improved to a slightly better level too. A solid effort on all levels, well worth getting more familiar with by those who suspect they might have an interest in art rock of this particular nature.
Why is this guy so dark and pessimistic? He is a skilled musician with a lot of good ideas and probably some influences from King Crimson and connections with Post/Math bands. If he only could smile sometimes....Luca
Well this is probably due to the fact that I'm listening to this album after one year since the last time and the day is too sunny for this music. Thinking better, the epic song I'm listening to while I'm writing, "El Infierno de Los Buenos"" (the hell of good people) is too good. Even if I'm not in the right mood I can't avoid appreciating the guitar solo in the middle of the song.
In general, respect to "Persona" the arrangements and the production are better and the presence of an about 20 minutes song is a symptom of musical maturity for a singer- songwriter-one-man-band. This song is enough to give the album a high rating.
I haven't give a particular care to the lyrics. I'm not spanish and even if I understand a bit of that language I need to concentrate on them and this time I was more concentrated on music, but I can guess that they are very interesting. The music is dramatic and the track titles give me the impression of very intense lyrics and poetry. "La Pasion Segun El Canibal" means "The Passion According to the Cannibal". I'd like to know what it's about. The two songs with this title are mainly the same song in two parts, and one of the moments closest to KC of this album.
Other songs, like "Verde For Dentro" have a mood similar (in music, not in lyrics or vocals) to bands like "From Monument to Masses" and the opener has a musical structure and sequences of chords that remind me a band like "All Over Everywhere".
To give it the next listen I will wait for the next rainy day. In the meantime I'll search for the lyrics but for now I don't feel that rating it with 4 stars is hazardous. Even in a sunny day this dark music is so good and interesting that I'm arrived at the end of the album and I'm restarting from "Falso Primogenito". I didn't spot the organ before....
Was not aware of Alejandro Matos until another of our members suggested I check him out. This was the first of his works I listened too and found it quite interesting. Mr. Matos is clearly a talented multi-instrumentalist and composer. I found the song writing and composition very interesting-dark, moody, a bit brooding, but not depressing. He is listed as crossover prog, but I found a lot of early King Crimson influence in this work-a good thing.yanch
My biggest issue with Freak is the vocal performance. The vocals don't display much versatility or range and as a result the melodies don't deliver much emotion or power. It's unfortunate because the music is enjoyable. I must admit that this is my first taste of prog not sung in English and I had reservation about being able to enjoy it without being able to understand the lyrics. Didn't mind the language issue, but did mind that the vocals took away from the overall quality of the work. Four/five stars for the music and composition, 2/5 starts for the vocals, so a solid 3/5 stars overall.
My first album by Argentinian singer/songwriter Alejandro Matos. This record is very, very dark and at times the music has a almost unsettling feel to it. That does not make this a bad record, but it is not recommended if you need something to get you happy.Alex Newman
The first thing that struck me was Matos's guitar playing. it is my favorite thing about this album really, and he really has a penchant for good post rock like atmosphere and sharp, enticing guitar solos. The addition of an organ is also a realy nice touch to the whole dark atmosphere this record shrouds itself in.
Some personnal favs are the beginning song, and the epic El Infierno de Los Buenos, which has one of the really good aforementioned guitar solos. Also a special shout out going to the interlude like song, Invernadero de preguntas. All I have to say about that song is, whatever you do, do not listen to that song in the dark. It is up there, in terms of extreme creepiness, with Tool's Faip De Oiad.
A solid album deserving of four/five stars.
Three years after "Persona", Alejandro Matos released another album: "Freak". Basically, this album shows a similar style as "Persona", dark progressive rock with Argentinian influences in the melodies, but the approach on "Freak" is far more symphonic. "Freak" shows a greater diversity in the usage of instruments: there are more keyboards and acoustic instruments. The vocal performance has obviously improved. Veronica Marjbein on violin appears as a guest musician, all the other instruments are played by Alejandro himself.Robert
Just like "Persona", the album consists of two parts: "Anormal" and "Normal", of different length, and one epic track inbetween.
"Falso Primogénito" is a strong opener, starting with acoustic guitar and vocals. When the organ enters in and the sound becomes heavier after one minute, it reminds me of Van der Graaf Generator. The next track, "El Mas Allá", grew on me after a few listens. I like the guitar here in the first three minutes; it makes me think a bit of Steve Hackett-era Genesis. "Verde por Dentro" is a dominated by keyboards and closes with a beautiful violin solo, about 1.5 minutes in length.
"El Infierno de los Buenos", the 18:51 minute track between the "Anormal" and "Normal" sections, can be added to the list of excellent prog epics. This well- composed piece starts with piano, but the guitar takes over soon. The vocal parts are alternated by symphonic instrumental parts in which different instruments play the starring role. It is my favourite track on this album.
"La Pasión según el Canibal" starts with organ and bass in a slow 5/4. After it has become heavier, the track finishes with an IQ-ish guitar solo and some ambient keyboard chords. Then "La Pasion según el Canibal II", an instrumental, takes over and improvises on the theme of the second half of the first part. A great track.
"Invernadero de Preguntas" is a collection of noises: spacey synth sounds with a cycle of some squealing sound and voices. I think I hear some German in it. After one more track, "El Resto", the album ends quietly with "Sombras sin Filo", in which the vocals are accompanied by an acoustic guitar only.
My overall impression is that Alejandro Matos has made alot of progress in his development as a composer and a musician, as this album proves. "Freak" is a crown achievement for an artist who plays almost all the music on his own. I can surely recommend this album to anyone who is interested in dark eclectic prog. This album deserves 4/5 stars and a recommendation; no rounding up is needed.
Repito, no dejen de escuchar éste disco y conocer a éste músico, que tengo en la mira desde hace mucho tiempo y por alguna de esas extrañas razones nunca había traído al blog y no lo había presentado en sociedad. Otro paseo por los vericuetos del mejor under argentino, en el blog cabezón.
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Here's my selection of cards made for this months' UKATC partner swap. Each card must be different but any theme or technique is acceptable.
Top left - the carnation was stamped onto cardstock which had been inked with DI Spun Sugar. The dictionary entry for the flower was pasted underneath and the flower on the stamp was painted with watercolour.
Top right - I used a scalloped oval die cut from the Basic Shapes Cricut Cartridge, stamped with Crafty Individuals' crackle stamp and DI Broken China. The dress form and umbrella, also a CI stamp, were cut out and added using small 3D foam squares. Some buttons and tape measure ribbon finished the dressmaking-themed ATC.
For the bottom card I used a CI ticket stamp and DI Black Soot, cutting out the individual tickets and adding the typed sentiment. And no, I wasn't inspired by the Beatles' song but it was certainly in my head for the rest of day!
I'll share the cards made for the themed swap on UKATC in a couple of days.


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In My Sweet Time
Product Notes
Roxy launched her Blues career in the 80s, when she quickly became known for her exciting live performances at clubs, concert halls and festivals throughout the U.S. and abroad. These performances secured her reputation as "the real deal" and "NEW YORK BLUES QUEEN.'' In recent years Roxy has appeared on the concert bill with Rod Piazza, Shamekia Copeland, Leon Russell, Marcia Ball, John Mayall, Saphire, Hubert Sumlin, Gatemouth Brown, Koko Taylor, The Black Crowes, and a host of others. In 2007, Roxy and her band performed at the renowned Montreux Jazz Festival, where they headlined two stages, including the Lake Geneva Blues Cruise. As a recording artist, Roxy has performed, produced and written the material for her four highly acclaimed CDs: HI HEEL BLUES (Monad Records), ROXY PERRY, NEW YORK BLUES QUEEN (BluePerry Hill Records), BACK IN BLUESVILLE (BluePerry Hill Records), and her most recent CD, IN MY SWEET TIME. Music from these CDs has been added to classic female Blues artist lists on radio stations throughout the world. In 2006, BACK IN BLUESVILLE was awarded BEST SELF-PRODUCED CD at the International Blues Challenge in Memphis, Tennessee. In 2007, Roxy was presented with the prestigious ARTIST OF THE YEAR award by the Westchester Arts Council, New York. Media recognition over the years has been extensive, from the syndicated radio program, PORTRAITS IN BLUE, to the most recent cover story and 6-page interview in the international magazine, BLUES ROCKS THE WORLD. Roxy's music continues to be heard regularly on MUSIC CHOICE, DIRECT TV, CLEAR CHANNEL and hundreds of radio stations, web and podcasts worldwide. Highlights for her previous release, ROXY PERRY, BACK IN BLUESVILLE include features on the legendary KING BISCUIT HOUR, and two-time designation as BLUESBREAKER OF THE WEEK on the HOUSE OF BLUES RADIO SHOW, hosted by Elwood Blues, along with many live performances and interviews on radio shows coast to coast. Reviewers have embraced Roxy's live and recorded work over the span of her career; her records consistently receiving stellar reviews in major publications such as Downbeat, Blues Revue, BluesMatters, Jazz Now! And BluesWax, among others. Roxy's third release on her label, BluePerry Hill Records, is a self-produced album entitled IN MY SWEET TIME. It is primarily original material at it's best, including Blues, R&B, Jump, Swing, Country, Jazz, Funk, Latin, Delta, Rock and Rockabilly. It also includes an original rendition of the Hank Williams, Sr. classic, I'm So Lonesome I Could Cry. IN MY SWEET TIME features Roxy's bandmembers: Roxy Perry - vocals / harp, Chris Vitarello - guitar, Mike Ventimiglia -keyboards, Bob Fusco - bass, Linda Geiger - drums, and special guest players: Matt Rae - guitar, Hiro Suzuki -guitar, Matt Baxter - dobro, Mike Marble - drums, and Frosty Lawson - horns. You can see live performance videos of Roxy and the band on YouTube Reviews of Roxy's new CD ''IN MY SWEET TIME'' are all glowing! IN MY SWEET TIME ROOTSVILLE, BELGIUM Review by MVS IN MY SWEET TIME is the third release on Roxy's label, BluePerry Hill Records, following NY BLUES QUEEN and BACK IN BLUESVILLE. Her first Blues release, HI HEEL BLUES, was on Monad Records. All four are great offerings, but for me, IN MY SWEET TIME stands out as the best. It's a ''showstopper'' of a disc by a Blues woman who manages well all related genres and Blues styles as a vocalist, composer and producer. All the numbers are consistently well supported by her selection of highly competent musicians, some of which are credited as co-writers on six of the songs. IN MY SWEET TIME is a Blues triumph from the Big Apple (NYC), which is not known for an abundance of Blues artist's offerings. But in fact, this CD is, without a doubt, a triumph coming from any city (and needs to be rewarded)! From the first cut, this CD is a knockout! The splendid piano intro of Mike Ventimiglia on ''Bed of Blues'', sets the mood, reminiscent of the piano stylings that supported the vocals of classic female artists of bygone eras. This sound may be nostalgic, but it undoubtedly translates into the contemporary. Not to be overlooked on this album, is the diversified performances of guitarist, Chris Vitarello. An example of his versatility is particularly reflected on the song ''Easy For You.'' It begins as a rhythm & blues number, but transforms into a Latin groove midway, where Vitarello (guitar) and Perry (harp) trade licks. It then returns to an R&B breakdown with the vocal take of an unwrapped soul. Roxy's Blues harp and voice are a powerful combination throughout. Roxy's adept use of varied styles, Blues, R&B, Jump, Swing, Country, Jazz, Funk, Latin, Delta, Rock and even Rockabilly, result in the highest level of music and add personality to her songs on this self-produced album. Roxy's production choices reflect this beautifully. In her jump /swing song, "Roadmaster," she pays tribute to the Andrews Sisters' harmonies on her background vocals . Roxy interprets The Hank Williams Sr. classic, ''I'm. So Lonesome I Could Cry,'' with a lot of soul on top of a pure country approach to the song - And it works perfectly. Guitarist, Matt Rae's Telecaster work so skillfully replicates the pedal steel sound that he just may stand up and be counted as the New Danny Gattin. For me, all twelve songs compete with each other for the 'best' position. If I had to pick one song to highlight above the rest it would be a difficult task. I would say they are all good, with a small preference for the traditional Blues numbers, like the title song, ''IN MY SWEET TIME'' (Hiro Suzuki /guitar), which pays tribute to the gospel style, and ''LET ME HAVE MY REST'' for it's beautifully executed resophonic Dobro (Matt Baxter), and of course, Roxy's vocal and harp, present an authentic Delta sound. The clincher, "NOT BAD ENOUGH," puts both our feet back in the twenties era with it's totally nostalgic take. Roxy sang and produced it replicating the 78 sound with the crackling needle-on-disc effect. You can just envision the logo of the little dog listening at the big horn speaker to ''His Master's Voice'' on the old Victrola. Nobody is going to be able to tear this CD from my hands. MVS | Rootsville Roxy Perry "in my sweet time" | Blueberry Publishing 3868 BLUESSOURCE.COM Roxy Perry has been dubbed as the New York Queen of the Blues but her vision is wide-ranging on this new CD as she works through twelve cuts of blues, jazz, R&B, country and rock overtones as she notes on the back cover. Overall, Perry's vocals are blues-infused despite the genre description. The first cut of "Bed Of Blues" has pianist Mike Ventimiglia nicely introducing the sultry melody as Perry's supple vocal phrasing pleads for reconciliation. She then launches into R&B influenced tunes, "Easy For You" with scorching vocals enhanced by a lavish harmonica exercise and "Roadmaster" with it's jump melody and big band groove. The only cover on the CD is "I'm So Lonesome I Could Cry" (Hank Williams, Sr.) and Perry's aching vocals are sumptuous while the cry in her harmonica resonates with anguish. "Blues Comes To Call" is a swinging bluesy lament augmented by guitarist Hiro Suzuki's arresting solo. On "Goodbye Honey" Perry's rich vocals display an exquisite sense of timing. "Don't You Worry" is funky and the band's layers of sound propel Perry's repetitive exclamation "this ain't the worst day of my life." Perry's commanding harmonica playing enhances "That Night In Memphis." Returning to the blues, Perry is in her element on the last three tracks and leaves one wishing she had concentrated on more of this content. "Let Me Rest" features Matt Baxter on dobro and stomp box with Perry on vocals and harmonica-her enchanting vocals sizzle with emotion. The title cut "In My Sweet Time" has an alluring gospel-like melody and Perry's ethereal vocals meander from sweet to saucy. "Not Bad Enough" is reminiscent of Ma Rainey and is a duo with Perry on vocals and Ventimiglia on piano--Perry's burnished tone is outstanding on this classic blues sound. A formidable band and a singer who possesses a remarkable voice combine to make this a marvelous effort. Perry hit a home run on this one even though she took her sweet time and it was worth the wait. (C) 2008, Dorothy L. Hill BluesSource.com ROXY PERRY - IN MY SWEET TIME BAKER STREET / RADIO MENERGY 11/08 Roxy Perry a/k/a NY BLUES QUEEN has just released her fourth album titled ''IN MY SWEET TIME.' It is a different and more intimate album than her three previous productions. ''IN MY SWEET TIME'' oscillates between Funk, Jazz, Blues, Country and Rockabilly and merits more than one overall description. On one hand, she has managed to surround herself with the finest NY musicians. On the other, this album reveals, in 12 titles, all facets of her talents. It is anything but an ordinary Blues album. It is, in fact, an extraordinary reflection of Roxy's diverse musical roots. The singer / harp player does honorable tribute to Blues singers of the past and brings a fresh approach to Country Music's forefather, Hank Williams' ''I'M SO LONESOME I COULD CRY,' the only cover on the album. In 11 original compositions, Roxy immerses us into a musical universe without faults or lack of taste. Thanks to ''IN MY SWEET TIME'' we can say loud and clear that her title of ''NY BLUES QUEEN'' is intact. Xavier Boulanger Baker Street / Radio Menergy France Roxy Perry - In My Sweet Time Reviews 11/08 ROOTSTIME / Belgium This is Roxy Perry's fourth release. I still have Roxy's previous BACK IN BLUESVILLE, which was one of the first strong blues CDs I discussed here at Rootstime. IN MY SWEET TIME is also a self-produced album. As on the prior releases, she plays considerable blues harp on this disc. The title 'New York Blues Queen' that she has carried since her debut is sustained. Roxy has what the big blues mamas from the thirties to the fifties own; the power and authenticity of ladies such as Memphis Minnie, Victoria Spivey, Big Mama Thornton. She may not have had the 'blues life' of those ladies, but you see a bit of it in her songs. She even succeeds in the classic 'I'm So Lonesome I Could Cry' by country music legend Hank Williams. She injects a perfect serving of blues to the song with so much conviction, that it immediately becomes one of the peaks of the CD... Undoubtedly, by far, the most beautiful song on this CD is 'Let Me Have My Rest', with only the dobro accompaniment of Matt Baxter. Roxy's powerful voice and harmonica bring pure blues of absolute top quality. The title song that immediately follows is a slow blues with high gospel quality which let's you hear that Roxy is at home in all markets. No matter if it's jazzy ballads, slow blues, rock & roll, swinging or funky blues songs, sensitive harmonica solos, dobro, slide or Memphis style grooves... she has them all to offer. And what's more, everything is top notch. Also very valid is the genuine sound of 'Not Bad Enough' that transports (the listener) through effects, such as a crackling 78-monophonic (record track) and old microphone quality, letting you hear that the titles of 'Blues Mama' and 'New York Blues Queen' are entirely deserved - You imagine yourself back 65 years in time, where you listen to your old trunk record player with discs of the best of the ladies. Have a 'Sweet Time' listening to this one. Freddy Celis ROOTSTIME / Belgium In My Sweet Time - Roxy Perry Blue Perry Hill Records 3868 2008 Mark Gresser ('Dr.Blues') | NYNJ BLUES COLLECTIVE Ms. Roxy Perry knows how to give us some Blues. A long career in the once smoky boites de nuit of NYC's once thriving blues scene, Roxy knows a thing or two about singing, writing blues, putting together a band and life itself. A simply swanky swinging band backs the verbal honey and phrasing the likes of Bessie Smith on, for example, "Not Bad Enough." Roxy visits all the precincts of blue from acoustic country a la "Let Me Have My Rest" to sweet low and soul as Marcia Ball gravel rasps through. In My Sweet Time with it's modern urban Blues, R&B and funky 'tude shows Perry's sure command of the genre and a virtuousic ability to bend your soul with her lush, smokily sensual pipes. This lady surely does the blues right and this disk is easily a "must have." Quality, talent and chops-what else does a gal need? '...In My Sweet Time. Strong horn lines, superlative lyrics, unexcelled vocals. Another unquestionable success for Roxy Perry and Blue Perry Hill Records.' Dave King CROSS HARP CHRONICLES.


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The East Bay hills were alive with the sound of starter's guns this last weekend for the summer long course Junior Olympics in Moraga, in which swimmers must meet the JO qualifying standard just to compete. A small but fiercely focused team of Pacifica Sea Lions were on fire and a number of inspiring performances stood out.
Riley Rhodes qualified in seven events, collecting personal best times in most and placing in the top eight for medals in five. In the 100 back, Rhodes tied the PSL pool record with a 1:24.10 time, taking off almost a full second from her previous best time and placing fourth overall. Probably even more inspiring was her 200 freestyle (2:40.90) in which she shaved off over three seconds for a new Far Western in the prelims while just squeaking into the top eight for finals. In finals, she defied logic and took off another four seconds for a PRT, beating out three other girls to finish fifth overall.
Rhodes also improved her 400 free by over a second to place third with a 5:53.18 and fifth in the 50 back with a 39.40 for a new PRT. Only tenths off her best, she placed eight in 100 free with 1:15.23 for her fifth medal. In prelims for the 50 Free and 200 IM she placed 12th and 13th respectively with strong swims against a very competitive field. She also hit a PRT and Far Western time of 2:40.90 in the 200 free.
Luka Goncharov also blazed to glory by taking off almost 15 seconds in prelims for the 400 free, making finals in his very first JO meet while also earning both a Far Western and his first PRT with a 5:52.33 time. In finals, he moved up a spot to capture a medal for seventh overall. In the 200 frestyle, he scored his best time with a 2:47.62, improving by over three seconds and finishing strongly but just short of the final qualifying round.
Nine-year-old Emil Guibadoulline qualified for his first JO meet in the 400 free and swam bonus events of 100 free and 50 back.
When Emil's googles decided to leap free of his face in the very first 50 of the 400 free, Coach Mary Germano said, "I'm so proud of Emil for forging ahead. Many kids would just stop but he just kept going! He didn't give up and that's a sign of a great competitor".
Joining the individual competitors for the relays, the girls 10 and Under Medley Relay Team of Rhodes (10), Sonny Guibadoulline (7), Katelyn Quon (8), and Serawit Ezra (8) were undeniably the youngest competing in such a high level meet yet they captured eighth place with a 3:09.20 and gained some invaluable racing experience.
The Boys 10 and Under Medley Relay, comprised of Jack Ryan (10), Goncharov (10), Henrik Barck (9) and Guibadoulline (9), raced their way to a sixth place finish with a 2:55.73.
— Submitted by Karen Ablard


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Please do not use forums to advertise courses.
microDNA Therapy
Homeovitality is an entirely new concept in health promotion. For the first time ever, Homeovitality helps everyone to benefit from new "cutting-edge" genetic discoveries right now using a safe, drug free delivery system.
Homeovitality has been developed as a safe and natural way to help everyone to achieve nature's "super-health" and stay healthy. It is based entirely on the proven principles of Dr. Bernard Marichal's gene targeting technology.
In 1997, Prof. Khuda-Bukhsh proposed that homeopathic substances have the capacity to interact with the genetic blueprint and deliver their benefits by increasing the expression of genes that synthesise health promoting proteins. Since then, work by Prof. Khuda-Bukhsh [2, and within Ref. 2] and other scientists [3][4] have clearly demonstrated that homeopathic substances do have the capacity to do this.
The genetic blueprint contains many genes that promote health as well as many genes that cause disease. With a view to increasing the specificity and safety of gene targeting by homeopathic DNA, (because homeopathic DNA, which is of undefined sequence, induces various disease symptoms in healthy people) Drs. Jenaer and Marichal pioneered the use of highly diluted small DNA molecules with well-defined sequences to target immune response genes and fight infections. Their system, called Micro-Immunotherapy proved to be very effective. The Homeovitality system was developed along the same lines as Micro-Immunotherapy.
The Homeovitality system uses highly diluted DNA molecules with precise sequences to target genes that produce the body's natural proteins that have been proven to promote health as well as protect against and resolve many diseases.
1. Khuda-Bukhsh AR: Potentized homeopathic drugs act through regulation of gene expression: a hypothesis to explain their mechanism and pathways of action in vivo. Com Ther Med. 1997: 5; 43.
2. Saha S K et al., Phenotypic evidence of ultra-highly diluted homeopathic remedies acting at gene expression level: a novel probe on experimental phage infectivity in bacteria. Zhong Xi Yi Jie He Xue Bao. 2012:10; 462.
3. Sunila et al., Dynamized preparations in cell culture. Evidence-Based Comp. Alt. Med., 2009:6:257.
4.Frenkel et al., Cytotoxic effects of ultra-diluted remedies on breast cancer cells. Int J Oncol., 2010: 36:395, 2010.


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Saturday June 17th
Limited Mini Session
1 ~ 8 x 10
2 ~ 5 x 7s
3 ~ 4 x 6s
8 wallets
Includes sitting fee for one person.
$10 per additional person in package.
Package includes one pose.
Additional Prints available at a la carte prices.
Session will last 10-15 minutes!
And will be lots of fun!!
The set will include the old blue truck , but not in the back of it. It will be very Fourth of July and American!! And Vintage too!
Kids can wear solid reds, whites or blues... Blue Jeans , overalls, etc. The backdrop will be very patriotic so a printed outfit might be a bit much lol
Opens for booking Tuesday @7pm on blog


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