Lana Lane - Love Is An Illusion Reviews

LANA LANE - LOVE IS AN ILLUSION REVIEWS

REVIEWS

"The "LIAA Prelude", "Through the Fire" and "Faerie Tale State of Mind", show the extend of the boundaries that this band is preparing to offer to contemporary rock. The collaboration of the charismatic Tony Franklin on bass (formerly of Firm, Blue Murder) adds weight to this debut."
[Chris Kissadjekian, Metal Hammer, Greece, December 1998]

"I noticed at an event the other day that Lana Lane has so many girl fans. For those who come to see hard rock bands, there is tendency to mainly support male heroes, but Lana's heroine status draws a line outside of the usual sex appeal routines of attracting guys or the appearance of strong warrior type. For the most part, this is due to her fantastic, literate, and philosophical type of angel image that coincides with the usage of a progressive mood in their sound. If this progressive image continues to grow, how do you balance this with her female hard rock roots that we observed at the recent live shows? The new songs (definitely hard rock) and powerful remixes of the original songs on this album provide a solution. These are rather small grains in comparison to their later material, but once again it must be recognized that these are high quality and excellent emotional pieces."
[Takayama, Euro Rock Press Volume One -- translated from Japanese by Toni Rampley]

"Lana's memorable debut album "Love Is An Illusion" was reborn and re-released. All of the songs have been remixed and remastered with the addition of 3 bonus trucks. For instance, the guitarist from the original "Love Is An Illusion" album has been replaced with Neil Citron, and "Through the Fire" was recreated by Tommy Amato and Tony Franklin who contributed time during his activity with Pearl. Remarkable bonus tracks include "LIAA Interlude" adding to the beautifully constructed instrumental songs "LIAA Prelude" and "LIAA Postlude". There are also two brand new hard progressive songs that are in the similar spirit to the other songs on this album. Of special note is the eight minute song inspired by Yacek Yerka's fantastic album cover and featuring Erik's organ solo, "A Night In The Garden" is a must hear. As a result, the original 45 minute album is now extended to 65 minutes. This would be a valuable piece to new fans as well as for those who already have original album. Taste the luxurious "Fantastic Love"."
[Takayama, Euro Rock Press Volume One -- translated from Japanese by Toni Rampley]

"Following her live CD, there is also now available from Lana a completely revised version of her debut CD as a Japanese import. The revised CD contains three bonus songs and a great booklet that is typical of Japanese releases. Lyrics, nice photos of Lana ... and the now almost habitual "Notes From The Producer's Desk" from the quill of Erik Norlander. "Into The Ether" and "A Night into the Garden" are two harder songs, which were created in this year for the reissue. The latter song is based by the on the cover illustration to the CD from Jacek Yerka, who is responsible for all covers of Lana. "LIAA Interlude" is an instrumental track, which inserts perfectly between "LIAA Prelude" and "LIAA Postlude". The well-known songs from the CD were reconstructed again and they sound substantially better than the original version. The old songs have a new feel, however, because of the almost completely redone guitars of Neil Citron who plays noticeably new solos. Those who have the opportunity has to hear both CDs in parallel will notice immediately the stronger new version. Those who do not possess the old version should invest a few more Marks for the import [reissue] version in all cases. It is really worthwhile itself just because of the bonus titles! Anyone who already has the original version on their shelf should give it away and immediately order the '98 version."
[Michael Wesche, Empire magazine, Germany, January 1999 -- translated from German]

"First up is "Love is an Illusion-1998 Re-issue", and thanks to the 'Producer's Notes' by Erik which appears in the back of the CD I know a little of the background as although this is her first album, it is also very recent indeed. Originally released in 1995 when it was recorded on a shoestring budget, her subsequent success (mostly in Japan) let them go back and record both new songs, and new parts to original recordings. In one case, "Through the Fire" the drum and rhythm tracks were damaged on the original tapes, so they just went in and recorded totally new ones to fit in with the original keyboard and vocal tracks. Spot the join!! In fact, this album was only completed in July so it is both her oldest and most recent recording.

With both the lyrics and who played what, when, and what was altered, this is a very interesting booklet (by the way the cover art for each album is by the same artists, Jacek Yerka, which gives them a very strong group identity), but at the end of the day it is the music that counts. With three guitarists it would be expected that this would be a very heavy album indeed, but, that is not the case. While it will always be seen as being a rock album, there are many more progressive elements that HR. Lana has a very strong, very melodic voice, with a good range but also the power that she sometimes needs to get above the band. There is far much more going on in a musical sense than is normally found on an album. Is this down to the guitar interplay? Having an excellent keyboard player with many sounds at his disposal? Or a bassist who is far, far more than that, playing an instrument that was developed by Emmett Chapman (Chapman Stick) and Ned Steinberger (Steinberger Guitars). It is hard to pick a fave song, but in the end I would probably plump for the title cut which is a straight in your face pounding, melodic rock song with Lana rising majestically above the music."
[Kev Rowland, Feedback Magazine, UK, January 1999]

I was surprised listening to Lana Lane because I had assumed that this would be progressive rock since MARQUEE/BELLE ANTIQUE is in charge of distribution, but this is hard rock! To be more specific, import album stores would like to categorize this between AOR and hard rock. It seemed like it was produced by a group of contacts of Paul Sabu, so it is easier to analyze it from a hard rock point of view rather than as progressive rock.

The way I see it, the subdivision is advancing far beyond the limitation of the scene, but on the other side, I think we overlook the fact of a fusion and union of these categories despite the theory of subdivision. When "borderless" becomes a specific style from the length of its vagueness and broad sense of interpretation, it begins to have a face of front and back. If the band that was worshipped as a cult-like figure surfaces as overground, this would be the front, then the band that depends on classics and begins to search for a new interpretation within it would be the back. It is indeed forming curious scenes. Among these, special attention goes to a formation of hard rock/heavy metal and progressive rock. There is no need to explain that earlier, RUSH's technique became a model, and to summarize the bands of the 80's, QUEENSRYCHE's reformed method and DREAM THEATER's new interpretation became big influences for the new generation. In recent years, I have noticed a phenomenon that import album stores categorize the unknown new bands' CD as "QUEENSRYCHE like" or "DREAM THEATER like". I have also noticed that import album stores try to get the customer's attention by labeling with a word formation such as "technical such and such". My feeling when listening to these CDs, is that a very wide range of music expression is categorized under these "such and such" catchy umbrella phrases. A borderless occurrence of the back indeed exists here. For example, the young generation musicians who listen to GENESIS and METALLICA with the same appreciation are influenced by both of them and from it they create their own style of music. A listener of borderless should be able to think that we are surrounded by 90's reality, where the music itself is visible without categories.

Personally, what interests me is that quite a few European bands that started as death metal adopt the technique of aggressive rock using names like gothic. This method which was originally created by Scandinavian bands changed so many death metal bands after the success of THE 3RD AND THE MORTAL. A true example of borderless is given by the Swedish band DEATHORGAN, who chose to use organs as the main sound instead of using guitars, similar to the approach of ATOMIC ROOSTER. I do not doubt that the formation and union of this subdivision will rapidly grow from now on. Although I look forward to seeing this, the key is to establish a complete personality from it.

This is a quote from the staff of MARQUEE/BELLE ANTIQUE's release information for Lana Lane's album "Love Is An Illusion": "For example, a female vocalist like ALL ABOUT EVE." I felt a breath of fresh air in their point of view. My honest opinion is that the tonal colors obtained from an artist changes depending on whether it is viewed as a hard rock or aggressive rock. As I mentioned before, my view was sensationalized after looking at the credits thinking "Paul Sabu's...". Her clear, sweet and expressive vocal style makes me feel the wideness and depth which can be described as ALL ABOUT EVE and Scandinavian gothic metal female vocalists. This is definite. The mysterious mood that comes from the fantastic, enchanting and beautiful artwork creates harmony with the title "Love Is An Illusion", bewitching the listener. I'd assume the mania1 is buying this CD just by looking at the artwork.

Lana Lane, who has been working as a backing vocalist for so many artists in the LA area, could not possibly be a teenager. Assuming from her picture (she seems to be married), she may be in her mid to late twenties. I sensed that she has finally debuted after a long career in obscurity, but judging by her voice and expressiveness as a vocalist, I wouldn't doubt that she could have debuted a lot sooner.

"Love Is An Illusion" is produced mainly by a group of LA session musicians. Erik Norlander, who produced and engineered this album, is also a song writer and keyboard player, and this album is mainly supported by him. I would like to point out that they covered "Dream Burnin' Down". I am not sure what their relationship is, since I don't have enough information, but this song is from Paul Sabu's solo work, recorded on his fifth album, including his band's albums, titled "Paul Sabu" released in '94. It is interesting to see that Tommy Amato (drums), who is a friend of Paul Sabu, is also participating on this album. Paul is known as a producer and song writer, and his connections in the LA area are extraordinary. There is no mistake that the cover of "Dream Burnin' Down" is a development of this group of people. You will understand, by listening this album, how remarkable it is to listen to these session musicians' distinguished, skillful technique.

It cannot be ignored that the song writer's style recognizes Lana Lane's characteristic perfectly. They have succeeded in expressing her charm from every angle by using a wide range of musical styles, from lyrical songs to hard rock. For this reason, "Love Is An Illusion" is solidly produced. There is no doubt this will have a fresh impact on listeners by featuring Mellotron, organ, throbbing vocals within perfectly completed arrangements, and melodious guitar entangled in it. A coherent composition that opens with "LIAA Prelude" and ends with "LIAA Postlude", and the album's greatest essential point, "Through The Rain", displays exceptional arrangement and crystal vocals. It can be said that this album has a splendidly mysterious essence drifting in it. [Liner notes for the Japanese pressing by Seisoku "Masa" Ito, September 9, 1995]

This is the solo debut album of a female singer from LA who has spent numerous years as a backing vocalist for a variety of musicians. It is filled with songs of sorrow and beautiful melodies, clean, but with a powerful vocal core. It is indeed a well produced, pleasant piece. The sound by itself has a 70's feeling, due to the frequent use of Mellotron and Hammond, but that does not mean it is. It was completed with modern style (does not mean trendy) by using these properties, skillfully creating a great mood. Song quality is extremely high. Above all, the dramatic ballad, track 9, with the crying guitar and Lana's sorrowful vocal is a heart grabbing masterpiece. Burrn! rating is 87 out of 100. [Hasegawa, Burrn! (Japan) February 1996]

Lana Lane seems to be selling well. "Isn't it basically rock music even though it's female stuff?" "Yes." It seems that HR/HM fans also jump at it. Well, since Rocket Scientists (technically, Erik Norlander) is doing all the back up work, I'm sure there were many people with peculiar listening habits, who think certain backing parts are cool, or they hear the Mellotron whining, and besides, it has to be checked out because of the looks1. But, the world is suffering from music saturation and it is true that the scene is going in the direction of "normal is the best", or something. Some people listen to Lana Lane from a maniac2 point of view, and some people buy her CD simply because it is a female vocalist rock album. However, an increasing number of people are finally noticing (have noticed, or trying hard to notice...?) the fact that good stuff is good, even if it is generic rock, which has no specific categories like metal or progressive.

On the other hand, there is the phenomena of metal and progressive getting closer to each other and being boxed in the same category, but it's neither of these styles. People are getting bored with that kind of "heavy" (does not mean the sound) stuff, and reacting sensitively to sorrow melodies or high quality AOR bands thinking "this is it". It's not even a comparison of METALLICA and MAGMA3, now is the period where the real hard core death metal mania are even listening to the Bolivian band BRUTAL KIMBALL4 's solo at the same time. Oh, how natural.

Of course, I could expect just about anything since this is from Marquee / Belle Antique, but it's no longer the time for strange, fearful, or difficult music just because it's from Marquee, since Lane Lane's album reviews are printed in all sorts of magazines. For this reason, it seems the ambiguous term "progressive" doesn't necessarily mean "peculiar" anymore.

Coming after Lana Lane, the Rocket Scientists' albums will be released. First, "Earthbound" from 1993, then the brand new album "Brutal Architecture" is schedule to be released (a pre-release just arrived here while I am writing this article).

For more information, please refer to each album's section in this article. If you look at the Rocket Scientists' member credits, you can see that this is "Love Is An Illusion" and even Lana is participating.

Anyhow, it is terribly promising that Erik and Lana haven't been swept away by the 90's LA music industry since most of the bands from America offer music that is predictable. However, they also seem to have connections with HR/HM people.

By the way, Rocket Scientists' new album is strongly influenced by Erik's taste, maybe this means Lana's next album will be? [Marquee magazine (Japan) February 1996]

Erik's keyboard accents show up here and there but of course the center is Lana. It is unexpectedly surprising that the guitars are essentially Hard Rock, Lana's vocal is very energetic, not targeting sensitivity or lyrical style as a focal point, especially the title track and track 6, which are absolutely Hard Rock with the cutting guitar solos. I noticed that track 3 is kind of like a Kate Bush approach and this is the same as Sahara's second album. She would definitely be categorized as a powerful female singer. About track 8, Paul Sabu is a hard rock musician originally from an idol band, and Steve Plunkett was the singer for LA's metal band, Autograph. Both of them are now mainly producing and writing songs. Was Paul Sabu's song chosen from the connection of Tommy Amato? I don't see any other connection. In any case, this could stand in parallel with Heart. [Burrn! magazine (Japan), February 1996]