HESS

Artist's Website
Contact Artist
Illinois, USA

Available CDs

SPECIAL: Order Opus 1 or Opus 2 and get a Guitars At An Exhibition: Volume 2 for free!

Exploration (5:44)
Homage (4:40)
Phoenix Rising (6:12)
Empire (3:39)
Modes Of Expression (5:42)
Lydian Speaks (6:28)
Imperial (4:08)
Through Space And Time (4:20)
Golden Colloseum (2:55)
On The Brink (8:48)
Queen Of Me (6:25)
Palette Of Shades (7:58)

"Hess, a trio of chop-heavy chaps, makes a deadly Neo-Classical drenched launch onto the instrumental guitar scene with their smoking debut, "Opus 1". Hess consists of Tom Hess and Mike Walsh on guitars, and Scott Hess on drums. Tom also plays keyboards and bass on the cd. Traces of Yngwie Malmsteen, Dream Theater, and traditional classical composers can be heard as primary influences on the band, and Hess fuses their heavy rock and classical styles in an exciting and well-executed fashion. Ripping solos and beat bashing grooves are what this cd is about... Although the boys aren't afraid to bring it down a bit with tunes like "Lydian Speaks", a thoughtful melodic laid back composition. Hess proves themselves as a band to keep on eye on, with this excellent debut release. Looking forward to the next cd!" - Guitar 2001

"HESS is a project based around Tom Hess who plays guitar, bass and keyboards. The debut CD 'Opus 1' is a great instrumental progressive melodic rockalbum that combines the neoclassicical styles of YNGWIE MALMSTEEN and JASON BECKER with the progressive hard rock of bands such as DREAM THEATHER and RUSH. This CD is filled with quality instrumental music that has both rockier and calmer moments. The best songs are the uptempo rockers "Homage" and "Imperial". Anyone who likes instrumental guitar rock need to check out this new talent from Illinois, USA, but also fans of progressive rock will find something of interesting for their liking." - Gabor Kleinbloesem, Strutter'Zine

"The first release from the band Hess, titled "Opus 1", is a tour de force guitar extravaganza!

Hess is comprised of Tom Hess - Guitar, Mike Walsh - Guitar, Chris Dowgun - Drums. Since the release of "Opus 1" Chris has left the band and two new members have joined the fold taking Hess into the second stage of its evolution. The two new members are Mark Cardozza - Bass and Scott Hess - Drums

The CD showcase’s the bands virtuoso chops and songwriting versatility. All three musicians have total command of their respective instruments and are not afraid to step outside the box with creative composition. Hess has crafted an independent release that takes you on a journey through the intellectual minds of these three gifted musicians. The twelve tracks contained on the CD range in style from neo-classical to progressive. Tom and Mike fly through intricate passages reminiscent of players like YJM, Marty Friedman, and George Bellas. There are also some nice classical sounding passages, thrown in for good measure. All the tracks highlight the mighty musicianship and interplay between all three band members.

Highlights include the tracks “Through Space & Time” and “Exploration”. Through Space & Time is a progressive song that intertwines elements of jazz with some totally cool odd meter interplay. “Exploration, the CD’s opening track, really showcases what Hess is all about. Taking the listener through a smorgasbord journey of prog, fusion and neo-classical variations.

What really sets this CD apart from others in the neo-classical vein is the strong songwriting and intelligent guitar playing of Tom Hess and Mike Walsh. All fans of instrumental guitar who really enjoy hearing musicians that have total technical control of the instrument and an in-depth vocabulary to back it up, should seek out “Opus 1”." - Guitar Mania

Nexuses (4:51)
Kingdoms (3:37)
Into The Pinnacle (4:47)
The Cynic, The Sad, And The Fallen (7:37)
What Could Have Been...And What Is Not (6:33)
Through The Trials (5:30)
Behold (4:40)
Stained (3:57)
Beyond The Brink (4:35)
Waves Of Far Reaching (7:30)

"Opus 2, the long awaited follow-up to Hess’s highly acclaimed Opus 1 is finally here. Opus 2 features a slightly altered line-up with Scott Hess taking over the drum throne and Mark Carozza handling bass duties. As with Opus 1, Hess features both Tom Hess and Mike Walsh playing guitar. Both are indisputable electric guitar virtuosos with a style and tone all of their own. “Hess” is also a very well educated band, so it would seem, they have 6 music degrees between them! They play progressive, instrumental, neo-classical metal/shred, with lots of melody, emotion, and excellent backing musicians and orchestrations. Hess’s influences vary from Baroque and Romantic composers like Bach and Chopin to neo-classical shredders such as Yngwie Malmsteen, Jason Becker and Marty Friedman, to the progressive metal giants known as Dream Theater. There are some definite improvements in the recording quality from Opus 1, and Hess has no doubt grown musically over the three year composition process of this album, so read on to find out more about it.

Nexuses - Opus 2 starts off with a bang with “Nexuses”. This song seems to change moods a lot, with the chugging metal rhythm part sharing the focus with the lead guitar during the faster sections, and fading into the orchestral background for the slower sections, although it disappears occasionally to allow the orchestral background to be heard clearly during some of Mike Walsh’s solos. Thanks to the itemized solos in the CD booklet, you can easily tell who is soloing at all times, and it seems that the mood of the song changes seamlessly every time Tom and Mike trade places soloing.
Kingdoms - The second track of Opus 2 differs from the first in that it has no rhythm guitar whatsoever. This shifts more of the focus to the drums and bass, which do well under the scrutiny. The drums stay interesting with occasional kick drum fills. The bass stays very melodic throughout the track while supplying all the low end and not interfering with the lead guitar’s melodies. That said, the lead guitar is still the main focus of the song. Both of Hess’s guitarists playing are excellent, featuring a good balance of jaw dropping technique and emotional melody. The best part of their soloing to me, seems to be their ability to keep their playing lyrical and melodic without it getting boring, and even their fast lines are catchy.
Into the Pinnacle - This song features some cool metal rhythm guitar and acoustic background guitar. I don’t think I would be too far off the mark if I said this tune has some progressive time signatures in it. The Metal rhythm guitar is very heavy, fairly fast, and very exciting. The lead guitar’s rhythm stays similar to the rhythm guitar except when they sneak in an amazingly fast speed lick, which never seems to sound out of place. The tune slows down a couple of times and allows you to hear more of Hess’s soulful playing, and some arpeggiated acoustic chords in the background.
The Cynic, The Sad, And the Fallen - This tune rocks hard with heavy and interesting drums, and cool rhythm guitar at the start but it goes soft for a large part of the song, featuring Mike Walsh with a couple soulful delay tinged solos (with nothing but acoustic strumming and the orchestral background). After Mike’s first solo comes a completely orchestral section, followed by another solo by Mike and an awesome emotional acoustic solo by Tom. Then the rest of the band and the metal rhythm comes back in and Tom solos until finally Mike joins him in a richly harmonized duel solo at the end, featuring some subtle counterpoint harmony. All of their solos in this tune are very emotional and interesting, and the rest of the band is great as well, including the orchestral keyboard/sequenced parts. Overall, this 7:37 second song seems like a 3:00 one, I guess time flies when your listening to Hess.
What Could Have Been... And What is Not... - This is definitely one of the slower, softer tracks on Opus 2. The background consist of both the orchestral sequences/keyboard, and some acoustic and clean guitar arpeggios, slow drums, and slow melodic bass playing. The distorted rhythm guitar only adds a couple power chords occasionally to the mix. Their clean soloing is wonderfully melodic and unpredictable, with a great “watery” clean guitar tone that reminds me of Jason Becker’s clean tone during his song “Altitudes”. Some of the clean soloing also has very interesting phrasing as well, which reminds me a little of Allan Holdsworth, the way he tries to emulate a saxophone. The few overdriven electric guitar solos add a fiery passion to the song that keeps it interest ing for it’s entire 6:31 seconds. Tom’s overdriven solo at 3:50 and Mike’s at 5:18 showcase more of their chops then the rest of the tune but the main feature of their solos is still the lyrical melody.
Through The Trials - There is a lot of fast guitar shredding on this tune, but once again, it never take precedence over melody and never gets boring. In fact, most of their fast playing is as memorable and catchy as their slower melodies. This track also features a few fast, exotic sounding harmonized solos, which are really interesting. Another thing I noticed is that Tom and Mike’s guitar tones are undeniably recognizable from each other but they still blend well for harmonies. Tom once again proves his sweep-picking prowess with several stunning arpeggio sequences, which start at the 2:15 minute mark.
Behold - This track features both exotic sounding harmony solos which remind me of Cacophony, and more natural, epic sounding harmonies which almost sound like vintage Iron Maiden (but faster). Both Tom and Mike’s individual solos are top notch as too. Scott Hess’s drumming is very heavy as well, featuring some cool double bass fills and rhythms.
Stained - This is one of the more consistently heavy tracks on the album. One of the main focuses of it is the very heavy and interesting drums and rhythm guitar, while the orchestral background seems to hold them together. Mike’s first guitar solo interacts very well with the rhythm guitar’s riffing, while Tom’s solo seems to soar above it. Tom takes advantage of the faster tempo with some insane shredding and huge bends and vibrato. Mike’s last solo is very interesting and unpredictable and is followed by a short acoustic guitar finale.
Beyond The Brink - The title of this tune made me wonder if it was in any way related to “On the Brink”, my favourite track off of Opus 1. I was not disappointed. Beyond the Brink features a lot of acoustic and clean guitar playing, both in the background and taking occasional leads. There is a lot of trading between clean/acoustic soloing and overdriven electric soloing. I find that the clean and acoustic guitar soloing makes you relax and strain your ears to hear every note, so that when the overdriven guitar solo comes in it really jars you emotionally. Overall, this is a very emotional and climatic song, with lots of “magic moments” as Jason Becker would call them.
Waves Of Far Reaching - This track features one of the faster rhythm sections on the albums. Scott Hess keeps it heavy with the double bass drums and drum rolls, while the rhythm guitar fast and heavy for the faster parts. Overall I would say this tune is very progressive and rhythm focused.
Overall I would have to say Opus 2 has lived up to my expectations. That is saying a lot considering that I have been waiting for this album ever since I got Opus 1, some time before I started this Website. This album features some of the best progressive, instrumental, neo-classical shred music in existence. Both Tom Hess and Mike Walsh have their own tone and style, and a great sense of melody and phrasing, besides having some of the best chops around, and the ability to integrate them into the music. Hess’s song structure is very good too, with lots of mood changes and climaxes throughout his songs. Scott Hess’s drumming is heavy and progressive, just the way I like it. Also, I think the drums were recorded or mixed better for this album because they sound much more natural then on Opus 1. Mark Carozza’s bass playing is often melodic and interesting, while always supplying the low end of the mix. Since Mike Walsh’s tone is significantly different then Tom’s on this album, it is even easier to tell their solos apart. Another bonus is that the solos are listed in the CD booklet so you can be absolutely sure who is playing each guitar solo." - Matt Martin, GuitarRock.ca

"Every once and a while something very exciting happens in the world of Instrumental music a band, usually virtual unknowns, create something so fresh and vibrant that it sets a new direction, a new standard for all those that follow. To say that Hess "Opus 2" is that evolutionary link would be in my opinion an understatement. Opus 2 is by far one of the best releases to hit the underground music scene in a long, long time. Full of progressive elements and influences that span generations of recorded music. Hess strives to forge their own unique voice while subtly incorporating influence from great classical masters such as Chopin or Bach. What really stands out and sets this talented group of musicians apart is their brilliant compositional styling that melds together seemingly impossible ideas into one tight seamless flow. A harmonious balance is found within the intricate melodies of all compositions presented on Opus 2 that yield room for forays into technical ecstasy. Each member of Hess is a true virtuoso in their own right which enables the band to develop musical ideas to the highest echelon. Melodic sensibilities are showcased on all 10 tracks with an intertwining of sheer musical bravado and unique vision. Opus 2 is an intense, melodic mix of intelligent, complex music that is never pretentious. Every note of every composition is placed in exactly the right place, no excessive guitar / drum wanking here, just perfectly constructed songs that take the listener to a unique destination. All tracks feature exceptional musicianship delivered with passion and sensitivity. For all you tone connoisseurs, the entire CD is chock full of superbly crafted musical tones in a nicely produced very good sounding package. Another great feature of this superb package is the liner notes which itemize and break down the guitar parts so the listener knows who is playing which solo and melody. I also really like the fact that all the tracks are the "true" authentic recordings with no electronic manipulation what you hear is what the band actually played.

Kingdoms A beautiful progressive smorg of melodic point counterpoint with a smattering of neo-classical renderings. Great guitar runs and solos make up the bulk of the song whilst allowing the drums and bass to also shine.

Into The Pinnacle an introspective tune with loads of odd meter melody. A great heavy guitar riff with a melodic counterpoint intro sets this song up for some superb melodic soloing over a heavy groove.

The Cynic, The Sad, And The Fallen an epic Prog/Fusion masterpiece. A showcase of Hess's all around musical talent. Tight delivery, absolutely huge harmonization's, shred soloing, thundering rhythm section all pave the way for a softer soulful acoustic interlude which ties the melodic theme of the song together brining it full circle. There is some great guitar harmonization towards the end of the track that showcases Tom and Mike exchanging a nice point counterpoint melody.

Hess Opus 2 should send out a shock wave of epic proportions to all musicians and guitarists worldwide. Hess has transcended from somewhere not of this earth delivering one eclectic mix of virtuoso performances - a masterpiece of originality and technical prowess!" - Guitar Mania

"If you are looking for a new dose of classically influenced (and perhaps even Spanish guitar influenced) instrumental metal then look no further than Hess's second opus, Opus 2. This is a fabulous album, demonstrating some beautiful guitar playing, whether in speed mode ("Nexuses," "Kingdoms") or in a more lyrical and light mode ("What Could Have Been…And What Is Not," "Beyond The Brink"), where in both I hear a hint of a Steve Howe influence (especially in the first) in some of the fluid lines Mike Walsh, or a track with a little of both (the monster highlight track "The Cynic, The Sad, and The Fallen"). Hess are comprised of the twin lead guitars of Tom Hess and Mike Walsh, bass of Mark Carozza, and drums and percussion of Scott Hess. Proof that this was intended to be a guitar centric album – and it is – comes in the liner notes, where who's playing when is carefully documented. Of course, since neither Mark nor Scott are trading off parts with another (though with one another as the composition demands), there isn't a need to point out that it's Mark playing in this section, Scott in another. What ranks this among the better guitar-centric instrumental album is that Hess compose songs – music with texture, shadings, balance, a direction – rather just 5 minutes or so of guitar flash – though both guitarists can run up and down the fretboard with amazing speed and agility, and fluidity. All the marks of a guitar hero, and Hess has two of 'em. "What Could Have Been…" features a bit of a country twang at times midway through, but it isn't "cheaply" done and seems a natural direction for the piece. It's one of those that should be a classic. In fact, most… all… of the album fits in that category. It's the kind of album that lends itself nicely to studied listening, as there is something telling in each note, and actually far more so than if there were a vocalist expressing the emotions and ideas. Here they paint a more precise picture, with much detail.

What holds it all together, giving these guitar flights of fancy some grounding are Carozza and Scott Hess. They may not be out front, playing the lead, but their foundation is solid. And Carozza isn't merely vibrating strings, as a close listen reveals that he's playing some very interesting progressions that help shade and texturize what Tom Hess and Walsh are playing over. Each do get their moments out front, most noticeably on the album's closing track, the thundering "Waves Of Far Reaching" (live, I'd imagine this what'd they play to lead into extended solos). And, it is they that kick this album into gear with the heavy "Nexuses," a track that brings to mind Dream Theater, Planet X, Symphony X, and host of others and yet not something I can pin down precisely. The addition of – rather, the return of -- Scott Hess on drums, replacing Chris Dowgun from the last album, gives Hess the band a much tighter feel, and with a separate bassist in Carozza (it was Tom Hess on Opus 1), it gives band a more interactive feel, allowing Tom to focus more on his guitar parts.

Walsh's keening guitar leads during "The Cynic…" really underscore the "…The Sad…" part of the piece's title, sounding not so much like sad cries by anguished cries, and yet done in a very subtle manner. It's the mellowness that surrounds this moment (and the acoustic guitar textures that bring in added warmth) that draws out the sadness. There's a point just out of the mellower middle section where Tom Hess' guitar tone reminded me the darker tones of David Gilmour during the latter period Pink Floyd (Momentary Lapse of Reason-period). The only thing that doesn't work for me are the intertwining leads that close out "The Cynic…." While the "top layer" lead guitar sounds wonderful, I find the "bottom layer" lead guitar just a little whiney in contrast. But it is otherwise a beautifully constructed track.

Wow. That's all I thought each time I played this. Great, great stuff. And work has already begun on Opus 3!" - Stephanie Sollow, Progressive World

"My review of the first Hess album, 'Opus 1' gives an early history of the changing makeup of the band. For this second release, perhaps unsurprisingly titled 'Opus2', a couple of further changes have been made: drummer Scott Hess returns to the fold, and the band now finds itself with a full time bass player in the person of Mark Carozza. Throughout this album the smooth flowing style of the band's earlier offering continues to shine and, although the emphasis is on the often stunning lead guitar work, this album nevertheless remains a definite group effort, with Scott and Mark being given ample opportunities to display their craft. The opening track 'Nexuses' kicks off with a hard-hitting, no-nonsense approach. I have to confess that I was initially concerned that this was going to be an over indulgent display of axemanship - that fear, thankfully, never materialised as what we actually have here is a confident, fast moving and well thought out approach to guitar playing. The music is beautifully layered and bass and guitars are an essential part of the mix.

Kingdoms uses a nice arpeggio style, and seems to have classical leanings favoured by some of the tracks on the band's first album - and as such it offers a nice progression from their earlier work. There is a harder rock sound to Into the Pinnacle with some touches that come very close to progressive metal. That said this is a constantly changing piece that is equally capable of showing a soft delicate side to the band's work. Bass and drum work here are of the highest order and there is a tendency to put some seemingly quite difficult changes of pace into the piece that certainly keep the band on their toes. The Cynic, The Sad and the Fallen, despite a fairly heavy introduction, soon shows itself to be an altogether more subtle affair and represents, to my mind, what the band do best. Multi layered sounds weave ever changing patterns around a central rhythm and before long we get a soothing acoustic guitar complimenting the electric lead to create a generally uplifting mood. A title like What Could Have Been and What Was Not has all the hallmarks of a track that is going to be perhaps a little self indulgent, and this proves to be the case. However, thankfully restraint is ever the watch word here and what could so easily have become an over the top display of ego instead comes over as being a heartfelt display of emotion and it works supremely well. Soft, warm, relaxed, but at the same time highly charged. A firm favourite! Through the Trials switches back to the fast arpeggio style of playing and what is really nice to hear this time around is the way the two lead guitars feed off one another's energies producing a very effective composition full of contrasts - and this feeling and mood carries over into the fast yet easy flowing Behold; a great air guitar track if ever I heard one! Stained is another harder rock edged track, but though I can find no fault with it I have to confess that after the preceding pieces it left little real impression on me apart from the soft acoustic ending, which perhaps could have been made more of. The mood and pace come right back down again with the soft lilting sounds of Beyond the Brink, another slower paced number which washes easily over the listener. Wrapping things up is Waves of Far Reaching. This is quite a changeable piece alternating faster and slower sections and, while not perhaps the strongest track on the album, it certainly serves to remind the listener of the wide range of talents that make up this rather remarkable outfit.

Essentially this album is a must have for all lovers of guitar oriented music. 'Opus 2' is a worthy successor to the band's debut release, and it seems they are already working on 'Opus 3'. Based on current form I am eagerly looking forward to see how the band will move forward from the strong start they have already made. Check them out, or miss out!" - Simon, New Horizons

"Hess is back again with a vengeance with their sophomore release, Opus 2. After the success of the band's first CD, Opus 1, it was imminent that a second CD would be on the way. Opus 2 is a ferocious masterpiece of neoclassical guitar insanity that will stun anyone who dares to listen. Hess' guitarists, Tom Hess and Mike Walsh, blister through each piece effortlessly. Both players set fret boards on fire with their energetic and enthralling shred antics. Tom and Mike never back down from expressing the true meaning of extreme guitar playing. The songs are well orchestrated and written. All music fits together seamlessly. Hess took Opus 2 to a new level with more intense composition and, most importantly, soul. Heart and soul are things that critics always claim that the world of neoclassical and shred lack. Well, I'm here to say Hess breaks each stigma with every note that is born from the band¹s hands.

This triumphant guitar CD is packed with ten instrumental masterpieces of guitar magic. Let's take a look at some of the highlight tracks from the CD. 'Nexuses' opens the CD with intense guitar shredding. Hess sucks the life right out of you and won't even let you stop to catch your breath. I found the solos/harmonies to be very intriguing and I'm sure you'll feel the same. Beware of the haunting arpeggios! 'Kingdoms' is the shortest track on the CD but says so much. The song is the true essence of neoclassical shredding. I can hear the Bach and Chopin overtones throughout it. Many artists claim to be influenced by the classical masters, but Tom Hess truly lives it through his music. 'Into The Pinnacle' is an amazing mix of style, charisma, and subtle charm. Guitar harmonies dominate the focus of this track and the listener will be mystified by the simultaneous simplicity and complexity of it all. Hess and Walsh tear through some of their best lead work to date throughout this song. One thing you can't say is that it lacks melody. Hess has succeeded perfectly in composing a song that is very catchy and intense at the same time. 'The Cynic, The Sad, and The Fallen' is gut wrencher that will melt your face off! The song opens with demon-like riffing that segues into the deeper realms of shred guitar. The song's dark overtones will keep an active ear begging for more. Not only does Hess crank out some hot licks, but he also steps it down and slides through some melodic moods. 'What Could Have Been... And What Is Not' is a instrumental ballad masterpiece filled with amazing melodies that will tame any wild beast. The song's orchestration is amazing, each part flowing seamlessly into the next. Hess's songwriting skills surpass many of his industry counterparts easily. Keep your ears tuned for the clean-toned soloing throughout this track; it's very impressive. 'Through the Trials' is a neoclassical shred piece stuffed with plenty of speedy licks and harmonies. Hess doesn't fall short of writing perfect melodies full of soul in this one, either. Starting at 2:15, you'll be devastated with one of the longest arpeggio solos in instrumental history. Not only are the superbly clean, but he connects each one together like a match made in heaven! Tom is one of the few artists who can compose catchy melody lines with extreme arpeggios and for that I applaud him! This song is definitely one of the best Hess pieces ever written. 'Behold' brings back the heaviness for which Hess is known. I love the combination of chugging guitar lines and breakneck speed soloing. 'Stained' is an enigma of guitar insanity! The band merges odd riffing, different beats, and more 'out there' soloing. It's safe to say that Hess isn't afraid to take chances, using less conventional modes for their soloing tastes. So melodic yet so evil at the same time. 'Beyond The Brink' is a peaceful instrumental number that blends upbeat neoclassical themes with modern-day playing techniques. The song's harmonies truly stand out. I also loved the bands use of nylon guitars for many of the solo sections. This really added lots of texture to the songs keyboard ridden layers. To 'Waves of Far Reaching' brings the CD to a close with a huge bang. From the get-go, Hess build up a massive wall of sound of keyboards, guitar, and drums. The rhythm playing really stands out in this track and plays a key role in the success of the song's main vibe. Hess and Walsh then in turn soar through breathtaking solos that will leave any guitar player's jaw dropped.

Looking back, Opus 2 is amazing instrumental album that carries the flag for extreme instrumental shred guitar. Hess and Walsh are a great guitar team, complementing each other's playing. If you're wondering who's responsible for each solo, no fear, just open up the CD booklet for a time listing of each guitarist's solo time! Both guitarists (Hess and Walsh) burned up fret boards effortlessly and I know guitarists from all schools can and will enjoy the masterpiece that is Opus 2. For more information regarding this release or Hess, please visit www.hess.4t.com." - Nick Martinelli, The Shred Zone

"Perhaps no one instrument has garnered such attention in the world of instrumental music, with all of it's capabilities, the boudaries for what the guitar could invent musically seem limitless. From the early influences of Jimi Hendrix, Jeff Beck, Ritchie Blackmore & Jimmy Page, a new generation of virtuoso players, stimulated by these legends, would again reinvent the guitars potential, players like Joe Satriani, Steve Vai, Jason Becker, Yngwie Malmsteen are some of the players from the new generation of musicians that took what the pioneers had done, and provided yet another couple of levels of proficiency, talent, theoretical soundness and overall technology to create music that again would excite another generation of up and coming serious guitarists.

And while there are hundreds of stellar fretboard magicians out there today, few are attempting to release music that offers nothing more than a display of the fruits of their hundreds of hours of playing and studying. Simply said, there has been an oversaturation of guitar-centric, shred based instrumental music. As far too many of these skilled players were merely mimicking the musicians they so admired, leaving listeners to question as to which player is which. I am always pleased to write of bands such as the one I am about to review, Hess. A band named after the last names of two of it's members. Both Tom (guitars/keyboards/programming), and Scott (drums/percussion) are the mainstays behind the band since it's birth in 1994, then known as Gothic Empire. With a few line up changes from then to now, they seem to have found the proper components to help in raising the standards for performance and execution for the bands latest release - Opus II.

What I really enjoy about Hess' songs, is the fact that the music comes first, performance is a side benefit to the bands intricate writing style, which is primarily based around classical music, something that has surely been done before, but Hess has found not only a unique approach to present this style of music, but have the extreme musical competence to execute the many carefully calculated changes, measures and harmonic intervals in a way that is seamless and precise. Not since last years cd by Australia's Chris Brooks have I heard a neo-classical based instrumental cd that is every bit as balanced compositionally as it is proficiently played. The influences of this band may seem obvious at first listen, Malmsteen, Becker, etc. Those are the easy ones to pick out, but as writers, I can hear how they were heavily influenced by the great classical composers, such as - Chopin, Bach, Brahms, Debussy, etc. This point of interest is the biggest reason why I am finding this cd so appealing.

It's nice to hear musicians that have not only studied the base notation and tonal aspects of classical music, but have studied the idioms of arrangement and compositions as well, the music fan will seldom remember the names of the musicians in an orchestral presentation, no matter how well it is performed, but they will always remember a composer if the music has a lasting, impactual delivery. It seems as though Hess has found that combination, and has delivered a highly recommendable cd on Opus II. It seems that the best may yet to be coming as ideas for a follow up aptly called Opus III are already in the works, and this listener/writer will be waiting." - MJ Brady, ProGGnosis