Chroma Key

This album is all about atmosphere. There's some excellent musicianship present, some quality composition, and some intriguing lyrics, but in the end this album is about eliciting an emotion. It's music for driving alone, late at night, halfway through a long journey.

There are no bad songs on this disc, and removing any of them would lessen the album's impact. The first track serves as a moody, sweeping introduction, immediately setting the tone for the rest of the album. The second track introduces the other half of the album's sound, the more ambient half, and it's full speed ahead from there. "Lunar" is spectacular, a bossa nova take on the Crystal Method's "High Roller," if you can imagine that. "Please Hang Up" is absurdly bizzare, but is also achingly beautiful. "Astronaut Down" is the last anthemic blast, and the album winds down with "You Go Now," a perfect echo of everything that's come before. It's hard to imagine an album better suited to a lonely night on the interstate.

This is not a perfect album, but it's closer than I could come. If you plan on driving through Iowa at about 10 PM in the near future, this is a must-own.

This album is one of the best that I have purchased in a long time. If you like to "space out" this is the album for you. Kevin Moore did a fantastic job mixing the music with the strange but fitting samples. Definetly a space theme in this cd, but it is worth buying, without a doubt.

I think this is a path that kevin moore needed to follow since "a change of sesons", you could feel in in "space die vest".
This is a great album, ideal for sitting back and smoking a cigarette, i hope Kevin gets the credit he deserves for in

Being a big Dream Theater fan, I naturally listened to "Dead Air For Radios" when it was released. That was a very good album, and in a way my introduction to electronica. Now some years hence, I am a wannabe one-man musician, and I can say this for sure, "You Go Now" inspires me to write music. The mood, the hooks, the lo-fi drums, the intelligent sampling are all wonderful. Listening to songs like "Lunar" made me go back and listen to "Space Dye Vest" from Dream Theater's "Awake", and it seems like a natural progression, and an indication of perhaps why Kevin left. In the end that decision worked out for everyone as DT got my favorite keyboard player (Jordan Rudess) to handle that chore, while Kevin is now a great writer of intelligent, spacey electronica, and mere mortals like me get to enjoy both.

I am amazed that "You Go Now" has not received wider acclaim, since this is one of the best albums of the past few years. I can't wait to hear what the OSI project sounds like.

Kevin once again proves what a musical genious he is. The songs
are rich in sound, tempo, and lyrics. Buyer beware though, this
is NO Dream Theater CD. The songs are subtle, yet explode with
a rich layered sound. I eagerly await new material.

If you're a music lover in the pure sense this is a must. Not only the recording and packaging is different, the ingenuity of the music itself is breathtaking. It is brilliant, refreshing and even exciting to some extent. This is absolutely no album for the fainthearted.

At first, Graveyard Mountain Home threw me for a loop. Where were the melancholic grooves? Where were the pop-sensibilities? Where were all the vocal tracks that had defined Chroma Key? GMH was a complete 180 in a different direction. Then I found out what my problem was: I was going into this release with expectations - which isn't fair to Kevin Moore.

Compared to the two previous Chroma Key releases, this is a new chapter in his catalogue. He's pushed the textural and layered bits of You Go Now and Dead Air For Radios to the forefront, with audios depths that are haunting, comforting and awe inspiring. There's no emphasis on virtuosity and anything connected to prog (which terrifies most Dream Theatre fans who take a listen). The focus is on soundscapes, which makes GMH one of the best headphone albums of the past ten years.

As the soundtrack to the film, Age 13, the album's central concept revolves around a boy who tries to reconnect with his mother who has just passed away. Echoing this time of confusion and denial in this boy's life, Moore has composed pieces that reflect the emotional journey of this narrative. Tracks like "Mother's Radio" can break you down with the dark emotionalism threaded within the dark synth and echo-laden instrumentation that pulses throughout. Bordering on space music (in the ambient sense), Moore's layering continues to be a central focus, even in tracks like the upbeat "Before You Started."

There are not many vocal pieces in GMH, however, "Sad Sad Movie" is perhaps Moore's best piece to date. If it doesn't make your knees tremble, and raise goosebumps on your arm, nothing else will.

GMH is far from all things defined; it's not prog, it's not O.S.I. and it's not like previous Chroma Key releases. Moore is cursed with the fact everything he does gets compared to DT, so to criticize this release for being `abstract' and `exploratory' is to negate the fact that this is something new and brilliant. This is headphone music that is at the forefront of all things new, and it's a damn fine addition to anyone's music collection - if they have an open mind.

Dead Air For Radios was great.Very accessible to listen to. You Go Now was good. Semi-accessible. Graveyard Mountain Home. ZZZZZZZZZ...Wake me up when it's over. I know it's a concept idea to make a "soundtrack" to some obscure edu. film, but come on Kevin, save this for yourself and give us something to listen to(like more O.S.I.).

Where to start with this one....Kevin Moore,former Dream Theater member, avant-garde keyboardist/vocalist and all-around mad genius on perhaps his most interesting concept yet. This CD/DVD package is one of the most interesting yet bizarre artistic concepts ever created, yet it becomes quite compelling and fascinating if one is patient and willing to be open-minded.

Basically, this project is a sort of soundtrack to an obscure public-domain '50s era "social guidance" film about a young boy who is an orphan. This limited edition of the project includes both the audio CD and full soundtracked DVD of the film and is still less expensive than most audio CD's (be sure to buy this edition). The music is best described as ambient experimental rock, with an occasional nod to cinema (naturally) and even occasionally classically-structured scores. Low-key, minimalist vocals reminiscent to me of perhaps Doves, and very tranquil, downbeat isntrumentation. Alone, this is a very melancholy and hypnotic experimental and textural album of modern prog music. It really comes together, however, when you sit down to view the DVD...haunting, sad, surreal, eerie, at times kind of disturbing, actually. It is such an odd concept, yet watching the scenes unfold to Moore's music you can't help but feel a sense of desolation and post-modern existential loss. Very, very strange, yet powerful. If you are into avant-garde cinema or music, check this out. Be sure to purchase the limited edition....

I love Kevin Moore's work with OSI and Chroma Key.
But don't expect Dream Theater here.
[...]

Is it a work of genius or a product of drug use? Or both?
You decide! The surreal visuals dovetail with the music so its hard to separate them.
The 2 disc DVD version has that very special Inside Out records packaging.

So if you didn't like Moore's other soundtrack "Ghost Book," this may not be your cup of tea. But it is a true visionary experience.

This is the only CD I've heard where I've instantly fallen in love with almost every track on the album. I'm surprised that none of my friends have ever heard of Chroma Key before. His voice sounds really good as well. Now I understand why he left Dream Theater.

Don't take my word for it, hear all of these tracks on:
[...]

The samples are "CD-quality" mp3s and each one is 2 minutes long.

From what I can tell, Chroma Key is basically former Dream Theatre keyboardist Kevin Moore, with "musicians for hire" helping out on drums and/or strings (as in "guitar and bass", not "violins and cellos"). "Dead Air for Radios" is Moore's first effort under the Chroma Key moniker, and it's an interesting collection of more-radio-friendly tunes than I would have expected from a former member of a prog-metal-ish band like DT. Having since purchased his follow up Chroma Key disks, I've noticed a definite progression of style on each disc going from "radio friendly" to "less radio friendly" to "more obscure". This disk has a basic straight ahead rock feel, but is more centered around minor-keyed keyboard themes, generously spiced with samples and ambient/techno-ish synth touches. The songs are the centrepiece, not necessarily the keyboard or instrument work (though the performances ARE solid). The lyrics are interesting and definitely better than standard pop-radio fare. Kevin Moore also handles all the vox on this disc, and though his range and style is a bit limited, I think his voice and delivery worked well for this CD. Though not as expressive, his voice reminded me of Kevin Gilbert (Toy Matinee vocalist who unfortunately died in the late 90s) in places, and Kevin Gilbert was a phenomenal vocalist (as well as multi-instrumentalist--check out his CD "Thud" as well as "Toy Matinee"). And after drafting this, I see another reviewer has made the same comparison. All in all, "Dead Air for Radios" is a very coherent effort with a likeable style and likeable performances. On Moore's next Chroma Key effort, "Astronaut," he pretty much continued in the same direction, though the songs are a little less fully developed, and a little more sample and techno heavy.

Bottom line is, if you're looking for Dream Theater redux, then look elsewhere (maybe check out Moore's respectable efforts with OSI--Office of Strategic Influence--done with Mike Portnoy). "Dead Air for Radios" isn't DT, and the more standard song structures, shorter pieces, standard 4/4 time signatures, hummable melodies, and keyboard focus help make that obvious. Though I'm not crazy about every song, I can easily listen to the whole CD, and that's rare for me nowadays. If you like straight-ahead rock with a subtle keyboard focus, pop-prog leanings, and some techno elements folded into the mix, you should give it a listen.

Chromakey is none other than Kevin Moore, a very talented x-keyboardist for Dream Theater. However, what we have here is something decidedly less rockin' than his previous prog-metal outfit, instead having a much more mellow atmosphere. I would say that there is bit of a jazz influence here, with a typical riff exploring harmonic elaborations rather than staying the same throughout the entire song. Perhaps this is the most impressive aspect of this album; the fact that, although it sounds so laid back, it's obvious that much thought and hard work went into the songwriting.

Kevin also sings his own songs here, and he has a nice voice that compliments the ambience of the music, never getting too aggressive, but also not becoming so monotone as to be boring. Almost everything here is very catchy and hummable; I find the songs stuck in my head long after listening to them.

So, rather than rock or metal, I would call this electronic ambient. That might be dissappointing for some, but I am very pleased with the finished product.

I have to admit, when I first sat down and listened to this CD, I was very disappointed. It sounded absolutely nothing like Dream Theater, and frankly, it just seemed to bore me. I'm not the type to write off any music after the first listen, so I decided to put it on in the background while doing other things on the computer, and it started to grow on me from there.

Colorblind is, as anyone would guess, the first song I really started enjoying. I even find myself singing it at different points in the day. Probably my favorite part about it is that one of the opening lyrics is 'back again, 6 am, far from sleep,' making a faint reference to Awake, maybe even reassuring as that this is actually the same Kevin Moore that founded Dream Theater since it sounds so different. The next track that caught my attention was Undertow, with great lyrics as always, and then 'On the Page,' probably my favorite on the album.

The music is what most would call 'soundscape.' It's not minimalistic, but it's also not as complex and fast-paced as Dream Theater's music. People have said it sounds like 'Space Dye Vest,' but I'm not so sure. When you first listen to the album, you'll hear some strange beats that you may not initially like, but I don't find anything wrong with them. Kevin Moore sings on this one, to my surprise, and he's actually not all that bad. He does the album a lot of justice, actually, especially in 'On the Page.'

Overall, the album is very good, though not structured as well as Dream Theater albums, it's still enjoyable. Good to put on in the background, of, like someone else said, a 'lonely car drive at night.' It's strange, because the primary period of time where I find myself listening to this album is usually past midnight. I also have the albums I'm currently listening to loaded on the music player on the computer, and the albums are put in alphabetical order, ironically placing this one immediatly after Awake. Whenever Space Dye Vest finishes, it goes straight to Colorblind, and it's actually not a bad transition, considering such a different sound contrasting over the two albums.

What only slightly (but not much) puts me off about the album is it's length. This album came out nearly five years after Awake, and after all that time, all there is to offer is nine tracks, two of which aren't really music. I don't like too many tracks on an album, I think that nine tracks is a perfect length, but it just seems too short. Camera 4 I could find myself skipping, but Hell Mary is just plain creepy, and it provides for a nice closer to the album.

The bottom line is, you need an open mind to enjoy this album, and if you find yourself buying it, don't give up on it on the first listen. This album has a lot more to offer than you think, and is very enjoyable in the end. I would say that if you're a fan of Dream Theater, I definitely say give this one a try. You might not enjoy it, but I loved it.

There's never been a time in my life where the sound of a keyboard/piano has altered my thought process.I think Chroma Key are one step ahead of what we perceive as real and fictional.The melody they hold is quite solid in its subtlety.
My absolute favourite heart rendering track on this album is "On The Page" but the first song I heard from this album was "Undertow" I also dig "Colorblind". I'm not gonna go track by track but I'll talk about my favourite tracks.

There's a certain lyric in "On The Page" which goes like "It's like the water when I'm dreaming...." It's what I would call a breakaway from living a life where you live every detail and a transcending contrast where you write what you feel on a piece of page daily.I don't know the name of the vocalist of Chroma Key but I can safely say they can't possibly have more magical vocals for a band of its authority in supremacy.

I'd auction off my diary to support the cause of this absolute hellbender smooth album. The drums,keyboards are just outstanding and make me go numb. I know numb is a weak over used word but not for this under rated band. Actually,I'm quite glad they're underrated because I honestly feel not everyone deserves music as grand as this.

Undertow is the kind of a track I'd listen to when im in the middle of a day where its bright outside but I'm in my dark room trying to ignore the world. There's no love song on the album. It's an album for loners. Atleast , thats what I consider myself as. We're all alone and this album re-affirms by beleif in sanity of one.

I don't know if Kevin Moore was taking drugs in Turkey during the recording or what but... this record is just terrible. What in the world? Fans, be forewarned. This is not like the other records. Kevin doesnt even SING UNTIL TRACK 5! The other tracks are repetitious "mood" sounds and bleeps. some guitars and sparingly at that. I wouldnt even call the first and 4th tracks songs! thier just... sounds. I was really bummed out. I tried to listen to this and wanted badly to enjoy it but its just not what I hoped for. Nor a pleasant surprise. I'm very sorry to say.

This record has a very electronic, almost new age sound to it. Here's the jist of the record. Its a concept album. Kevin found this obscure movie from 1955 called "Age 13". He then decided to write music TO THE FILM. Well, unless you watch the movie.... its not going to make any sense. Well, unlike a soundtrack the music does not support itself. Basically, this is just a bad soundtrack. The idea is awesome. I was stoked when i read about. I anticipated some interesting songs and lyrical inspiration. Instead it got this New Age Yanni thing.... I apologize, Kevin. But i think your artistic vision was far too self indulgent and way too unfruitful. Fans be aware of what your buying. LISTEN before you buy it. I wish i did.... i could have saved 13 bucks.

creative and expressive musical compositions of various forms predominately electronic but also incorporating interesting and subtle use of acoustic and non-synth sounds and beats. like a mix of bonobo, her space holiday, devics, squarepusher, and all such artists in a soundtrack tapestry. at times the mood is abrupt in between pieces that seem a bit sudden and whimsical. yet they all seem to be of the same family. i only wish there were more of Kevin Moore's clever and solemn lyric and voice as it gives the music that added dimension.

notice i didn't mention crap like Fates Warning, OSI and Dream Theater above - no relation at all. good.

Poor Kevin Moore, inescapably bound by the vestiges of his years in Dream Theater...

Chroma Key has from the beginning surpassed any of his work in his former band. Indeed it was the reason he left, to pursue something he wasn't able to realize through the redundant art of "prog" (is it any coincidence that one of the last artifacts from those days was the brilliant "Space-Dye Vest"?). Kevin Moore builds textural landscapes that are intelligent, sensitive, moody, warm, richly emotional. Comparisons to Tortoise are probably appropriate. This album belongs more in the "post-rock" category than in any reference to progressive rock whatsoever.

I consider this the best Chroma Key album to date. As an album, it stands beautifully by itself. As a soundtrack, its moods are punctuated by the film it scores. This album also marks a real step forward in the unification of Kevin Moore's aptitude with both organic and synthetic instruments. Few other musicians today can so effectively blend instruments the way Kevin Moore does. Acoustic guitars play corroboratively with Wurlitzers in the title track. Tonal, soft guitar shapes walk contemplatively on top of overdriven synth sounds in "Come In, Over".

I liked this album from the beginning, and it gets better with each listen. This is a great effort by Kevin Moore, and may he one day be remembered more for his evolutionary work with Chroma Key than his seminal work with Dream Theater - if not today!

Kudos also to the great musicians who worked with Kevin on this album.

Graveyard Mountain Home/GMH is Kevin Moore's latest Chroma Key/CK wonder. Picture an educational film from 1955 with music from today. A wild idea, maybe. But for musician Moore this is just a way to push the envelope as an artist. Not to be tied-down into a certain musical genre, his band's evolution is very satisfying here. This is an interpretation, of sorts, featuring tunes that seemed befitting as an "alternate soundtrack to go with the film (AGE 13, 1955)" says Moore. For the GMH special edition purchase, a DVD of Age 13 with the CK music is included. The feel throughout is moody & slow, yet its reason lies in the point of the story. A tale of grief through acceptance marked by feelings of isolation which lead ultimately to the fruition of hope. "Before You Started" is an experimental work of art which includes a jazz vibe set to an off-tempo beat and Moore's one-of-a-kind lyrics. Check out "Come In, Over" for this disc's finest hour. For the lighter fare, spin "White Robe" or "True and Lost". All in all, this cd is awesome but so is Kevin Moore. Just don't forget, Moore is set to tour with this release. Be ready and snag all 3 Chroma Key recordings today! Prog is King has an opinion but is absolutely wrong. For more info visit the CK site now at http://www.ChromaKey.com
~sknow

I don't know why Kevin Moore is still associated with the damn prog scene. That's why you get reviews like the previous one from people who cannot understand music without tempo changes and wankery. If you are open minded and like bands like Tortoise and Aphex Twin you will like this record. Even though, I think the two other Chroma Key records are better.

This is the only CD I've heard where I've instantly fallen in love with almost every track on the album. I'm surprised that none of my friends have ever heard of Chroma Key before. His voice sounds really good as well. Now I understand why he left Dream Theater.

Don't take my word for it, hear all of these tracks on:
[...]

The samples are "CD-quality" mp3s and each one is 2 minutes long.

From what I can tell, Chroma Key is basically former Dream Theatre keyboardist Kevin Moore, with "musicians for hire" helping out on drums and/or strings (as in "guitar and bass", not "violins and cellos"). "Dead Air for Radios" is Moore's first effort under the Chroma Key moniker, and it's an interesting collection of more-radio-friendly tunes than I would have expected from a former member of a prog-metal-ish band like DT. Having since purchased his follow up Chroma Key disks, I've noticed a definite progression of style on each disc going from "radio friendly" to "less radio friendly" to "more obscure". This disk has a basic straight ahead rock feel, but is more centered around minor-keyed keyboard themes, generously spiced with samples and ambient/techno-ish synth touches. The songs are the centrepiece, not necessarily the keyboard or instrument work (though the performances ARE solid). The lyrics are interesting and definitely better than standard pop-radio fare. Kevin Moore also handles all the vox on this disc, and though his range and style is a bit limited, I think his voice and delivery worked well for this CD. Though not as expressive, his voice reminded me of Kevin Gilbert (Toy Matinee vocalist who unfortunately died in the late 90s) in places, and Kevin Gilbert was a phenomenal vocalist (as well as multi-instrumentalist--check out his CD "Thud" as well as "Toy Matinee"). And after drafting this, I see another reviewer has made the same comparison. All in all, "Dead Air for Radios" is a very coherent effort with a likeable style and likeable performances. On Moore's next Chroma Key effort, "Astronaut," he pretty much continued in the same direction, though the songs are a little less fully developed, and a little more sample and techno heavy.

Bottom line is, if you're looking for Dream Theater redux, then look elsewhere (maybe check out Moore's respectable efforts with OSI--Office of Strategic Influence--done with Mike Portnoy). "Dead Air for Radios" isn't DT, and the more standard song structures, shorter pieces, standard 4/4 time signatures, hummable melodies, and keyboard focus help make that obvious. Though I'm not crazy about every song, I can easily listen to the whole CD, and that's rare for me nowadays. If you like straight-ahead rock with a subtle keyboard focus, pop-prog leanings, and some techno elements folded into the mix, you should give it a listen.

Chromakey is none other than Kevin Moore, a very talented x-keyboardist for Dream Theater. However, what we have here is something decidedly less rockin' than his previous prog-metal outfit, instead having a much more mellow atmosphere. I would say that there is bit of a jazz influence here, with a typical riff exploring harmonic elaborations rather than staying the same throughout the entire song. Perhaps this is the most impressive aspect of this album; the fact that, although it sounds so laid back, it's obvious that much thought and hard work went into the songwriting.

Kevin also sings his own songs here, and he has a nice voice that compliments the ambience of the music, never getting too aggressive, but also not becoming so monotone as to be boring. Almost everything here is very catchy and hummable; I find the songs stuck in my head long after listening to them.

So, rather than rock or metal, I would call this electronic ambient. That might be dissappointing for some, but I am very pleased with the finished product.

I have to admit, when I first sat down and listened to this CD, I was very disappointed. It sounded absolutely nothing like Dream Theater, and frankly, it just seemed to bore me. I'm not the type to write off any music after the first listen, so I decided to put it on in the background while doing other things on the computer, and it started to grow on me from there.

Colorblind is, as anyone would guess, the first song I really started enjoying. I even find myself singing it at different points in the day. Probably my favorite part about it is that one of the opening lyrics is 'back again, 6 am, far from sleep,' making a faint reference to Awake, maybe even reassuring as that this is actually the same Kevin Moore that founded Dream Theater since it sounds so different. The next track that caught my attention was Undertow, with great lyrics as always, and then 'On the Page,' probably my favorite on the album.

The music is what most would call 'soundscape.' It's not minimalistic, but it's also not as complex and fast-paced as Dream Theater's music. People have said it sounds like 'Space Dye Vest,' but I'm not so sure. When you first listen to the album, you'll hear some strange beats that you may not initially like, but I don't find anything wrong with them. Kevin Moore sings on this one, to my surprise, and he's actually not all that bad. He does the album a lot of justice, actually, especially in 'On the Page.'

Overall, the album is very good, though not structured as well as Dream Theater albums, it's still enjoyable. Good to put on in the background, of, like someone else said, a 'lonely car drive at night.' It's strange, because the primary period of time where I find myself listening to this album is usually past midnight. I also have the albums I'm currently listening to loaded on the music player on the computer, and the albums are put in alphabetical order, ironically placing this one immediatly after Awake. Whenever Space Dye Vest finishes, it goes straight to Colorblind, and it's actually not a bad transition, considering such a different sound contrasting over the two albums.

What only slightly (but not much) puts me off about the album is it's length. This album came out nearly five years after Awake, and after all that time, all there is to offer is nine tracks, two of which aren't really music. I don't like too many tracks on an album, I think that nine tracks is a perfect length, but it just seems too short. Camera 4 I could find myself skipping, but Hell Mary is just plain creepy, and it provides for a nice closer to the album.

The bottom line is, you need an open mind to enjoy this album, and if you find yourself buying it, don't give up on it on the first listen. This album has a lot more to offer than you think, and is very enjoyable in the end. I would say that if you're a fan of Dream Theater, I definitely say give this one a try. You might not enjoy it, but I loved it.

There's never been a time in my life where the sound of a keyboard/piano has altered my thought process.I think Chroma Key are one step ahead of what we perceive as real and fictional.The melody they hold is quite solid in its subtlety.
My absolute favourite heart rendering track on this album is "On The Page" but the first song I heard from this album was "Undertow" I also dig "Colorblind". I'm not gonna go track by track but I'll talk about my favourite tracks.

There's a certain lyric in "On The Page" which goes like "It's like the water when I'm dreaming...." It's what I would call a breakaway from living a life where you live every detail and a transcending contrast where you write what you feel on a piece of page daily.I don't know the name of the vocalist of Chroma Key but I can safely say they can't possibly have more magical vocals for a band of its authority in supremacy.

I'd auction off my diary to support the cause of this absolute hellbender smooth album. The drums,keyboards are just outstanding and make me go numb. I know numb is a weak over used word but not for this under rated band. Actually,I'm quite glad they're underrated because I honestly feel not everyone deserves music as grand as this.

Undertow is the kind of a track I'd listen to when im in the middle of a day where its bright outside but I'm in my dark room trying to ignore the world. There's no love song on the album. It's an album for loners. Atleast , thats what I consider myself as. We're all alone and this album re-affirms by beleif in sanity of one.

I never dug Dream Theater, from which Kevin Moore went solo to form Chroma Key, and frankly I don't recall how I stumbled across this album. It might've been an "If you like this, you might also like this" suggestion from Amazon or somewhere. I can't say. I wish I could, because I'm indebted to whoever-or whatever-recommended it to me.

The presence of a band name is deceptive: There really isn't one. This 2000 release is almost entirely the work of Moore. The album is a follow-up to 1998's "Dead Air For Radio," which has its moments-especially the closing track "Hell Mary"-but is not nearly the equal of this atmospheric masterpiece. In fact, "Hell Mary" might've been more at home here, because it fits in with the general coldness-of-space, ambient-prog aesthetic that runs through this entire record.

"You Go Now" combines a remarkable sense of brooding and mood-it's no wonder Moore's gone on to do soundtrack work-with smart, languid melodies that pull you in after repeated listening. My personal favorite is "Another Permanent Address," and I would suggest this as a place to start if you're checking out song samples online. There is also a sense of foreboding in much of the lyrical content, though the album is not without a sense of humor: "Please Hang Up" has such a spacy, haunting quality that I had to hear it several times before I realized that the caller is dialing emergency, only to be told that the number has been changed. There's also this perfectly judged description of the awkwardness of returning to single life from "Astronaut Down:" "I found myself back in the bachelor scene...Feel like an astronaut in a submarine." How can you not buy an album with a lyric like that?

Prog fans, stop here and buy. You will not be disappointed. Dream Theater fans, on the other hand, might want to take note: Mr. Moore has stepped far afield from his former gig. This sounds nothing like it. I'm not trying to discourage you, I'm just lettin' you know.

I enjoyed Chroma Key's first CD, Dead Air for Radio. I first heard it at a friend's house, and got hooked on the track "Untertow." I was eagerly expecting Kevin's second album, and was not the least bit disappointed. I would say that is is in the same vein as of DAFR, but with a whole new different concept. Chroma Key is nothing similar to Dream Theater, and will appeal to a whole different crowd. I am so glad I found that band. If you are looking for a new listening experience, get that CDs. You can download their entire first album, and many track out of the second album on their website...By the way I am not at all affiliated to the band, but I thought you would be interested to know.

Chroma Key's first album, "Dead Air for Radios", was a dark moody album that had NOTHING to do with Dream Theater (Moore is an ex-member of that band). It mixed ambient soundscapes with songs in a pretty unique way, making an album that was almost trance-like.

This new album, "You Go Now", keeps the same style as DAFR had, but this time the ambient part is more dominant than the songs. If you liked the quieter sections of DAFR, chances are that you will like "You Go Now" too.

Again: this isn't a prog-metal album, so don't expect any reminiscence of Dream Theater.

I Believe Kevin Moore ex dream Theater Keyboardist is a genius in creating such masterpieces as Dead Air For Radios...