INFERNO PRESS: REVIEWS Page One (A though H):   AURAL INNOVATIONS: Scott Mosher's follow up to 2001's Virtuality album features more of his space-ambient metallic brand of progressive rock. The CD opens with a brief intro of storm building effects, rumbling drones and singing keyboard lines. But Scott quickly launches into the metallic title track, which is a heavy, pounding and highly intense slab of progressive rock. And as we're reeling from the impact of "Inferno", things calm momentarily for "Dark Sun", a keyboard heavy track that brings to mind Rush soaring deep into the cosmos. Yeah... this is the trademark Mosher sound that blends spacey ambience with the full blown majesty of progressive rock. Beautiful. "Mindfield" and "Look Into You" are both killer songs that takes the Rush-in-space sound to even greater heights. "Left Behind" is similar and has some ripping guitar work. "Engines Of Industry" is an instrumental that begins with crushing but intricate rock, and culminates in some of the most swooning moments of the set. Any long tracks? Sure, we've got a few. At 9 minutes, "Exile" really demonstrates what Scott can do when he takes some extra time to stretch out and explore. Monster keyboards create a grandiose prog laden environment around which the song is constructed. But when the instrumental segment takes off we are waaaaaay outside of Earth's orbit and sailing through the prog cosmos. "The World Fades To Gray" is the longest track of the set and probably the most atmospheric... though like nearly everything on this CD it still rocks... and when it takes off it rocks hard. Great guitars. "Season Of Fire" closes the set, being something of a floating space-prog Tangerine Dreamy techno number. In summary, if you dig Rush, Tangerine Dream, Space Rock and keyboard heavy Progressive Rock, then you'll surely enjoy Scott's music. He's really got a flair for the Space Ambient/Progressive Rock blend. He does an outstanding job of injecting a healthy dose of space into the heavy prog genre, creating music that is challenging but accessible, and maybe occupying a unique little stylistic corner of his own. ARLEQUINS: Scott Mosher, chitarrista-compositore americano, si riaffaccia sulla scena con un nuovo quarto disco, a distanza di due anni dal suo "Inferno", dischetto molto carino di heavy rock-prog ispirato principalmente ai Rush (periodo circa "Signals" e "Grace Under Pressure"). "Deep Horizon" sembra riportare Mosher verso luoghi musicali più sicuri e meno rischiosi, dopo l'avventurosa ed intelligente prova di "Inferno": le sonorità si fanno più rocciose e monolitiche, il dinamico e fantasioso connubio metal-Rush-elettronica che caratterizzava "Inferno" lascia il passo ad un drammatico ed evocativo metal sinfonico, a metà fra Queensryche, Ayeron, Fates Warning, Savatage, Saviour Machine... Con il classico cantante "Geoff Tate clone" Scott Oliva a sostituire il precedente vocalist Todd Corsa, "Deep Horizon" è strutturato attraverso brani articolati, compatti e diretti, ma privi di quelle aperture strumentali futuristiche che distinguevano in positivo diverse composizioni passate di Mosher .L'ambizione di voler creare un punto d'unione fra le sonorità heavy e la musica elettronica ed ambientale, una pretesa un tantino fuorviante visti i recenti sviluppi di "Deep Horizon", è stata originariamente incoraggiata dal suo primo cd solista "Ambient Earth", uscito nel 1996 ed interamente strumentale... Sono trascorsi dieci anni, affinata la tecnica ed aumentati i mezzi disponibili, Scott Mosher ha comunque messo da parte (momentaneamente?) qualsiasi velleità sperimentale per dar spazio alla forma canzone, da lui considerata probabilmente come il migliore mezzo per diffondere le proprie idee, musicali e non. Per il sottoscritto "Inferno" ed "Ambient Earth" rimangono i titoli di Scott Mosher più riusciti ed interessanti, se siete interessati al genere possono ben valere qualche soldino!   BELGIUM MUSIC: For its third album solo, the Scott guitarist Mosher once again lets be expressed sound concern within sight of the state of our ground. pollution of the companies is in the middle of sound fights. Titles such "Dark Sun", "Engines Of Industry", "The World Fades To Gray" are the reflection. The song is essential more on this opus than on the precedent "Virtuality". Only three instrumental is present. voice of Todd Corsa also improved. It is shown more aggressive and expressive and the side heavy of the music of Scott Mosher is harmonized perfectly with it. Another Net progress also, the percussions is of much better invoice. Within sight of the tackled subject, it is normal that environment is tended and sinks. The musical structures worked out by Scott are woven with smoothness in order to tighten this atmosphere. Listen "Dark Sun" for you to convince some. If there remain preparings influenced by Tangerine Dream, the support of the battery, the song and of course of the guitar give him very an other appearance this time. guitar is more incisor and the song offers more variety and of expression. A major title such "Exiles" shows it well. And then the side progressive rock'n'roll is better also expressed. "Look Into You" shows it well with rhythmic very groovy, of synthés cordial and an environment with the IQ. It is moreover a particular passage of the album since "Ghostland" is same hardening with various colors vocal. Another very progressive title, it acts of epic "the The World Insipid To Gray ", one of best of the disc during which one feels transported as well by the guitar as by song. On the other hand, the remix of "Season Of Fire" which was reproduced on the album "Virtuality" is more than dispensable. Fortunately it is only one no-claims bonus. In any case, it is far from being worth the original. This third opus of Scott Mosher proves more coherent and more attracting as a whole. Its less synthetic side that "Virtuality" must be there for some-thing.   BEOWULF PRODUCTIONS: This is the second time I believe I've heard SCOTT MOSHER. On this disc he does all the guitar work, synths, keyboards, programming, percussion & vocals. He plays a Progressive Rock style of music & is quite impressive. I wish i had half the talent he possesses. The music has a lot of ambince & atmospheric space sounds through out. There are a lot of soundscapes, melodic hauntiness & dark evocative music mixed in. The vocals are done in a melodic Heavy Metal & Progressive Metal style. This is one highly talented musician that deserves a lot of attention. Support this man!!!   BRAZIL PROGRESSIVE ROCK: Scott Mosher has been a recording musician for over 12 years and a graphic artist for 4 years, and an award winning "allaroundniceguy" since birth. Currently he has not toured the world, he has not won an MTV musical award, he has not been featured in any Pop-culture revival metal magazines, he has not been a guest host on any late-night TV programs (although he did lobby the Arsenio Hall Show in 1990 as the 'doomed to a life of mediocrity guy' to no avail). He has yet to win a Nobel Peace Prize or the Kentucky Derby, but as an avid film-goer, movie buff, musician, graphic artist, social activist, environmental advocate, animal rights dude, cat-sitter, Dr. Pepper afficionado, imaginary Micro-biologist, he's continuously working on new music, indulging in binges of Vanilla coke, petitioning Peter Jackson to direct "The Hobbit" and watching for dragons in the sky. Scott Mosher plays an emotional instrumental Progressive Rock that you will never forget, a blend around styles as Progressive Metal, Symphonic Rock and mainly Electronic Space Rock, adding passages of Ambient Music, an intense collection of symphonic arrangements, rich themes with an amazing instrumental content around the keyboards, guitars and drums, all arrangements have a powerful dimension, with many synthesizers and electronic textures, driving an amazing instrumental atmosphere with sounds that leave from the music for an exterior space, adorned by intense guitar solos and harmonic vocals. Comparisons are hard to make, but we can say:  - The Scott Mosher´s music sounds as a blend of influences among the electronic music from "Tangerine Dream", together with the Progressive Metal from "Dream Theater"."Inferno" is Mr. Mosher's third CD (following Virtuality in 2001 and Ambient Earth in 1996) and continues in his tradition of synthesizing heavy Progressive Rock and Electronic Music. The album was released in 2004, all music composed, arranged, and performed by Scott Mosher, art direction, graphic design, and photography by Scott Mosher, includind ten songs where all them are relatively long. A special and particular attention to and my favourite songs are: "Inferno",  "Dark Sun", "Left Behind", "Exile" (is one of the best), "The Engines Of Industry" and "The World Fades To Gray". The main musicians on this project are: Scott Mosher  - Guitars, Keyboards (Synths, Programming, Sequencing), Vocals and Percussion and Todd Corsa plays: Guitars and Lead/Harmony Vocals. Brilliant and indispensable work, highly recommendable...  (Comments by Carlos Vaz)   CANADIAN ASSAULT: I reviewed this guy before 3 thousand reviews ago and hardly remember what the old stuff contained. When I listen to this platter I find myself quite distressed attimes. I mean this guys is a great fucking guitar player, he has talent & can shred it up like a dog on slippers. But he surely is more than that because this guy canwrite some free flowing (the hated enemy of guitar hero's, flow does not wank very well) atmospheric guitarpassages like no one's business. Yet this damn album has to be 50 or 60% all keyboards, I mean when you have the imagination and better yet the technical wherewithal to make it come to life, why waste it taking the easy way out. Keys were generally introduced into metal (to my disgust) by musicians with not enough talent or mental fuel to pull the required ambience out of theirtraditional instruments. It was created in such a fashion and has been carried out by one dimensional bands ever since to infinitum. Why mister Mosher (that namescreams atmospheric no') do you do it, is it like the too beautiful beyond belief actor scarring his face to give others the limelight' Whatever the case, what is done,is done. Beyond all that build up though the genre on this record is more than less progressive rock, which does not float my boat on average. For what it is it issuperbly executed and I am certain any synth loving prog rock fan who does not mind things a touch on the commercial side would fawn over this. The drums andprogramming sound Pro Tooled to death as well and that always rubs me wrong. ninja@mindspring.com www.theambientmind.com ~ Dale   COLOSSUS MAGAZINE: Scott Mosher's third work "Inferno" is a great and original synthesis of two genres that rarely get mixed together: good progressive hard rock and electronic sounds. Furthermore, Mosher's interesting guitar parts and good voice are an interesting addition to the result. Every detail in this CD seems skilfully cured to lead the listener in a travel through modern industrial society, with its contradictions and its different aspects, not necessarily all negative (nor, of course, all positive). Particularly interesting and symbolic of all this CD is the final track, "Seasons of Fire - Infernal Re-Mix", a very good hard-prog song rearranged and remixed with techno devices that keeps an epic atmosphere nonetheless. A great project by a creative artist, a must-hear for anyone who's interested in the evolution of progressive music. (Marco Bernard)   CREATOR'S WEB: One of the great virtues of current technology is how it enables enterprising, techno-savvy, multi-talented artists like Scott Mosher to share their art, their music, their "worlds", with the rest of us. Mosher has written and produced three projects featuring his art work, his synthesized, progressive rock and ambient electronic music. His discography includes the 1996 recording "Ambient Earth" and "Virtuality" released in 2001. Mosher's most recent CD, "Inferno" offers more of his awesome graphic art work and his trademark "other worldly" concept and musical composition. This recording is well produced and engineered as are all of Mosher's CDs.  However, there is a musical proficiency on this 2004 release that his former works did not achieve.  Most notably, "Inferno" offers a vastly improved vocal track. Like his other CDs, all music is composed, arranged and performed by Mosher.  There are also some very judicious guitar solos performed by Todd Corsa; they are in fact stellar. Although his music is profoundly reminiscent of epic rock groups and projects of the 1970's and 80's, Mosher brings such mammoth creative energy to the table there are few groups, not to mention individual artists, who can match his originality and prolific output. As you read his responses to the CreatorsWeb interview questions below and as you listen to his excellent recordings while browsing through the artistic booklet which accompanies his CD, you will begin to get a feel for Mosher's generative prowess.   DEAD METAL KULT/METAL UNION: So, the last thing you're expecting is an ambient progressive rock release in CULT: THRASH ATTACK? Well, fuck off, it's my 'zine. I honestly don't know how Scott does it. This is the best from him yet, and I'm pissed I lost his last CD he sent me! It's ambient electronics melded seamlessly, and I mean seamlessly, with RUSH-like progressive rock, with some heavy moments. The thing that makes this release is the singer. He has the perfect amount of airiness in his voice to make the style perfect. I just can't say enough about this - consider this a rave review, folks. If you like to space out occasionally, this is what you need. Turn on and drop out - at maximum volume!   DPRP (DUTCH PROGRESSIVE ROCK PAGES): Inferno marks the third release from New Yorker Scott Mosher, following up two previous independent releases - Ambient Earth (1996) and Virtuality (2001). Scott is joined once again by Todd Corsa, who appeared on the previous album and undertakes a similar role performing not only the vocal duties but adds the odd guitar break for good measure. Musically Scott creates an instantly accesible mixture of heavy progressive rock with distinctly infectious themes which not only eminate from his guitar fret board, but also from the vocal melodies. Added to this are a lush layering of keyboard sequences and ambient canvasses. All of which create a melodically rich album, not overly heavy (imho), with many of the vocal tracks having a strong AOR flavour. Granted much of the music owes alliegances to the heavy rock field but what sets it aside is the extensive use of keyboard textures that broaden out the sound and add warmth and depth to the material. I pondered the thought that the music had many of the qualities to be found in the material of Vangelis and to a certain extent Jean Michel Jarre. However Scott then progresses these sequences and or soundscapes by adding crunching and chugging guitar rhythms along with his melodic guitar themes. The standout track from the album has to be the Rush-like Look Into You, which I feel the Canadian trio might well pass an approving nod too. Interestingly when I listened to the album for the first time I couldn't quite place who's voice Todd Corsa reminded me of - until this track. Close runners to Look Into You are Left Behind and Season of Fire [Re-mix] - and not a guitar solo to be heard ! Initially I had placed Inferno amongst the ever growing number of guitar orientated releases on my reviewing table, however this is definitely the least indulgent of the guitar selections, with more emphasis being placed upon creating moods and to this end the guitar is used as component within the music. In fact the keyboard textures are more fundamental to the sound than the guitar. Inferno made an intersting resting point and its less note dense approach made me return to this album on several ocassions. - Conclusion: 7 out of 10. (Bob Mulvey)   EER MUSIC REVIEWS: North Carolina guitarist Scott Mosher self-released his third album of self-described "ambient neo-progressive cyber rock" in 2004. Following on the heels of 2001's Virtuality, Inferno contains 11 tracks in different flavors of ambient or neo-progressive metal. Inferno opens with the moody sound-effects intro "Descent" and moves straight into the neo-progressive metal sound on the title track "Inferno," with keyboards and guitars playing equal roles in the heavy, riff-based music.  "Engines of Industry" starts with an airy synth line and builds to a low, grindy riff in 5:8 time.  The intro riff to "Look Into You" sounds awfully close to the lead break riff in Rush's "Tom Sawyer" with a turnaround added.  The similarity does fade when the bass chugs low on the riff under ambient synth textures.  The lyrics on Inferno feel rather standard and include clichéd lines such as "you keep me hanging on the line," in "Left Behind."  This ballad has a catchy riff, but the song repeats the same vocal phrases for extended sections.  "Exile," the most adventurous arrangement on the record, moves through long synth and vocal sections before trading guitar harmony breaks over a quick outro.  The guitar work is skillful, including solos by Mosher and lead vocalist Todd Corsa.  The lead tone has a thick, woody timbre that sounds ideal.  The synth programming and the synth bass also use articulate tones and support the songwriting well.  The vocals are solid, with a ringing classic-metal style delivery, although Corsa's singing voice has a nasal tone.  The production and mix on Inferno are pro quality. The one glaring flaw on Inferno is the electronic drums on all the rock tracks.  The drum sounds are uninspired and lifeless, including a super-flat base drum, a snare echoing with gated reverb, and ringing toms.  In this age of computer music technology, realistic drum sample sets like the Drumkit from Hell are readily available at affordable prices.  In addition to the bland sounds, the programming of the drums lags far behind the skill of the guitar playing and the synths.  The drums play stolid beats that double the accent points in each riff. Rarely do they break out of these patterns for a drum fill, and then it's almost always four hits on the snare or a roll down the toms.  The cymbal programming is even more plain - the hi-hat and ride never do anything more than keep tempo.  Delicate and complex cymbal work is a hallmark of great progressive metal drummers like Mark Zonder and Sean Reinert.  The drums on Inferno, by comparison, sound like drums programmed by a guitarist.  The electronic percussion sounds great on the ambient tracks like "Dark Sun;" it just can't carry the rock songs where the musical style demands drums that sound live.  The "Season of Fire" bonus remix, credited to Cyberwolf, in some ways is the best track on the record because the electronic sounds fit the musical style. Mosher's songwriting adventurously combines elements of ambient and progressive metal over different songs, loosely analogous to Ozric Tentacles combining ambient and prog rock on their records.  With improvements to the drum sounds and programming, Mosher's music could offer a blend of these styles that is currently lacking in the underground prog-metal scene. - Scott Andrews   FIREWORKS MAGAZINE: Mr Mosher describes his music as "a synthesis of heavy progressive rock and ambient electronic music embellished by melodic guitar work, mellifluous vocals and impressionistic lyrics". His influences apparently include Kitaro, Tangerine Dream, David Arkenstone, Fates Warning and Rush. As I have albums by all of these, and do not see David Arkenstone's name mentioned very often, I felt sure that this album would at the very least be an interesting way of spending an hour of my time (and of yours?) I was not wrong. Indeed, as self-produced and self-financed projects go this is really quite astonishing and with the exception of a rather dull drum sound, the sonic qualities and overall production is pretty good. Scott Mosher is a very talented multi-instrumentalist and has only added Todd Corsa on vocals and guitar solos on two tracks ('Engines of Industry' and 'The World Fades to Gray') to the sounds produced by himself. Corsa is a competent enough but not a thrilling nor a sometimes sufficiently dynamic vocalist in my view - a sort of a poor man's Geddy Lee as regards intonation, perhaps. But his two guitar solos are something else again! They really are uplifting, spectacular and attention grabbing additions to the two tracks in question. The album is a mixture of vocal and instrumental tracks, and is a very melodic and engaging release, with quite romantic themes in places and laced with science fictional and futuristic concepts, plus lyrics that reflect Mosher's personal philosophy on life. For not only is he a tremendously proficient musician and writer, he is also an excellent graphic artist, and the accompanying booklet includes some spectacular imagery - as have his two previous releases ('Ambient Earth' and 'Virtuality'). My own personal favourites are the two epic tracks 'Exile' and the previously mentioned 'The World Fades to Gray' though I feel that an honourable mention must be given to the concluding track 'Season Of Fire' which is an ambient/techno remix of the track previously released on 'Virtuality', and which I found to be very reminiscent of Tangerine Dream and Kreftwerk, and is quite different from anything else on 'Inferno'. I was able to identify influences from the various artists and bands mentioned above, but also found myself drawing comparisons with some of the work of Jean-Michel Jarre and Mike Oldfield as well. So this one comes heartily recommended to those of you with an open mind and who are prepared to sidestep and explore from the musical influences mentioned here. - Paul Jerome Smith   INFUZE MAGAZINE: New York's Scott Mosher offers up his third disc of progressive rock and ambient electronic music, Inferno. Clocking in at over an hour this album is strikingly different from what I expected. Inferno is riddled with synthesizers, heavy guitars, and strong vocals all interwoven with a tapestry of emotion. It's a tremendously interesting journey from start to finish that left me wondering what would come next after almost every song. After the stage is set the album kicks in at high gear with the title track, "Inferno", bringing to mind artists like Queensryche and Pain of Salvation throughout, yet managing to avoid the peg for the most part. Mosher definitely likes to control the mood of the album with pieces like "Descent" and the slow build of "Mindfield." Every time you get to a point where you think you think the album has kicked in with full force, Mosher swerves ever so slightly. This will definitely bother some listeners but I personally enjoyed the mild changes. In my opinion, Mosher manages to keep the album cohesive yet unpredictable, varying just enough to "wow" you every few songs but not so much that you are in a constant state of shock and unable to focus on the album as a whole piece. Standout tracks include "Left Behind" with its 1980's inspiring synthesizers and wonderful flow and the Rush-esque "Ghostland." The album's final track, and its most ambient, "Season of Fire (Infernal Re:Mix)" is a highlight as well. It shows a stronger electronic sense mthan many of the other songs and proves Mosher a quality artist in both the progressive rock/metal and electronic music markets. Overall, it's conceivable that some may hear Inferno and feel that the vocals and guitar work on some of the more progressive rock oriented songs are a bit dated. Others (like myself) won't be bothered at all by it, so you may want to check out some song samples first. If you like anything from Andy Hunter to Rush, Redemption, or Symphony X then you should at least check into this one.