scottmosher.com | The Virtuality CD Homepage

VIRTUALITY PRESS: REVIEWS Page One (A through E):

AMBIENTRANCE ONLINE:
As well-produced as this project is (which is very) I've got problems with Virtuality... it's hardly ambient (the opening sequencer atmospherics of Upon the Frontiers of the Infinite Night (2:23) and the tone drones of Attilion Sunrise being exceptions)... but that's okay; Mosher's rocking style injects some serious kick-ass into the electro-prog sounds which usually bore me. A Season of Fire for instance deftly slips some old-school synthtronics into layers of slap-happy drumming, power riffing and frenzied bass-stalking. It's actually quite exhilarating to hear some truly blistering leads erupt from the thundering core.
No... the problem is the vocals... fine as they are... I can't handle the Whitesnake, Styx, Rush, etc. flashbacks they induce... sorry, man. Other instrumentals include the synthswept planes of Shores of a Cosmic Ocean and the pulse-pounding rocktronica of Infinity Burns. With less-bombastic singing, Sorrow in a World of Darkness (10:11) wraps the tight sound-art-philosophy package with keyboard action sparkling amid boilingly metallic strings.
Released 20 years ago, this would've ranked right up there with Billy Thorpe's Children of the Sun as a sci-fi-rock hit, and could still thrill the classic-rock crowd today were they able to let go of their beloved icons of yesterscene for just 72 minutes. Sorry to let my personal anti-rockstar-vocal thing get in the way, Scott... if you go all-instrumental, I'll be jammin' right along! For those ready to rock their listening world, seek The Ambient Mind. - (8/10)

AURAL INNOVATIONS:
Well here's something a little different. North Carolina resident Scott Mosher plays a brand of heavy progressive rock that combines several easy to describe styles into something that's a little difficult to describe. I'll quote the
blurb from his web site: "Virtuality merges the worlds of trance, ambient, new-age and metal forged in the fires of atmospheric neo-progressive song structures". It's difficult to call the music either neo-prog or prog-metal,
though these are the worlds it essentially resides in. But what Mosher has done is take heavy Rush influences (with a dash of Dream Theater) and inject a heavier keyboard presence that is sometimes symphonic and sometimes recalls the spaciness of Tangerine Dream or robotic synth patterns of Kraftwerk. It's an interesting combination of influences that gives a welcome edge and variety to a form of progressive rock that doesn't often
establish an identity of it's own. With the exception of brief guest vocals and guitar, Mosher plays all guitars, keyboards, and vocals, and did all the dark futuristic art in the liner notes.
Among the highlights is the title track which features heavy Rush influences, though the keyboards are as prominent as the guitar giving a full orchestral heavy rock feel. "The Human Machine" opens with a syncopated keyboard pattern and other Kraftwerkian synth textures. But the percussion buildup indicates that heavy rock is imminent, and sure enough, the music blasts off into full symphonic metal. It's great to hear blasting guitars married with lush keyboards, and the additional synth work takes the music to a level beyond simple prog-metal that makes it much more interesting for this listener. "The Dreaming Eye" is a similar track, but more space symphonic than metallic. I really like the thematic shifts between heavy rock and spacey keyboard patterns.
Dreamy moments quickly accelerate and absolutely ripping guitar bits blaze over trancey synth patterns. "A Season Of Fire" is another strong track with searing keyboards that add a welcome cosmic element to this progressive instrumental. Really nice guitar work along with Tangerine Dreamy keyboards. "Attillon Sunrise" and "Shores Of A Cosmic Ocean" are the most mellow tunes on the CD, being heavenly ambient pieces. "Re-Define" is the most Rush styled rocker on the disc but heavier on the keyboards. In fact, it sounds like Geddy Lee himself sitting in on vocals in both singing style and the sound of the voice.
And the closing track, "Sorrow In A World Of Darkness", is a 12 minute epic in which all of Mosher's influences come together, blasting seamlessly through Rush styled progressive rock, keyboard intensive neo-prog, and ambient space. An impressive set that will appeal to a diverse audience including space and prog rockers.

BACKGROUND MAGAZINE:
Scott is a busy man. Not only is he a graphic artist and a (web)designer, he also made this CD virtually (no pun intended) by him self. The only help he got was from Todd Corsa (vocals, guitars) and Mickey James (one bass solo). And that is where the problem lies. "Virtuality" suffers from bloodlessness, the same disease that many records that were made by a guy or gall alone suffer from. The back cover states that the CD should be filed under ambient neo-progressive cyber rock. And that's not a bad description at all. The album rocks, a lot of songs contain spacey keyboard arrangements, not unlike Steve Hillage did on, let's say, "Green" and some parts are quite bombastic / symphonic. Most songs are mid tempo rockers that are consequently ruined by Corsa's vocals. His monotonous and unstable voice gets annoying at times. The programmed drums are sometimes just 'offbeat" and unsteady. Add to that the mostly under measure compositions and we have no winner. Some moments are enjoyable like "The dreaming eye" and "The human: machine", but these are the songs with few or distorted (Ayreon like) vocals. It's just that there are so many good releases at the moment, so I'm afraid that Mosher is not gonna make it. Maybe if he gathered some more real people around him, musicians of blood 'n bone and a real life producer. **,5 (Hans D)

BALLBUSTER MAGAZINE:
This CD describes itself as being "ambient neo progressive cyber rock". I suppose that's a pretty good description of it. Scott Mosher is a multi-instrumentalist who played all the instruments on this album. Vocal duties were handled by Todd Corsa. There is a great deal of Rush influence here. Corsa, on some songs, is a dead ringer for Geddy Lee. His nickname, in fact, is "Shreddy Gee". Mosher's guitar style is also very similar to Alex Lifeston's.
There's no doubt Scotty here is very talented. As I said, he played just about everything on this album, and he did a good job of it. There are lots of high-tech, space age style keyboards and sound effects, which sound very sophisticated and complex, and he is also very good with guitar and drumming. However, I find this album to be a bit self-indulgent. It is over seventy minutes long, much of it is instrumental (two of the intro tracks, "Atillon Sunrise" and "Shores Of A Cosmic Ocean" are played entirely on keyboards and are a bit too new-agey for my taste), the closing track, "Sorrow In A World Of Darkness", is ten minutes long, and it just drags a bit in places. I appreciate what Mosher is doing, but sometimes I just wish he'd rock out a little more, and not make the songs so long. Less instros would help, too.
That doesn't mean, however, that there weren't some cool tunes on here. I liked "The Human Machine", a rockin' sci-fi tune about the classic "man vs. machine" theme, where Corsa sings in a deep, scary voice, for once not sounding like Geddy! I also enjoyed "Re-Define", which is very Rush-like, and the title track was enjoyable, too. As I said, Scott Mosher is a very talented individual. He just needs to write more actual SONGS, have more guitar (he's a very good player, so he should put more of it in his music), less instrumentals, more singing, and slightly shorter songs and albums and he'll be all set. I suppose the kind of thing he's doing is what progressive music is all about, but all the same, with a talent like his, he could show the world what he can do without overindulging.

BATTLEHELM ONLINE:
It's so easy to compare anything slightly progressive to Dream Theater simply because they are the ones who set the standard for progressive metal. And while "Virtuality" by Scott Mosher doesn't really sound like Dream Theater they are the first band that comes to mind. This is basically a metal album but with a slightly different twist. Try imagining ambient music played by a metal band being somewhat influenced by Dream Theater. Then turn that up by ten and you might get some sort of idea of what this album sounds like. It might sound like the weirdest combination but it works magic. This is one of the best albums I've heard in a very long time (and yes, I've heard Dream Theater's new "Six Degrees Of Inner Turbulence" and love it). It's one of those you-have-to-hear-it-to-believe-it albums that are so rare and therefor should be treasured so much more.

BELGIUM MUSIC SCENE:
Virtuality: Already a dozen years that the American guitarist Scott Mosher officiates in the world of the music. It is in 1996 that it leaves its first album solo, "Ambient Earth". Here who
defines the catch already well. Very implied in environmental problems, Scott Mosher uses his music and sound another work of graphic designer to let it know and thus test to imply more its
compatriots in the field. Here are which is not easy thing This "Virtuality" left in 2001. It is about the second opus solo of Scott Mosher. Environments are extremely impregnated by a
certain new-age and of sonorities planing such as offered Tangerine Dream of it. However, as a guitarist, our catch gives to all that colors plus metal and even progressive. This opus, in
majority instrumental, leaves despite everything the place to one singer. Mosher, which ensures some vocal well, called upon one certain Todd Corsa who also splits solo of guitar. All the
sequences and the percussions are of Scott himself. On the passages more progressive metal, one feels the same one environment that on old Ayreon what is rather flattering. the most
atmospheric moments hold as for them so much German of Tangerine Dream that arrangements of Alan Parsons without their symphonic side. There is sometimes the impression of to walk in a
deep space. This second opus of Scott Mosher will interest the amateurs of environments metal progressive soaked with Ambient. Per moment precisely it is perhaps there that bottom wounds.
Too much Ambient gives him a climate exceeded, but let us not forget that this album is already 5 years old.

CANADIAN ASSAULT:
SCOTT MOSHER "Virtuality" Full Length Demo CD '02 Scott showcases that he is a supremely talented musician. It's a pity though the spectacular progressive power metal ambience is affected in the worst of ways by HEAVY synths, goth & techno elements! A pity indeed! The vocals, which I really like, sound like a mix of Geddy Lee & Urban Breed. <5/10> ~ Dale

CHAOTIC CRITIQUES:
Virtuality is self-described as "ambient, neo-progressive cyber rock," and that description is pretty much bang-on. As the description indicates, Virtuality shifts between keyboard-generated ambience and progressive rock. For lack of a better comparison, envision a mixture of Rush with late 80s Pink Floyd, and you should be on the right track. This is music which obviously requires patience and attentiveness in order to appreciate, as its complex structures and willingness to explore ambient and new age passages at length imposes considerable demands upon the listener. Of course, demanding albums usually prove to be quite rewarding, and that is the case with Virtuality. One moment plumbing the relaxing depths of a synth soundscape, the next rocking along to some sweet guitar licks and Geddy Lee-styled vocals, Scott Mosher's vision traverses two challenging forms of music with considerable success. The general tenor of the music is fairly calm, with even the progressive rock elements encircled by the omnipresent keyboard work, which performs differents roles at different points in the album; one moment, it is reinforcing the other instruments with layers of atmosphere and, at another moment, it is playing a more up-front role similar to that normally heard in progressive rock like Kansas or Yes. Ultimately, the fluidity of composition and the extensive synthesizer work proves to be both a gift and a curse for Virtuality. It's a gift because it makes for an almost aqueous listening experience, moving through different mental states according to a soundtrack, much like the protagonist in Pink Floyd's The Wall. It is a curse because the excessive use of electronic instrumentation robs the album of its organicism at times, giving it that artificial symphonia of late 80s progressive rock - not necessarily a bad thing, mind you, but this problem could be mitigated with a wider range of keyboard textures and techniques and allowing the guitars to speak unaccompanied more frequently. Despite this, the concept, songwriting, and musicianship on Virtuality are quite exquisite - this album may not have a hard edge, it may not reach out and take an aggressive swipe at your jugular, but it is quite absorbing and enthralling in its own right.

CIRCLE MAGAZINE:
Call it spacey, call it celestial, call it anything but predictable. Scott Mosher's third release,Virtuality, is a unique blend of musical imagery and personal philosophies which invite the listener to venture on a pleasant cruise. The entire CD, composed and performed by the artist himself, was recorded at Freedom of Speech recording studios.
If such a term as cyber-rock exists, it might help describe where in the rock spectrum Mosher's work fits. Superb guitars back the 12 cuts on this CD that range from peacefully mellow, as in the 5th cut (an instumental), Attilion Sunrise, to highly energetic, as in the 4th cut, A Season of Fire. Assisting Mosher, are guitarists Todd Corsa and Mickey James in cuts 7 and 9. The mixture of vocals and grandly cosmic instrumentals are strategic in the type of audience this CD should draw.
Many of Mosher's worldly philosophies are evident throughout the lyrics, "sometimes we hide - our humanity/ within the worlds - of reality/ and sometimes we share - ideology/ and find ourselves - in perfect symmetry," Re-Define, cut 6. "A true decision forms a new condition/ without illusion of time - or anarchy/ Like vivid dreaming with a hidden meaning/ reflects a state of mind - or reality," The Promise of Truth, cut 9.
Virtuality is a wholly enjoyable CD that calls to the soul and the mind with its "celestial" music and lyrics. If you enjoy groups like the Moody Blues or Journey, then come along for the flight. You'll find yourself picturing vivid sunsets or a trip to the stars, Mosher's stars - via guitars. It's quite a ride, and one not to miss.

DELIRIUM MAGAZINE:
Virtuality features twelve tracks that will greatly appeal fans of progressive rock. If you like guitar leads and vocals in the progressive rock vein akin to greats like Rush, Fates Warning, Dream Theater, than Scott Mosher is for you.
Personally, this is not the type of music I listen to, but I can tell when an artist has talent and Scott Mosher is no exception. He has a vision and carries it throughout the entire album offering you a trip into his world filled with soundscapes that encompass techno-trance, ambient and even new age. When I first saw the artwork I thought of Fear Factory for some reason, but that was just in a visual sense and before I listened to the record I thought it was going to be an industrial album. I enjoy the instrumental compositions that come and go, and the songs vibrantly connect and gracefully flow from one song to the next. Mosher touches on many concepts from realms of the sociological, political, and environmental philosophies. I give this CD a thumbs up if you like this type of music.

DIRT CULTURE:
VIRTUALITY is a self-financed CD from musical wiz Scott Mosher. It is a surprisingly great work of art. Scott says to file the CD under ambient, neo-progressive cyber-rock, which to me, usually means to file it at the back of the CD rack. This is different. The music is pretty heavy and there is some real good guitar work on it. It's like the heaviness of Rush meets the progressiveness of Yes. There is lots of programmed stuff, but it blends in well. As well as doing practically everything on the CD, Scott also designed the packagine for the CD which is great. Scott is quite the established graphic artist as well as an awesome musician. The majoruty of the CD is instrumental. If you're up for something different, hook up to Scott's email and get VIRTUALITY.

DIVERTIGO (STEVE):
I've played your disc, Virtuality, several times throughout the week. I've listened to it in the car, at work, at home and on headphones. I was pleased firstly to see the packaging, a very well executed design and print. I know what goes into it, as I've done my own work as well (I remember using Corel Photo Paint 5 and running the bmp files to a Kinko's copy center to print out the booklets my first CD effort in 1997). I was pleased at the onslaught of wording and imagery provided by the booklet. Full-on professional job! I then thumbed through the booklet as I popped in the disc, eager to hear the full length versions of the analog synth fueled splendor I'd come to know from the samples on your website. I was not disappointed. Let us begin with a track breakdown.
1. Upon the Frontiers of Infinite Night
The swelling and droning of the first track gets my attention and then I'm further pulled in by the synth arpeggio.. then the drums fill drops in, leading to the first riff and setting what is to be the tone and instrumentation for much of the record.
2. Virtuality
Man.. I love the sound of analog synth melodies and arpeggiation, especially when not used to produce dance music. You introduce the track with the synth and then break in with a simple, clear beat and nice, active bass line with a pleasant popping. The subtle guitar layers are nice. Your voice then surfaces for the first time. Clear, accurate and melodic. You have the ability to convey the serious lyrical matter with a sage attitude/tone in your voice. Very effective. The guitar solo is pretty busy, but not overwhelming, exploitative of technique, or what I would call a "jerk-off solo". It moves around enough to keep the attention without obscuring the melodic and harmonic ideas at hand. One thing I wish were different is the handling of the vocals that come in afterward. I can easily tell where the edit points are and it affects the fluidity of the song for me. Nevertheless, a bold vibrato sustain on the voice leads to a rhythm change up and guides me back into the main riff. Since I like the riff so much, the fade out works nicely. Nice work.
3. The Human: Machine
You have a pleasing command of synth arrangement. Again, following the formula of beginning the song with a synth hook and later introducing the band is pulled off nicely. The processed, speaking voice surprised me the first time around and I found it intriguing.. but then you come in with the vocal harmonies in response to it.. I LOVE the way that sounds. It's just a vocals moment on the records where the chosen harmony, the sound of your voices, the lyrical content and the phonetics of the words all intersect and work really nicely. You then come in with a low, detuned (or 7string) that I find very satisfying and expressive, as I'm a fan of really heavy material. One of my favorite tracks on this record. My only squabble is that at 4:43, you have a rhythmic synth pattern come in that seems out of rhythm.
4. A Season of Fire
Once again, kicking things off with the synth. For a time, I looped this track and didn't listen to any of the others because I was addicted to the main riff. I love the way you bring in the high strings and introduce some other synth sounds. I love the way you change the mood and break things down later on with the bass and synth. One thing I tend to wish for on this one is a bit more variation on some of the chord progressions, but that is highly subjective. I also wish the fade out was a but more smooth and maybe a bit reverberated.
5. Attillion Sunrise
Nice Pad work.
6. Re-Define
Meant as a compliment: a great pop song. By now I can't deny the likeness of your voice to a certain Canadian bassist, but it does not in any way assault the integrity of the song and maintains its own identity. I like the way you approach the pop form.. Nice verses, injecting counterpoint with the vocals. A nice pre-chorus and memorable, meaningful chorus. This is one my favorites and is certainly my favorite lyric. I like the modulation in that one particular synth sound you chose.
7. The Dreaming Eye
And on with another synth intro. You've not bored me with any of these. You develop the song and then change up into what I assume is 'The Heart of Mind' with chordal grace and further synth themes. A token moment on the CD in my view. You inject a lot of change melodic ideas and hooks and they usually seems to flow together nicely in the song, even though the melodies may seem to have no relation to one another. I'm pleased at the end when you've chose to lead back into that same chord idea at the end of the guitar solo that I liked so much earlier on. The drum programming does indeed at times lend itself to more unpredictable, progressive patterns. I'd like to see you continue on this path and expand on this in future endeavours with some more complex rhythm parts that still keep the flow of the song but have a progressive element to them. Perhaps working in some unpredictable toms or splash cymbals.
8. Sometime After Midnight
Cool ideas. What really adds the right touch for me on this one is the pitch bending and modulation on the synth.
I like the slower part toward the end. You use a synth sound that reminds me of "I'll wait' by Van Halen. Being in tune with so much music over the years. I could name lots of songs I love that have used some similar analog synth sounds as many of your tunes.. that's probably just another subconscious factor that draws me to it.
9. The Promise of Truth
Like re-define, a pop form completely ready for radio airplay. Somewhat of an 80's feel for me, especially with the synth arpeggios. Nothing I have a gripe about!. Your voice has a different feel here, will an almost Jimi Jameson (sp) quality (the dude from Survivor). This one is noticeable more progressive the re-define. Nice swelling pads on the bass breakdown.
10. Shores of a Cosmic Ocean
Great pad work. I like this better than Attillion.
11. Infinity Burns
Intro reminds me of some of the old new age synth stuff, like Kitaro and such. Highly atmospheric. When the song is on the brink of loosing its luster for me, the pitch bend synths come in and save the day. Placed nicely.
12 Sorrow in a World of Darkness
You aren't about to run out of ideas on me another great synth introduction and then off to a nice vocal passage. The arpeggio you've chosen is still hypnotic even 6 minutes into the song with it surfaces alone and finally changes. By this point in the song I really feel that something epic and grandiose is trying to be conveyed. And in comes the voice, projecting the song's meaning. I like the vocal performance and melodic a lot. The double bass was a nice, fitting touch! And on to introspection Leaving the sonic image of your synth syle burned into my mind at the end of the disc.
Production
I see you've gotten someone to engineer this project for you. Undoubtedly this was an excellent choice. It's not an easy thing to mix synth layers with guitar. I don't feel like any of your compositional skills or ideas are being obscured by the production. It's very clean and polished. Wish I could say the same for my stuff, I need to move my production up a notch.
One thing I'm not crazy about is that your hi-hats and ride cymbals sometimes seem to be panned hard, almost or all of the way over to the left or right. Most synths allow you to set the pan for these. This slight change could make a big difference. To be honest, it's the only thing that really drives me nuts about the record. I don't know you all that well, Scott, but I feel that you have successfully channeled your thoughts and ideologies into a piece of work. Not a song, not a single image, but an entire comprehensive CD effort. This is something most artist works a long time to accomplish, a set of works that are all solid and true. This is probably the most impressive factor of the disc: that the body of work is consistent as a whole and is noticably reflective of the artwork and lyrics. It is an effort of performance, composition and production to keep the record solid and consistent. What's more, is that your electronic influence is very keen and authentic, not like a rock guy wanted to dick around with synths. You possess a good ear for electronic music and use these elements with a progressive rock style. Successfully. If you were standing across from me, I'd shake your hand on a job well done. I hope that you have in some way found my feedback pleasant or useful.

DUTCH PROGRESSIVE ROCK PAGES:
Scott Mosher is an independent American artist. His new album, Virtuality, seems to be a labour of love in many ways. The album was self-financed, Mosher played most of the instruments himself, and also did the beautiful artwork. I have always been a lover of science fiction stories and futuristic concept albums. So when I got Virtuality, I was very pleasantly surprised.
The album has a very convincing futuristic concept album feel! The vocals, melodies and overall atmosphere reminded me strongly of my three favourite Rush songs (Subdivisions, The Camera Eye, Red Sector A). This album has exactly the same "high tech sound": electronic, heavy and overwhelmingly progressive. The sound is quite "digital", with all these electronic drums and many sequenced synthesizers. But this cool and sterile sound works very well with the warm bass work, the heavy guitars and the powerful vocals. Half of the album are vocal tracks, with several movements, and mostly linked together with instrumental parts. The compositions are all very strong and well balanced. Most of the vocal tracks sound very Rush-like, like The Promise of Truth, Re-define and Virtuality. These are all sung by Tod Corso (nicknamed "Shreddy Gee"). Sometimes, the music of Ayreon comes to mind, like in The Human Machine, with Scott's own processed vocals. Most of the instruments are played by Scott Mosher, but there is a very convincing "band sound". I particularly liked the way all kinds of sequencers and synthesizers are used in the foreground of the mix, as a full fledged part of the "band" sound. But no "romantic" or "dreamy" pieces here: it's all energetic and full of power. Every track is written and played in a complex and colourful prog rock style, with a heavy approach, but never hard rock or metal. Virtuality is a great album.
I can highly recommend it to everyone who likes Rush, Ayreon, or the melodic side of Queensryche or Dream Theater. It might be hard to find in the shops, as it is mainly distributed by the internet. For ordering info (and sound bites) check out the links above. (9/10 stars)

DURP REVIEWS:
A beautifully designed CD came in from the USA. SCOTT MOSHER has put together a solo release, melting the worlds of ambient electronic, melodic progressive rock, soft progressive metal, trance and a bit new age. Imagine what would result if you combine german ambient artist SHAMALL with PINK FLOYD, DEVIN TOWNSEND and COSMIC BABY. Virtuality will stun fans of ambient electro and floydish soft progmetal. Human machine is a heavy track, especially suitable for fans of DEVIN TOWNSEND and AYREON. A season of fire is a dramatic and exciting soundtrack piece ... calling BLADERUNNER-like pictures of future cities in your mind. Atillon sunrise is a beautiful instrumental hymn, carried by soft and comfortable synthesizer. The vocals are nothing spectacular, but they fit the comfortable music very, very good. After 2/3 of the album the synthetic drumming starts to make me miss something special and the album begins to lack of melodic highlights. Unfortunately the album can't hold what the first 3 great tracks were promising. Overall this album features good electronic and ambient carpets as well as strong and intelligently used guitars. This is a promising release and a journey through time and space ... (6 points/10)

EER MUSIC REVIEW:
North Carolina guitarist Scott Mosher describes his music as "ambient neo-progressive cyber rock." His self-released second CD, Virtuality, mixes all of these styles in twelve tracks of instrumental and vocal music. The songs range broadly in style and length, including ambient instrumentals like "Upon the Frontiers of Infinite Night," synth interludes like "Attillion Sunrise," long prog-rock tunes like the title track, and trance-rock soundscapes like "The Human Machine." Most of the songs feature extended vamps, often as faded outros and occasionally as faded intros, and static drumbeats. The wide stylistic variety and the long arrangements leave Virtuality feeling more like a series of sonic experiments rather than a coherent musical statement. The skillful guitar work includes solos by Mosher and lead vocalist Todd Corsa. The guitar tones are first-rate, and the synth tones support the songwriting well. The synth percussion carries the ambient tracks, but the programmed drums on the rock tracks use dated samples programmed in bland drumbeats. Aside from the drums on the rock tracks, the production and mix on Inferno are pro quality. The long songs in different styles on Virtuality, and the long CD length at 72 minutes, show Scott Mosher honing his musical focus. His 2004 follow-up CD, Inferno, zeros in on tighter song arrangements in the ambient-meets-prog-metal style. Fans of more experimental ambient-metal might check out Virtuality, but listeners interested in a more coherent overall CD should check out Inferno. Reviewed by Scott Andrews

ELECTRIC BASEMENT:
Despite the name, this is not a TRASH album! Quite the opposite, it is a highly intellectual, layered creation, expanding across the sonic Universe almost effortlessly. Infused with synthesized keyboards, sound effects, carefully spaced guitar riffs and clean vocals, this could easily be a dry prog experience, but it retains an earthiness amidst the sci-fi atmosphere. Still, one gets the sense they are taking in Star Trek more than Star Wars. Indeed, this is as cerebral as it is aural. The title track marches on, but not forcefully. It is simply determined with a matter-of-fact delivery and overall restrained approach.
"The Human: Machine" is one of the stars here. Dense, epic and perfect for the headsets, it skips about quickly then stops for some appropriate sound effects or strange voices. You may want to think of this as a modern, slightly metallic War of the Worlds. Not that the theme itself is a parallel per se, but the overall feel is as such. We are not experiencing anything small, whether it be the symbolism of politics and cyborgs, or the sprawling vistas of the music itself or even the artwork, which is a fine companion. This means the casual or impatient listener may not have the hunger to sit this one out and will certainly not seek this when cruising down the highway on a Saturday night. Also, there is not a definitive track, but rather several very solid ones that are linked as a sum of something larger. For fans of prog, concept albums and science fiction. - (Brian Coles)

EUPHONY MAGAZINE:
Mixing Rush and Dream Theater, electronica/trance and rock grooves, along with an atmosphere almost gothic, Scott Mosher has created a tasty and interesting CD. My own preferences for rock and metal incline me to really like the opening instrumental, "Upon the Frontiers of Infinite Night" and the second song, (with its Geddes-like vocals) "Virtuality". In both these songs, the atmospheric nature of the music is anchored by solid drumming, which made my toes start tapping. "Virtuality" is a dance song, as well as a listenable one, and I wouldn't be surprised to see it turn up in dance clubs, although it has a passage in the middle that totally changes the feel and pace of the song, after which it then returns to its hypnotic rhythms.
Scott is primarily a guitarist but there is little guitar grandstanding on the CD... only a flow of music that blends seamlessly in each song. Vocal duties are handled by Todd Corsa. The CD's experimental nature is highlighted in the 3rd and 7th songs, respectively, ("The Human: Machine" and "The Dreaming Eye"), where the vocals include deep gruff spoken passages punctuated by hooky singing and passionate passages. The music itself remains consistent throughout the CD, regardless of vocal experiments, always maintaining an attractive rhythm, and a trance type feel. "Season of Fire" has incredible instrumental passages, often classical in feel--like listening to a symphony orchestra. "Attilon Sunrise" falls to a mournful and beautiful rhythm and I flashed on Orpheus descending to the underworld to look for his lost love. I love it. "Re-Define" is so Rush-like it was uncanny. A hooky song, the composition closest to traditional on the CD, the one song where Scott may be said to show off his nimble fingers most. "Sorrow in a World of Darkness" could almost be music to travel across space to: ala Star Wars and Star Trek--it has such an otherworldly feel.
Not music to mosh to, no, but music to work to...music that sharpens your brain and lightens the doing of tedious chores. The elements blended here may make the CD hard for labels and promoters to categorize but take nothing away from the enjoyment of it. I really don't need my music to fit a defined niche in order to decide if I want to play something often. Do you? Scott himself, on the CD cover, suggests, "File this under ambient, neo-progressive cyber-rock" and that will do as well as any other definition. This intelligent music allows you bring your own ideas to the songs and the rhythms are more likely to soothe than enrage, but I doubt anyone would call this ebb and flow of melody and trance boring. It is a lovely gem. Check it out for yourself. The CD, with its extensive booklet that perfectly reflects the music, is available through Scott/s website: THE AMBIENT MIND. - (Bonita Berger, 8/10 review)

EXPLICITLY INTENSE MAGAZINE:
Scott Mosher has been crankin' out progressive-tinged recordings since who knows when, but VIRTUALITY is his most mature work to date. The ability of VIRTUALITY to transport the listener to futuristic lands covered with musical instruments, nuclear powerplants and buildings even mightier than the once goliath World Trade Center spring to mind. The musicianship here is top notch, with slight hints of Yes, Genesis, Asia and ELP, but with a Y2K edge. Progressive Rock freaks, you'd b e seriously insane to pass this one up! - Sarjoo Devani

EXPOSE MAGAZINE, #23, 2001:
Counting both solo and collaborative projects, as well as cassette demons, VIRTUALITY is Scott Mosher's sixth release. The jewel case liner jokingly instructs stores to file this under "ambient neo-progressive cyber-rock" but in fact, that's an apt description of the music (although I would also add metal to the label). VIRTUALITY isn't a concept album in the strict sense of the word, although it is lyrically, musically, and even visually (Mosher did the graphic design himself) united by a philosophical - and at times mystical - concern with the shifting boundaries between man and machine, nature and technology, as well as our individual selves and the greater cosmos of which we are but part. The overall mood of VIRTUALITY is futuristic - an affet that Mosher achieves bu combining the traditions of progressive metal with electronic and ambient music. Electric guitar and sequenced synthesizer are pedominant here, with percussion (usually programmed) taking a secondary, supportive role. Vocals (often electronically distorted) are featured in about half the songs. The more conventional of the CD's 12 tracks, like "Re-Define", sound like 80's -era Rush, a similarity that is accentuated by singer Todd Corso's Geddy Lee-ish voice. Others, like "The Human: Machine" sound a bit like the wilder material on Queensrÿche's RAGE FOR ORDER. The most innovative tracks, though, are the instrumentals like "Season of Fire" and "Infinity Burns" which combine the metalllic guitar motifs and solos with trance-like pulses of sequenced synths, and "Atillion Sunrise", one of two beautiful and meditative ambient pieces. Recommended.