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In 1999 Ian Parry formed his debut symfo progressive metal band project The Consortium Project, featuring guitarists Stephan Lill – Vanden Plas, Tamas Szekeres, Thomas Youngblood – Kamelot, Patrick Rondat & Elegy Drummer Dirk Bruinenberg. Entitled “ Ian Parry’s Consortium Project “ it was released first in Japan by Nippon Crown, France via N.T.S. & throughout Europe & the USA via InsideOut Music. Followed by South America via Progressive/Megahard records Nov’ ’99. The Consortium Project band performed a number of sell out shows at Cafe de la Dans in Paris, and Lyon, France and in Germany, Holland & Belgium in ’99 with Patrick Rondat & Stephan Lill – Guitars, Dirk Bruinenberg – Drums, Gunter Werner – Keyboards & bassist Rhapsody bassist Patrice Guers.

After worldwide reclaim for his debut Consortium Project album, Ian produced his Consortium II cd entitled “Continuum in Extremist” 2001 the 2nd part of his extraordinary
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CONSORTIUM PROJECT albums / top albums

CONSORTIUM PROJECT Consortium Project album cover 3.33 | 2 ratings
Consortium Project
Progressive Metal 1999
CONSORTIUM PROJECT Consortium Project II: Continuum in Extremis album cover 4.00 | 1 ratings
Consortium Project II: Continuum in Extremis
Progressive Metal 2001
CONSORTIUM PROJECT Consortium Project III: Terra Incognita (The Undiscovered World) album cover 3.91 | 2 ratings
Consortium Project III: Terra Incognita (The Undiscovered World)
Progressive Metal 2003
CONSORTIUM PROJECT Consortium Project IV: Children of Tomorrow album cover 4.00 | 2 ratings
Consortium Project IV: Children of Tomorrow
Progressive Metal 2007
CONSORTIUM PROJECT Consortium Project V: Species album cover 0.00 | 0 ratings
Consortium Project V: Species
Progressive Metal 2011



CONSORTIUM PROJECT demos, promos, fans club and other releases (no bootlegs)

CONSORTIUM PROJECT re-issues & compilations





Album · 1999 · Progressive Metal
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Ian Parry has done a fantastic job with the debut release of his Consortium Project. A group consisting of... wait... hold on, who the hell is Ian Parry?!

His name is so almost-pompously placed in the title of the album as if he's someone you should know. It's almost hilarious. He's released a few solo rock albums, and he was known at the time of this albums release for fronting the Dutch prog/power metal band Elegy, who I actually quite like, but apparently nobody else really does. Still, when I got this CD and saw some of the musicians involved, my interest certainly piqued. Besides the savior of music himself, Ian Parry, this album features Thomas Youngblood from Kamelot, Arjen Lucassen of Ayreon fame, and members of Elegy, the band Parry was fronting at the time, all make appearances.

All jokes aside though, Ian Parry, messiah of music and master of the microphone, has gone and released a pretty good album. The music sounds exactly as you'd expect it to; guitar/keyboard-driven progressive metal, that actually does a fantastic job of blending elements of progressive and power metal, along with hard rock and even AOR influences. And Parry does have a pretty good voice. Bonus points!

That doesn't stop things from getting stale though. As half-way through the record the quality of the songs starts to diminish a little. They're not drastically terrible, but they certainly ooze of filler material, not worthy of a musical prophet such as Ian Parry. But the first few tracks, in particular, 'House of Cards', 'Banquet of Thieves', 'Garden of Eden' and 'Change Breeds Contempt' are all fine examples of good, quality progressive metal. And the closing track 'Pandora's Box' picks things up again, so at least the album doesn't end on a bum-note.

It's nothing that will change your life, but it will make a fine addition to the collection of any fans of progressive or power metal.

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CONSORTIUM PROJECT Consortium Project IV: Children of Tomorrow

Album · 2007 · Progressive Metal
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Genre: progressive power metal

The fourth installment in Lion Music's ongoing reissue series of Consortium Project's back catalog, "Children of Tomorrow" was originally released in 2007, but will see the light of day once again in March this year.

On the previous album, "Terra Incognita (The Undiscovered World)" Ian Parry seemed to have found the sound for his Consortium Project, drawing on the groove and heaviness of the rather forgettable debut album and the much better sophomore effort "Continuum in Extremis" and adding a symphonic and progressive touch.

"Children of Tomorrow" pretty much continues down the same road as on "Terra Incognita (The Undiscovered World)", initiating the album with a symphonic and epic intro which even features a wee spoken narrative. The opening riff of the starter, is a heavy and groovy riff, and the track has a quite dark atmosphere overall - and this atmosphere is ubiquitous throughout the entire album. An interesting feature is the use of oriental-ish moods like in the epic-sounding 'Nowhere Fast' and the groovy 'Exodus', while tracks like 'Shadows' and 'Made in Heaven' features some retro prog rock-like spacey keyboards, and 'Enigma' and 'Mastermind' are uptempo and aggressive.

In keeping with the tradition of power metal which the sound of Consortium Project has always been anchored in, the choruses on this album are big and epic, but, interestingly, not as catchy as on the predecessor. Still, they go well together with the overall epic feel.

Fans of dark progressive power metal should definitely check out this central opus in the corpus of Ian Parry's work.

CONSORTIUM PROJECT Consortium Project III: Terra Incognita (The Undiscovered World)

Album · 2003 · Progressive Metal
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Genre: progressive power metal

Originally released in 2003 and also the third installment in Lion Music's series of reissues of Ian Parry's Consortium Project, this album, along with the other Lion Music's reissues, is specifically interesting in relation to the evolution of the artistic Consortium Project.

The style is basically the same type of prog power metal, as on "I: Criminals & Kings" and "II: Continuum in Extremis", or rather, it is a further development thereof. Where "II: Continuum in Extremis" was a radical improvement over the somewhat tame and forgettable "I: Criminals & Kings," "III: Terra Incognita (The Undiscovered World)" has the same high level of quality as its predecessor, but the overall sound is adjusted and a more progressive and more symphonic dimension is added.

As on its predecessor, the riffing on this disc quite strong, and Ian Parry makes good use of both groovy and classic metal-rock riffage, combining it with power metal aesthetics in the form of thundering bass drums and big, catchy choruses as well as an overall epic feel. So in the power metal department, everything is as it should be.

As the album's introduction indicates, Ian Parry has radically upped the symphonic dimension on this album and the keyboards have been given a more central role in the overall sound - but without being too cheesy. There are also more progressive elements on this album than on the predecessors, such as odd time signature and other quirky things, and the synths also contribute with spacey effects, known from the progressive rock of the 70s. And through oriental theme that characterizes this disc, is also helping to generate an interesting sound. So even if the quality is the same as its predecessor, the music still will probably strike many as being a bit more interesting on this release.

If you are a fan of pompous, but not cheesy, power metal with a progressive twist and plenty of melody, you should check this album out.

CONSORTIUM PROJECT Consortium Project II: Continuum in Extremis

Album · 2001 · Progressive Metal
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Genre: prog power metal

Ian Parry's second release under the Consortium Project monicker and also the second installment in Lion Music's presently ongoing reissuing project, "II: Continuum in Extremis" represents somewhat of an improvement compared to the previous release, which was originally eponymous, but has been renamed "I: Kings & Criminals".

While building on the power metal sound of the previous album, this one is much tighter in terms of songwriting. The tracks are generally more memorable and the riffage is much stronger, and the overall sound is bigger - but the use of keyboards does not come across as too forced (although, I can imagine that some will find the keyboards in '(Momentary)' Lapse of Reason' to be a bit silly (I like them though). Melody is central, and, while the choruses are big and catchy - as is typical of power metal - Ian Parry's raw and powerful voice ensures that any potential cheese is kept out.

While there are plenty of soft moments on this album, too, it is still heavier than the precursor, and even the soft tunes here are more inspiring and interesting than on the Consortium Project debut.

The album rocks hard. It rocks big. It rocks good. It is simply a must-have in the corpus of Ian Parry's work.


Album · 1999 · Progressive Metal
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House of cards...

Genre: progressive power metal

Originally released in 1999 as "Ian Parry's Consortium Project", or simply just "Consortium Project", the album is going to be reissued November 18, 2011, on Lion Music as Consortium Project I: Criminals and Kings (a title which is more in line with the titles of Ian Parry's subsequent Consortium Project releases).

We are dealing with modern power metal with a progressive and slightly symphonic twist here (but not to the same extent as with the subsequent releases), and many of the tunes evolve around groovy and more classic metal-styled riffs. True to the power metal ethos, there are plenty of catchy vocal lines in the choruses on the album, and there is, in general, also quite the focus on melody.

Still, and this is my main beef with this release, despite the use of melody and catchy choruses, the album fails to make any lasting impression on me. I have given the upcoming reissue a lot of spins now, and still only very few parts strike me as being truly memorable. The album actually starts out very strongly with 'House of Cards', which contains som strong riffing and some pretty good vocal lines, and ends on a strong note in the form of a bonus track demo version of 'Evil World'. These two tracks are pretty good and quite memorable, but everything in between is just one big blur. This is one of those album where you will have to listen to just a couple of tracks at the time in order to not do the album, and the individual tunes, any disfavors.

In any case, it has an important place in the history of the Consortium Project, and fans who have not heard the first release yet should take this opportunity to get acquainted with the beginning of the saga of the Consortium Project.


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