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  • "Birth evolved from Astra, whose two albums for Rise Above Records - 2009’s ‘The Weirding’ and 2012’s ‘The Black Chord’ - had already reinvented classic sonic textures and mind-melds in lucid and intoxicating style. Conor Reilly and Brian Ellis nonetheless found themselves seeking out new life and new civilisations. Initially this led to a collaboration with Psicomagia’s Trevor Mast and Paul Marrone, although later Marrone (while he does play on ‘Born’) was replaced by Thomas DiBenedetto (of Sacri Monte, Joy and Monarch) as sparks began to fly in earnest. The result has been a debut which combines a questing spirit with a dystopian take on the here and now. Musically, whilst traces can be discerned of the dark and magisterial King Crimson of ‘Red’ herein, as well as the yearning cadences of early Yes and the delirious contortions of Van Der Graaf Generator, a whole host of influences made their presence felt in these mournful cadences, joyful solo passages and kinetic freakouts, from '70s mainstays like Aphrodites Child, Premiata Formeria Marconi and Area to the primitive folk of Robbie Basho and the symphonic soundtrack work of Osanna. Yet far from the trappings of retro chic and fashion-aligned classicism, these five celestial serenades stake their claim in a different headspace to most other exponents of the form. Certainly, it’s true that many of the audial shapes manifesting themselves here - the exploratory jazz-rock diversions, Mellotron and Hammond-abetted textures and the rich melancholia of the song-writing - may recall moments from progressive rock’s past and the listener may be forgiven for losing themselves in a gatefold-sleeved reverie. Nonetheless, this is a band which was thrown into life via the constrictions and temporal shifts of a global pandemic, as well as one which has largely set about chronicling a reality in which the surrounding world appears to be hurrying its own demise. Alchemical forces have done their considerable work with ‘Born’, in creating an uplifting album for the ages, 42 minutes in which past, present and future are blurred; an album haunted by earthly concerns even whilst its sonics aim for the stars."
    $16.00
  • The artbook contains 2CDs with the album plus an instrumental mix.  The Blu-Ray contains the album in a 5.1 surround mix plus a 37 minute documentary.  Also included is extended artwork and liner notes."Two-time GRAMMY-nominated and millions-selling progressive music titans Dream Theater announce the forthcoming worldwide release of their 15th studio album, A View From The Top Of The World on October 22nd. A View From The Top OF The World is Dream Theater at its musical finest expanding on the sound they helped create while maintaining the elements that have garnered them devoted fans around the globe. The 7-song album also marks the second studio album with InsideOutMusic / Sony Music.The artwork was created by long-time cover collaborator Hugh Syme (Rush, Iron Maiden, Stone Sour). A View From The Top Of The World was produced by John Petrucci, engineered and additional production by James “Jimmy T” Meslin and mixed/mastered by Andy Sneap.Dream Theater – comprised of James LaBrie, John Petrucci, Jordan Rudess, John Myung and Mike Mangini – was in the middle of a sold-out world tour in support of their last release Distance Over Time and the 20th anniversary of Scenes From A Memory when a Global Pandemic brought the world to a stop. The musicians found themselves at home with LaBrie in Canada and the rest of the group in the States. As fate would have it, they’d just finished construction on DTHQ (Dream Theater Headquarters) —a combination live recording studio, rehearsal space, control room, equipment storage, and creative hive. With LaBrie in Canada, he initially wrote with the band via ZOOM on a monitor in DTHQ. In March 2021, he flew down to New York, quarantined, and recorded his vocals face-to-face with Petrucci. The album ultimately threaded together lean and uncompromising hooks with tried-and-true technical proficiency.“We just love to play our instruments,” observes Petrucci. “That never goes away. I love to be creative, write, and exercise that part of my mind. We’ve been able to do this for a long time, and we don’t take it for granted. Whenever we get together, we know we can’t disappoint ourselves or our fans, so we manage to try even harder.”“We approach every album like it’s our first,” adds LaBrie. “It’s been such a great ride, but we’re not going to stop.”"
    $45.00
  • Its been quite a long time since we've heard from Magic Pie.  They went through lots of trials and tribulations getting this album finished but now its finally arrived.  If you are not familiar with this band here's the deal: Magic Pie are a Norwegian band with a retro 70s sound.  The music is a bit of a high wire act balancing the neo-prog sounds of The Flower Kings with the heavier elements of classic Uriah Heep.  They also seem to be the darlings of Rosfest having played there multiple times."It's hard to believe it's been 10 years since these proggers from Norway released their promising debut "Motions of Desire". At that time, their music struck me as an enthusiastic combination of classic prog and classic hard rock. (Think Deep Purple for the hard rock side of that equation.) At their best, they offered memorable passages and pieces that sounded like they very well could have been long lost recordings from many years ago. At their worst, they sometimes fell short of filling the big shoes of the legendary bands whose music they strove to emulate. That's actually not bad for a debut album from a new prog band. I found much to like and looked forward to hearing from them again in the future.Checking back in on them a decade later, I must say that I am very impressed with how they have developed and matured. No longer do I get the feeling that certain sections of songs are direct homages to any particular band from any one particular decade of prog's illustrious history. Their influences, while still very present and valid, are now more varied, including a greater percentage of modern reference points. More importantly, their influences are just that--merely influences rather than templates or even primary reference points.The sound quality on "King for a Day" is superb thanks in large part to the enlistment of sonic genius Rich Mouser (whose resume includes similar work for prominent contemporaries like Spock's Beard, Transatlantic and Dream Theater).Keyboardist Erling Hananger is an excellent addition to Magic Pie's recipe. His keyboard parts are expressive, dynamic and integral to the music. When appropriate, his leads seamlessly blend, harmonize, and work synergistically with electric guitar.The lyrics have a melodramatic and somewhat tragic flair this time around, but this is prog so you should be accustomed to the musical ride including a few tragic tales from time to time by now, right?OK ' so it's time for the "magic" question... A decade after their debut album, how has my impression of Magic Pie changed?On "King for a Day", I now hear a band which has found "its own voice", one that resonates confidently in the space somewhere between classic arena rock of yesteryear (on prog-steroids of course) and modern melodic prog of the 21st Century (like Spock's Beard and The Flower Kings). Add a few dashes of modern prog-metal to taste and you, my friend, have baked up a very nice confection indeed... MAGIC PIE!If you love modern prog anthems with big harmonies and 'sing along' choruses, give "King for a Day" a listen! I'm glad I did!" - ProgArchives
    $14.00
  • THIS NORTHERN VIRGINIA BASED BAND is a three-piece at heart, musically rooted in the raw energy and rhythmic interplay of RUSH and KING’S X. Fans of dark, guitar-driven rock bands from ALICE IN CHAINS, DEFTONES to the contemporary metal riffing of LAMB OF GOD and PANTERA, will connect to the heavy core of IRIS DIVINE’s sound. Add to that progressive complexity and moody synths inspired by DREAM THEATER and PORCUPINE TREE, and a liberal dose of memorable hooks and melodies, to understand some elements of IRIS DIVINE’s sound. And yet, the band has a distinct identity, not quite sounding like any of the aforementioned bands, and with an emotional urgency that pulls subtly from alternative and other influences.KARMA SOWN IS A TRIUMPH OF A DEBUT ALBUM, immediate and memorable but revealing layers and depth upon repeated listens."Progressive metal is in a rough period right now. The old guard are either releasing sub-standard albums that only make it more obvious how far they have fallen, or they are drastically uncool with anyone who didn't become a fan when progressive metal was first being created. Progressive today tends to mean djent, a style that has sapped all the life and humanity out of music, turning metal into a math equation of time signatures, and not songs that anyone can actually remember. There was a time when progressive metal remembered the ultimate goal of music; to have listeners enjoy the songs so much they would return to them again and again. Today, progressive metal is mostly the sort of music that could pass for muzak, if you don't turn the volume up too loud.Iris Divine wants to change that. They set out with the mission of writing progressive metal that is intricate and challenging, but still produces the kind of songs that listeners who don't have an advanced degree can love and sing along to. It's a challenge, and it goes against the tide, but it's a desperately needed revolution if progressive metal is going to flourish anytime in the near future.I knew from hearing the pre-release track “A Suicide Aware” that Iris Divide was special, and the full album reinforces the point. “The Everlasting Sea” comes out of the gates with plenty of tricky riffing and unusual rhythms, but they lead into big melodies with strong hooks and vocals. Their progressive playing isn't meant for show, it's a tool used to set a tone that juxtaposes with the more melodic moments. Finding the proper balance between these elements is not easy, and many a band have failed miserably trying to do so, but Iris Divine doesn't. On their debut record, they show a skill some bands have spent their entire careers failing to learn.What I love most about the record is that it can be seen in many different lights. If you like straight-ahead metal, there is plenty of heavy riffing and pounding drumming here to keep you satisfied. If you like progressive music, these songs have twists and turns, and Rush-like keyboards, in enough quantity to match the djent crowd. And if you're a fan of old-school radio rock, the choruses in these songs will be music to your ears. Keeping all three of these in mind at the same time can be tricky, but it's worth the effort.For being a trio, “Karma Sown” is a massive sounding record. The production is flawless, big and clear, without ever sounding too polished. The heavy parts are heavy, the vocals are up front, and you would never believe this was a self-produced record that was crowd-funded. I can put it up against many, many of the big label releases, and it would win the fight.In fact, I can think of a dozen so-called progressive metal bands that should immediately hand over their label contracts to Iris Divine, because it's a crime that a band that is advancing progressive metal in the right direction doesn't have the backing of one of the labels. Not to name names, but this album would be bigger than half of the progressive metal released this year if it had the media push behind it.In case you haven't noticed, what I'm saying is that “Karma Sown” is a fantastic debut, and the future of progressive metal. Iris Divine isn't a Dream Theater clone, and they're not djent. What they have done is integrate all the strains of progressive metal into a singular sound, one that could set the standard moving forward. If every band sounded this good, progressive metal wouldn't need to be underground. “Karma Sown” is the best progressive metal album of the year, bar none." - Bloody Good Horror
    $6.00
  • Ultimately, progress will not be stopped. Pain of Salvation have been firmly at the forefront of the progressive rock and metal scenes for nearly three decades now. Led by mercurial multi-instrumentalist Daniel Gildenlöw, the Swedish band have consistently demonstrated a sincere passion for moving their own extraordinary music forward, while always remaining lyrically enlightened and ferociously intelligent. As a result, the band’s return in 2020 could hardly be better timed.Since selecting the Pain of Salvation banner back in 1991, Gildenlöw’s crew have arguably been the definitive prog band of the modern era. From elaborate and pointedly metallic early classics like The Perfect Element, Part I (2000) and Remedy Lane (2002) to the obtuse wizardry of Be (2004) and the genre-blurring mischief of Scarsick (2006), Pain of Salvation’s all-encompassing musical vision has delivered some of contemporary prog’s most brave, bold and startling moments. Perennially restless, the band switched to a more retrogressive style for Road Salt One (2010) and Road Salt Two (2011), conjuring a precocious blend of ‘70s blues rock and proto-metal with Gildenlöw’s unerringly inventive instincts.Also one of modern rock’s most revered and acclaimed live acts, Pain of Salvation reached a new peak of efficacy on 2017’s In The Passing Light Of Day, an intricate but soulful concept piece that focused on notions of mortality and joy. Both a technically dazzling metal band and a freewheeling prog ensemble, Pain of Salvation have earned their formidable reputation by simply being their brilliant, creatively fearless selves.Fast forward to 2020 and the world is in a state of disarray. But music’s power to uplift and unite has never been in doubt, and the new Pain of Salvation album PANTHER is guaranteed to provide prog fans with a much-needed dose of sumptuous musical substance. Since the release of In The Passing Light Of Day, the band have deftly weathered the departure of guitarist Ragnar Zolberg, discovering a newfound enthusiasm for what happens next in the process.“We did In The Passing Light Of Day and that ended with the departure of Ragnar from the band,” Gildenlöw recalls. “In the past, 10 or 20 years ago, that would probably have made me doubt the future of the band and all of that. I went through that a lot in the past with members leaving or things not turning out in a good way! It’s always difficult and it’s always something that makes you sad, when your little band family is disrupted, but I never came to the point where I doubted where to go or what to do. The other band members were pushing us on to continue, so I just kept writing music.”The result of that sustained surge of creativity is PANTHER, the eleventh Pain of Salvation album and a very obvious landmark release in a career full of them. PANTHER is a concept piece that delves into the conflicts and contradictions between so-called normal people and those who are wired entirely differently.“I guess a lot of the songs that came out dealt with not being part of the norm of society,” Gildenlöw says. “Because we live in a time where we’re more aware of people not fitting the norm and we’re doing everything we can as a society to acknowledge all of these individuals, but at the same time, they’re more disowned than ever, more medicated than ever. The album is painting pictures of a world, I guess. If this was a movie it would be scenes from a city. It’s set in one city, and it’s populated by dogs and the panthers, the so-called normal people and the spectrum people. That’s the setting for the entire album.”As with all Pain of Salvation records, PANTHER will demand multiple listens before it reveals all of its secrets, both musical and narrative. But one things is certain: Gildenlöw’s ability to create a unique and fascinating musical and lyrical world has only grown in recent times. Both traditional and radical, PANTHER is the epitome of a modern prog concept album.With such a deep and varied catalogue, Pain of Salvation – completed by guitarist Johan Hallgren, keyboardist Daniel ‘D2’ Karlsson, bassist Gustaf Hielm and drummer Léo Margarit - have taught their fans to expect the unexpected at all times. Although instantly recognisable as music from the wild mind of Daniel Gildenlöw, PANTHER once again refines and redefines the Swedes’ sound, with echoes of the past vastly outnumbered by vivid, new textures, tones and sonic sleight-of-hand.“For this album, I started off looking for sounds. I always feel I need to move and change and find new ground for myself. Maybe it’s not intentional, but looking back I see that I chose a different starting point every time, or a different methodology, which makes everything else unfold in a different way. It’s a way of making sure that I’m not repeating myself.”Meticulously pieced together by Gildenlöw in Eskilstuna and The Cabin, and mixed together with Daniel Bergstrand (Meshuggah, In Flames, Devin Townsend) at Studio 33 in Stockholm as well as mastered by Thor Legvold / Sonovo (Tambours de Bronx, Purified in Blood, Susanne Sundfør, Gazpacho) in Los Angeles, PANTHER ended up becoming a very intense and personal labour of love for Pain of Salvation’s leader.“It’s been somewhat of a lonely process, but I was finding sounds that I felt were communicating something, and then built something around that,” says Gildenlöw. “It started off a chain of events that led to PANTHER. Just like we did with the last album, you have a song and you find a new sound that you like, and then you start pulling the other songs into that world, step by step. So there’s a lot of odd sounds and a lot of trying to think anew, particularly from my point of view. I don’t have to try to make it sound like Pain of Salvation – the sound is basically what I do when I write music.”Old school PoS fans need not panic, however. Panther still features plenty of guitars and recognisable prog rock and metal tropes: It’s just that Daniel Gildenlöw can’t help but do things differently, every time he hits the studio.Yet another groundbreaking monolith to progress, passion and the joy of music itself, and with artwork consisting of fantastic illustrations made by André Meister, PANTHER is destined to be one of 2020’s most significant releases. Sprung from the maverick mind of prog’s most ingenious contributor, it’s a triumph for artistic imagination and an exhilarating new chapter in the life of a truly great band.“I don’t think that an album can change the world in any way, but I think that every small drop in the ocean can make a difference,” Gildenlöw concludes. “Hopefully people will look around at life as it surrounds us and they’ll realise that this is something we choose. We don’t have to have things as we have them right now. Then I hope, as always when it comes to our albums, people will take time to absorb it all. Our albums work best when they have a little time to sink under the skin. Hopefully with our track record, people know what’s coming!”"
    $19.00
  • Swedish psychedelic/progressive rock alchemists AGUSA present their third full-length album simply titled Agusa.The follow-up to 2015’s Agusa 2 (Två ) sees the AGUSA circle expanding their kaleidoscopic output which conjures images of nature and the cosmos, their extensive passages again leading the listener into fantastic realms of a possibly supernatural or parallel existence. While Agusa 2 (Två) engulfed forty minutes of music through two massive tracks, Agusa sees the band delivering their singular brand of, trance-inducing, folk-inspired, occult rock through more traditional track lengths, offering five songs which range from five to ten-and-a-half minutes in length and are a bit heavier than the album’s predecessors.Agusa was recorded and mixed by Viktor Rinneby and mastered by Grammy-winning engineer Bob Katz, and completed with art by Danilo Stankovic and design by Peter Wallgren.In September 2016 AGUSA released their live disc Katarsis, which had been recorded in Athens, Greece six months before. Following that release the band had hectic schedule with gigs in Scandinavia, Poland, and back to Greece. This proved to be too much for organ player Jonas Berge who left the band in January 2017, while recording the new Agusa album, which caused the band to take a pause in order to complete the album and replace Berge. Finding a talented organ player who would also fit into the group proved to be a difficult task, but finally Danish organ player Jeppe Juul was picked as Berge's successor. Juul is originally from Denmark but now lives in the deep woods of southern Sweden in primitive circumstances, where they must carry all water from a nearby well and occasionally get some electricity from some solar cells on the roof. He has previously played with many acts in different genres; Marcus Miller, Royal Danish Ballet, and Lili Haydn, among many others.AGUSA has performed live throughout Europe, including the mighty Roadburn Festival and more. Preceding the new Agusa album, flute player Jenny Puertas gave birth to a daughter in May which saw the band performing sans-flute for several shows, and additionally, organist Jonas Berge rejoined the lineup for several performances, which saw them playing live with two organ players. As always, AGUSA performed vastly different versions of the new songs live compared to how they ended up on the album, continuing their ongoing mission of turning every concert into something unique.
    $15.00
  • Prospekt are a British Progressive Metal band influenced by bands such as Dream Theater, Symphony X, Opeth and Circus Maximus, as well as film scores and fusion. Prospekt combine the fierce technicality of progressive metal with the symphonic elements of contemporary prog.From brutal riffs coupled with odd time-signatures, to majestic melodies, the principle of Prospekt’s music is to create an intelligent and atmospheric mix of melodic, modern progressive metal. Incorporating passionate higher ranged vocals, frenetic guitar work, haunting orchestration and solid grooves, every composition remains both interesting and original.The Colourless Sunrise was mixed by  Adam "Nolly" Getgood of Periphery and mastered by Jens Bogren at Fascination Street.
    $5.00
  • Legendary guitarist Steve Hackett presents his brand new live audio/visual extravaganza, with the release of ‘Foxtrot at Fifty + Hackett Highlights: Live in Brighton’. Filmed & recorded live on his 2022 UK tour, in the coastal city of Brighton, this release documents Steve and his band celebrating the 50th anniversary of the much-loved Genesis album ‘Foxtrot’. Played in full, this album features fan favourites including ‘Watcher Of The Skies’ and ‘Supper’s Ready’. The show also features a set of Hackett solo material, including ‘The Devil’s Cathedral’ from his latest studio album ‘Surrender of Silence’, and the powerful ‘Ace of Wands’. Mixed by Chris Lord-Alge & mastered by Ten Jensen at Sterling Sound.
    $16.00
  • Four years after their latest studio album, now finally "I Am The Storm" arrives - an intense slice of heavy music, evoking the presence of one's inner strength. Like a force of nature, every lover of sophisticated metal music with depth will fall in love with Englund's inspired vocals, the sheer power and exquisite arrangements.The masters of song-oriented progressive metal are back! Los Angeles- based band REDEMPTION, fronted by charismatic vocalist Tom S. Englund (also Evergrey) are one of the most respected and critically acclaimed bands, highly praised in prog- as well as melodic/power metal circles. Four years after their latest studio album, now finally "I Am The Storm" arrives - an intense slice of heavy music, evoking the presence of one's inner strength. Like a force of nature, every lover of sophisticated metal music with depth will fall in love with Englund's inspired vocals, the sheer power and exquisite arrangements. 
    $16.00
  • Vly began as strangers sending 1's and 0's across the Atlantic Ocean. British-based guitarist Karl Demata had a vague idea and a few demos, when a friend put him in touch with New York singer / artist Keith Gladysz. Keith began working on the demos, adding a more melodic, dream-like and decidedly indie sensibility. "It was a new way to work", says Gladysz. "The music and collaborative art I've made always started with people I knew, and creating naturally came out of that understanding. That's not the case with Vly. We managed to make an album without ever meeting. There was no gauge or reference point except for the music. It was a total shot in the dark".The sound of Vly shooting in the dark hits elements of progressive rock, classic rock, folk, early-Floydian psychedelia, intimate pop melodies, massive walls of epic guitar riffage, post-classical, post-rock and electronic music. And it's the diverse background of the members that lead to the breadth of their sound.The progressive sentiment of Italian keyboardist Elisa Montaldo quickly attracted the ear of Demata. "The first time I heard Elisa play" says Karl "I knew we had to be in a band. Her innate melodic approach and instinctual understanding and knowledge of 'anything prog' is simply remarkable"."Karl asked me to join the project at the very beginning" Elisa picks up: "My idea of prog is somehow more vintage, more typical 70's Italian style. After various experiments on arrangements and sounds, I went to Karl's studio to record most of the keyboards, where we found the right balance".Connecting with strangers, and expanding circles of mutual friends became the pattern for Vly. Karl next recruited experienced bass player Chris Heilmann who worked together previously in Crippled Black Phoenix. Chris provided a solid backbone with a more classic rock attitude.Demata doesn't hold back when talking about Sweden-based musician Mattias Olsson. "He is simply a genius. And he's never predictable as a drummer. Mattias also contributed some vintage keys and odd analog noises, which have a definitive effect on the bands sound. A common friend described him as a 'lateral thinker', and I can't think of a better way to describe him."Vly makes good on the futuristic dreams of the late 1990's, when promises of international recording sessions via the Internet excited incredulous musicians. Now that it's a reality (thanks to Dropbox and Skype), the method may be less glamorously sci-fi than one had hoped; still, they get the job done."I always disliked the cliches about music as a universal language, and more recently about the Internet bringing people together", explains Keith. "I'm even more uncomfortable with those sentiments now, since Vly proved them true".Vly's debut album, I / (Time) is available on the Laser's Edge imprint September 18, 2015. It's engineered and produced by Karl Demata, with additional production by Keith Gladysz and Mattias Olsen, and audiophile mastering by Bob Katz.VLY is:Keith Gladysz (Diet Kong, Typical Reptiles) - Vocals.Karl Demata (ex-Crippled Black Phoenix, Karl Demata Band) - Guitars, synths, programming.Elisa Montaldo (Il Tempio Delle Clessidre) - keyboards and synths.Chris Heilmann (ex-Crippled Black Phoenix, Bernie Torme', Shark Island) – Bass.Mattias Olsson (ex-Änglagård. White Willow, Necromonkey) - Drums & keyboard 
    $5.00
  • “Devolution Series #2 - Galactic Quarantine” was recorded between July and September 2020 in various places around the world. Originally streamed on September 5th, 2020 on StageIt.com as a replacement show for the COVID affected “Empath Vol 2 European Tour” and various cancelled Summer festivals. The show features Devin on vocals and guitars, Samus Paulicelli III on drums, Wes Hauch on guitars and Diego Tejeida on keys. 
    $15.00
  • Finally, the new studio album by RIVERSIDE, Poland’s pioneering and leading Progressive Rock band! Succeeding 2018’s widely acclaimed ‘Wasteland’ album, which entered the charts in Germany at # 13, The Netherlands at # 28, Switzerland at # 23, Austria at # 39, UK at # 83, Finland at # 30, France at # 97, Czech Republic at # 59 and Poland at # 1, their new album ‘ID.Entity’ extends and expands RIVERSIDE’s characteristic sound, but all in a revamped and more dynamic formula. Recorded and mixed in two studios (The Boogie Town Studio in Otwock with Paweł Marciniak and in Serakos studio in Warsaw with Magda and Robert Srzedniccy), the album was mastered by Robert Szydło and produced by RIVERSIDE’s Mariusz Duda himself. ‘ID.Entity’ kicks off the third decade in RIVERSIDE’s career in a remarkable way.
    $13.00
  • Leprous are an exciting young band from Norway. They made a great album for our label in Tall Poppy Syndrome and have now found a new home at Inside Out. Bilateral is the band's third album. It continues their tradition of mixing progressive rock and metal in equal doses. They serve it up in a way that continually leaves the listener off kilter. This time Einar Solberg sings almost (but not totally) with clean vocals. There is still quite a bit of heaviness. The music constantly challenges you and at times isn't all that pleasant to listen to...but you can't stop. If Van Der Graaf Generator recorded a metal album it might sound something like this. Album of the year candidate...you must own this!
    $15.00
  • "Norwegian prog-rockers Jordsjø are something out of the ordinary as evidenced by the stunning quality of their previous releases (the flawless Nattfiolen in particular) and the band’s entirely unique sound and spirited compositions. Yours truly can think of no other act out there who sounds even remotely akin to Jordsjø or inhabit those same traits and characteristics that one associates with said outfit. With respect to their upcoming opus titled Pastoralia, words and phrases are heartfelt and original, intriguingly layered and infinitely captivating, and exquisitely crafted from top to bottom, constantly present themselves when in the company of this oftentimes pastoral-sounding effort where superb melodies are beautifully interwoven with each other.Pastoralia is a musically cohesive yet playful and loose affair that incorporates a myriad of different influences, elements, and vibes. There is something almost rural and earthy about their folk-tinged passages and there are certainly also parts that are drenched in a thick, passionate sense of melancholy. But what about those slightly eerie and unnerving sections that occasionally creep into the mix? Those delightfully jazzy tones that sneak into the eclectic soundscape also? What exactly is this LP? Perhaps it is the most suitable soundtrack to unearthing the secrets of the past that you will come across this year – that’s what this is. Personal favourites and highlights include the Baroque-ish ‘Fuglehviskeren‘ and the sprawling (not to mention dazzling) epics that are ‘Skumring i Karesuando‘, ‘Beitemark‘, and closing track ‘Jord III‘. Every tune contains plenty of light and shade and so things never turn stale or boring here; there is always something exciting going on. The lyrics and words are in their native tongue, which lends an air of authenticity and authority to the compositions, and the title of the record, Pastoralia, is meant to signify a fictional place where the forest people dance around campfires on warm nights in northern Norway.While there are subtle parallels and nods to Jethro Tull, Van der Graaf Generator, and Camel throughout, Jordsjø possesses a musical identity that is entirely their own. Pastoralia does require time and patience on the part of the listener as there is an awful lot to absorb here and it only really starts to makes sense once you have spun the disc several times. It is darkly magical and strangely enchanting albeit with ever so slightly sinister textures shimmering underneath it all. This is the perfect album to immerse oneself in if you require solitude and/or escapism, and this eight-track offering is one of the finest and most adventurous and musically explorative Norwegian works within the field of progressive rock yet, which is saying something. I simply cannot detect any flaws here and this is Nordic prog rock with a folk-ish twist to it that leaves nothing to be desired." - Velvet Thunder
    $11.00