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  • MY BROTHER THE WIND is an improvisational cosmic rock collective consisting of members of widely known Swedish acts Makajodama, Magnolia, Animal Daydream and most notably Anekdoten, one of the more widely recognized names in the 1990s prog rock revival.Recorded live in the studio with no overdubs during a single day in January 2013, Once There Was A Time When Time And Space Were One captures the collective's progressive soundscape qualities with incredible analogue studio production. The band utilized 6 and 12 string acoustic and electric guitars, Mellotron, flute, bass, drums, congas and more to complete the task. Expect 45 minutes of the band's most succinct material to date, recorded deep in the snowy, forested, Swedish wilderness.In 2013, MBTW expanded into an even wider fanbase, having been invited to play the mighty Roadburn Festival in Tilburg, Holland, as well as at Duna Jam in Sardinia.  At the invitation of Opeth’s Mikael Okerfeldt, guitarist Nicklas Barker returned to Roadburn to perform an improv set with Dungen guitarist Reine Fiske.Those who frequent the works of Popol Vuh, Amon Duul, Sun Ra, Träd, Gräs Och Stenar, Albert Ayler, Ash Ra Tempel, Gong, Pink Floyd and other visionary, psychedelic rock artists are advised to investigate this act. "Lush and instrumental for its duration, My Brother the Wind‘s third full-length, Once There was a Time When Time and Space were One (released by Free Electric Sound/Laser’s Edge), rolls out of the speakers much easier than its title rolls off the tongue, though both title and the work itself satisfy rhythmically. The Swedish four-piece — they now seem to be a bass-less trio with Nicklas Barker (Anekdoten) and Mathias Danielsson (Makajodama) on electric/acoustic 12-strong guitar and Daniel Fridlund Brandt on drums, but Ronny Eriksson plays bass on the album — reportedly recorded live to two-inch tape on a vintage machine, and the passion they put in bleeds readily into the nine-song/45-minute outing, fleshed with liberal splashes of Mellotron courtesy of Barker to play up a ’70s prog feel in a piece like the 12-minute “Garden of Delights.” That’s hardly the only point at which those sensibilities emerge, but even more than that, the primary vibe here is one of gorgeous heavy psych exploration, the band adventuring and feeling their way through the material as they go.On peaceful moments like the title-track, which arrives as the penultimate movement before “Epilogue” leads the way back to reality — accordingly, “Prologue” brings us in at the start — that exploration is positively serene, the 12-string complemented by spacious electric tones spreading out across vast reaches, but Once There was a Time When Time and Space were One offers more than drone and psychedelic experiments. Subtly pushed forward by Brandt‘s drums, pieces like “Into the Cosmic Halo” and even “Epilogue” enact classic space rock thrust, and even “Song of Innocence Part 1,” the first part of the journey after the backward atmospherics of “Prologue” introduce, has some cosmic feel amid its echoing solos. Its subsequent complement, “Song of Innocence Part 2,” swells to life on an even more active roll, waves of amp noise up front while drums and bass groove out behind, waiting for the guitars to catch up, which they do in a suitably glorious payoff, relatively brief but masterfully engaging, setting a momentum that continues well into “Garden of Delights,” a focal point for more than its length.Because the songs flow so well one to the next, some directly bleeding, others giving a brief pause, and because later cuts like “Thomas Mera Gartz” — named in honor of the drummer for ’70s Swedish proggers Träd, Gräs och Stenar — and the title-track have a quieter take, it’s tempting to read some narrative into the shifts of Once There was a Time When Time and Space were One, but with the material not being premeditated, I’m not sure that’s the intention so much as a signal it’s well arranged. In any case, the album offers an immersive, resonant listen, with tonal richness to spare and the presence of mind to keep a sense of motion even in its stillest parts and a balance of organic elements — Danielsson‘s recorder and Brandt‘s percussion on “Misty Mountainside,” the 12-string, etc. — amid a wash of effects and swirling psychedelia. This attention to sonic detail makes Once There was a Time When Time and Space were One more than just a collection of jams, and adds further purpose to the already worthy cause of My Brother the Wind‘s thoughtful musings, wandering and not at all lost." - The Obelisk
    $13.00
  • "Five years on from their Restless release and French eclecto-rockers Karelia are back with album number five, Golden Decadence. When I say back, what I actually mean is a couple of Karelia are back, with only singer Matt Kleiber (he also handles FX and there are plenty of them) and guitarist Jack Ruetsch actually return, with newcomers Sam Clauss (guitars), Phil Sissler (bass) and Fr-edd Seller (drums) now completing the line-up. However Golden Decadence certainly doesn't sound like a band settling in, instead being a bold confident, if not always sure-footed step from a band never easy to pigeon-hole into one genre box or another. It makes for enigmatic if not exactly essential listening, that offers up something a little different, while still somehow being exactly the same. Everything from Rammstein to Avantasia, Scorpions to Primal Fear belts past, huge exploding drums blasting, vocals growling, howling, soaring; melody pouring forth, while sing along choruses bounce off gritty abrasive riffs. On occasion it is completely compelling, at points utterly superfluous, although impressively it is never boring. A little left of centre undoubtedly, sometimes so far so that it soars straight past the point, however it also from time to time lands fairly, squarely and effortlessly slap bang in the bull's eye.The hugely melodic synth dweeps and scything guitars of "Ride It Wild" is a great shot of where this album works, the melody never sacrificing the aggression, the brutality never blunting the accessibility. Add to that some classy, poised guitar playing during a restrained break-down and there's a maturity on show that straight power metal usually lacks. That said the attempt at chest puffing posturing on "Body's Falling Apart" goes in completely the opposite direction, never quite being one thing or another. In the end being too tame for metal of power, too bristling for melodic rock and too sweet for industro-metal. This however is the price paid by a band desperate to be everything and none of the above, walking a tightrope thin line between success and failure. Other winners appear in the shape of "Bill For The Ride" and "Vanity Label", while "Animals" and "War Party" prove to be also-rans.Not an album that works from start to finish, there's still enough about the music of Karelia that makes each visit worthwhile and while the satisfaction levels can vary wildly from song, their wide ranging outlook deserves to be taken notice of." - Sea Of Tranquilty
    $15.00
  • The landscape of progressive rock continues to evolve. As the dinosaur bands fade away a new breed of thought provoking artistry has emerged. Bands like Porcupine Tree, Tool, Riverside, and Anathema are not about complexity or grandiose arrangements. These are bands that aim for your heart as well as your head. CloverSeeds is a new band following this course. The Opening is their second release. Their debut was released on a small French label and gave the band some national attention including a television appearance on "Ça part en live". The Laser’s Edge is committed to expand CloverSeeds fanbase to a worldwide level.Cloverseeds music is a rollercoaster ride of pure emotion filled with melancholy and dark atmospheres augmented with guitar driven heaviness. The album was recorded in Germany at Spacelab Studios under the direction of Everon’s Christian Moschus. The resulting album is an audiophile spectacular polished to perfection by Grammy winning mastering engineer Bob Katz.
    $6.00
  • New 2018 more dynamic remastering of the band's sixth album.  Now with 3 bonus tracking including a previously unreleased version of "Well I Think That's What You Said?".  This was the band's last album for Cyclops, before they jumped over to KScope.
    $12.00
  • Withem is an up and coming Norwegian progressive metal band, inspired by the likes of Symphony X, Pagan’s Mind, Dream Theater and Circus Maximus.The band started to take shape in 2011 when Øyvind Voldmo Larsen (guitars) and Ketil Ronold (keyboards) met the gifted drummer Frank Nordeng Røe. Soon they were joined by the vocal talents of Ole Aleksander Wagenius and bass duties were taken care of by the special guest Andreas Blomqvist from Seventh Wonder.Withem’s debut offers varied sonic landscapes for the listener to explore, ranging from guilty-pleasure choruses permeated with memorable vocal hooks, to symphonic epic themes.  The unique vocal range of Ole Aleksander Wagenius gives the band a distinctive touch to tackle the overcrowded progressive metal scene.The passion and dedication put into the album is emphasized by the countless hours spent in studio perfecting each individual performance and making sure that the end result is a world class blend of progressive, symphonic and power metal.The Point Of You was mastered by Markus Teske (Vanden Plas, Saga, Spock's Beard)
    $6.00
  • "Progressive rock and boy-band pop seem like natural enemies at first. The former's fascination with ornate, elongated passages of finger-exhausting musicianship is in almost every way the opposite of the latter's emphasis on catchiness first; it's hard to imagine turn-of-the-millennium hits like "Bye Bye Bye" with extended guitar and keyboard solos. Yet ever since A Doorway to Summer, their 2005 debut, Moon Safari has put to rest the notion that progressive-minded songwriters can't make pop that's as hook-driven as it is ostentatious. Grandiloquent epics like "Other Half of the Sky," from the 2008 double album Blomljud, weave together widescreen arrangements with the band's signature five-part vocal harmony, a feature unmatched by few groups in any genre, anywhere. It's easy to isolate the audience with solipsistic soloing and obtuse orchestrations, but from day one Moon Safari has made prog that—assuming the layperson were more amenable to songs that run upwards of thirty minutes—could lead them to something like a pop crossover hit.But while the union of hook-heavy vocal interplay and '70's prog stylistics gives Moon Safari an unmistakable, unique sound, it also handicapped them in a significant way for their first two LPs. The group's accessibility on A Doorway to Summer and Blomljud, along with its technical prowess, is unassailable, but the high-fructose sweetness of its style leads to a diabetic rush when stretched out onto songs that span ten to thirty minutes. For example, "Other Half of the Sky," the titanic thirty minute showstopper off of Blomljud, has so many memorable hooks that by the time it's run its time out, it's hard to remember all of them. The classic problem of "too many voices leads to a noisy room" was the defining problem of Moon Safari's otherwise enjoyable sound for some time. All that changed, however, in 2010 with the release of Lover's End.It is no exaggeration—even as the decade remains young—to say that Lover's End is one of the finest progressive rock records of the '00's. Hell, it's not even crazy to say that it's one of the finest pop albums of the '00s; anyone, even those turned off by prog's eccentricities, can find something to love on this mellifluous collection of songs. From the a cappella charm of "Southern Belle" to the hook-loaded "New York City Summergirl," Lover's End is chock full of goodness from beginning to end. What explains its genius is that in contrast to A Doorway to Summer and Blomljud, the songs are given exactly the amount of space they need, and not a second more. Some songwriters may feel hamstrung by the verse/chorus structure, but it's a perfect fit for Moon Safari's joyous approach to music.With their newest studio outing, Himlabacken, Vol. 1, Moon Safari continue the refining of their sound, and while this isn't the breakthrough that Lover's End was, it nonetheless attests to the brilliance of this group. Whereas the latter was bound by a loose concept (love and heartbreak), Himlabacken Vol. 1 is less a lyrics album than its predecessor. The cost of this is that the music is less distinct in its cohesiveness, but there are no shortage of catchy passages and amped-up solos. "Mega Moon" comes off as a tribute to musical theatre, with "The Very Model of A Modern Major General" vocal delivery interweaving with Queen-esque bombast to an impressive effect. "Too Young to Say Goodbye" sees and matches the polyharmonic beauty of "Lover's End (Part One)." By sticking to concise song formats—the longest cut here runs nine and a half minutes—Moon Safari ensures that things never run out of steam, an essential quality to any good progressive rock band.If nothing else, Himlabacken, Vol. 1 proves that there's one thing Moon Safari can't be accused of: being unaware of themselves. Grand finale "Sugar Band" is as much a statement of identity as it is a slice of epic pop: "Sweet and saccharine are we," they declare, followed by "syrup's the blood in our veins." (Less successful is the clumsy Katy Perry innuendo of, "suck our big candy canes," which is thematically consistent but tonally off.) Both "Sugar Band" and "Little Man," one of the few Moon Safari songs to feature a solo vocal, are emblematic of the mushiness that might turn some prog fans away from their music. The latter, while obviously a touching document of a father's love for his son, does feel a bit out of place in how deeply personal it is; part of the strength of this group's sonic is the universality of its pop appeal, and the intimacy behind "My Little Man" makes listening to it an almost voyeuristic experience. "Mega Moon" and "Sugar Band" are better at capturing the convivial spirit of the band that's accessible to all.As with past outings, even those drawn to vocal harmonies might find it hard to stomach all of the sweetness of Himlabacken, Vol. 1. But what ultimately makes this LP successful is its unpretentious commitment to fun. Moon Safari are a rare collective that prove daunting musical chops aren't anathema to accessibility, and with Himlabacken, Vol. 1 they've made a recording that, while not the magnum opus that Lover's End was, is as true a capturing of their ethos as there could ever be. Sating a sweet tooth brings to mind the phrase "guilty pleasure," but there's no guilt involved with music as first-class as this. Who knew being in a boy band could sound so classy? " - Sea Of Tranquility
    $14.00
  • "Roger Waters' second solo album is yet another conceptual narrative, one that tells the tale of a wheelchair-bound boy who tries to halt the threat of nuclear war through his use of the HAM radio. The story line isn't held together as tightly as his first album, and the whole fable seems a little too far fetched, even when taken lightly. Unlike The Pros and Cons album, the music here overrides the narrative, but not by much, highlighted by the upbeat pop single "Radio Waves." The last tune, entitled "The Tide Is Turning," is the only other focal point of the album, an honest-sounding ballad that relinquishes a glimmer of hope in an otherwise unpromising world. Waters' anti-war theme is stretched full across the album, but the music itself struggles to capture any attention, bogged down by half-whispers and flat-lined melodies that are only slightly resuscitated from time to time with some trumpet and saxophone. The novelty of Los Angeles disc jockey Jim Ladd wears off quickly, as he was obviously used to add some lightheartedness to the album's pessimistic undertones. Waters' use of imagery and thematic depth are absent from Radio K.A.O.S., leaving his superficial spiel with barely any sustenance, which in turn hinders the moral of the album so that it fails to reach its fruition. While both The Pros and Cons of Hitch Hiking and Amused to Death convey his talented use of concept, imagination, and lyrical mastery, this album seems to be nothing more than a fictional tale with a blatantly apparent message." - allmusic.com
    $11.00
  • "Now We Have Light is the third Sanguine Hum album, following on from the acclaimed albums Diving Bell and the Weight of the World. Now We Have Light is a double CD concept album. Unusually with this record, it is also something that the band have been working on for over a decade, and its roots go right back to the days of Antique Seeking Nuns, which was the earliest project that guitarist Joff Winks and keyboard player Matt Baber collaborated on. During this time they hatched a truly bizarre conceptual story to hang even more music around - a work that perhaps was too ambitious for them at the time, and one which took the formation of Sanguine Hum to make it a feasible challenge to complete. Somewhat like a twisted mix of Hitch-Hikers Guide to the Galaxy, Frank Zappa's Joe's Garage and the Lamb Lies Down On Broadway, Now We Have Light is a future parable set in an entirely possible scenario, in which entirely impossible events start occurring.Although a core group of songs were written for this album as far back as 2002, the band were inspired by the most recent Sanguine Hum material to revisit the old tunes and where needed develop and rewrite what already existed, whilst also creating a large amount of brand new music at the same time. Ultimately, it has come to represent a definitive cross section of all the work that they have made as Antique Seeking Nuns, Joff Winks Band, Nunbient and Sanguine Hum thus far. Recorded once again in Oxford, at Evolution Studios, the double album features alongside Joff Winks and Matt Baber, original bassist Brad Waissman and, making his second studio appearance with the band, Henry Fool and No-Man drummer, Andrew Booker. Also, the band invited renowned UK jazz vibraphone player, Jim Hart, to perform on several tracks, which marks the first time that a guest musician has appeared on a Sanguine Hum album. The package comes wrapped in a striking cover of illustrations from graphic artist Meriel Waissman.Now We Have Light is arguably the finest album to date from Sanguine Hum, one of the most innovative bands in modern Progressive music." 
    $17.00
  • "New album  from Daniel Cavanagh of Anathema, introducing the brilliant Sean Jude.Leafblade was born out of a calling. A calling to bring the writing of Sean Jude towards a wider audience; or so thinks Mr. Cavanagh of Anathema, who originally formed Leafbladewith Jude several years ago.In May 2013 Leafblade release their new album, The Kiss of Spirit and Flesh, on the Kscope label.Daniel and Sean are joined on the new album by Anathema's portuguese multi instrumentalist Daniel Cardoso who plays drums, supported by Kevin Murphy and recorded by Mark Ellis who worked on anathema's 2010 masterpiece, We're Here Because We're Here.Produced by Cavanagh, The Kiss of Spirit and Flesh steps up the dynamics from debut albumBeyond, Beyond.Showcasing Cavanagh's unmistakable production work, his signature electric guitar playing and heartfelt 'musical weaving', all of which is built around Jude's unique and brilliant progressive songwriting, his lute-like nylon strings, his articulate lyrics and passionate vocal delivery.Cavanagh feels that the album has found a natural home at Kscope, the label that he has worked with extensively over the past few years, "the writing is absolutely top class and the progressive and organic nature of the music makes it very much part of Kscope's orbit."He continues; "we feel the album is a special one thanks to the beautiful lyrics, top class arrangements and excellent musicianship, and it should appeal to Anathema fans and progressive fans alike."""
    $11.00
  • New 2022 digipak edition features a remix and remaster courtesty of Jacob Hansen.  Includes one bonus track."You've got to give Signum Regis founder and bass player Ronnie Konig some credit. He keeps trying to up his game with each new Signum Regis album. With his third album, Exodus, he tackles another concept album: the slavery in and exodus of the Israelites from Egypt from the Biblical book of the same name. Additionally, rather than a single lead vocalist, namely Goran Edman, Konig brings in no less than nine notable vocalists. (See the list below.) Whether this amounts to a good thing will be in the ear of listener.Something that has not changed is Signum Regis' sound, remaining traditional European melodic heavy and power metal. Considering the nature and significance of the Biblical story, some properly composed power metal could give the listener a lively interpretation of that story. Often it does.For instance, in pace, lyrics, and vocal arrangement there's a feeling of urgency within Let Us Go!, as the Hebrews seek release from their Egyptian masters. If you recall your Biblical history, you'll remember that Pharaoh was not to happy with Moses, becoming royally pissed and stubborn. Wrath of the Pharoah gets some of that with it's heavy and raging sound and piercing vocals. Of course, Pharaoh and all Egypt was warned of what would happen if they did not comply with Yahweh's wishes. The Ten Plagues offers some bracing straight power metal, with some ripping guitar work, to emphasize the drama of the event.Curiously, I would have thought the song Last Days in Egypt, which would have included the first passover ceremony (and foreshadowing Christ's atonement later), to be a more somber and introspective piece, perhaps acoustic guitar driven. Rather, it's basically electric guitar driven instrumental. There's some drama to the centerpiece song, Exodus, as it has a marching feel, thinking of the Israelites marching to their freedom.Finally, but not the final song, Song of Deliverance, based on Moses' song after crossing the Red Sea from Exodus 15, is likely the best and clearest reference to this profound and true story. It's also one of the better songs on the album because it's not all charging power metal. No, there's rather light breakdown just before the middle and also at the end that adds a reflective character to the story and song.The album comes with a bonus track, Mountain of God. Though the lyrics are hard to define, this song may have something to do with Israel arriving at Mount Sinai and the giving of the ten commandments.While this is probably the best Signum Regis album to date, some might find it too familiar, and there for redundant, thanks to the predictable, or typical, as the case may be, European power metal throughout. Nevertheless, it's also still very good melodic heavy power metal from some talented fellows who know how to get it right. Recommended." - Dangerdog.comExodus Guest VocalistsLance King [ex. Pyramaze, Balance of Power], Michael Vescera [Obsession, Animetal USA], Matt Smith [Theocracy], Daísa Munhoz [Vandroya, Soulspell], Eli Prinsen [Sacred Warrior, The Sacrificed], Samuel Nyman [Manimal], Thomas L. Winkler [Gloryhammer, Emerald], Göran Edman [ex. Yngwie Malmsteen, John Norum] and Mayo Petranin [Castaway].
    $13.00
  • Possessed was the death metal band that featured Larry Lalonde before he went to play with Primus.
    $10.00
  • Digipak edition with bonus track."These Power Metal merchants are held in high regard thanks to their personnel who have the experience, plus the previous four albums by Silent Force have held the attention mixing the hooks with rampant guitar riffs and their flair for clinical execution.Their last album, 'Walk The Earth', was unleashed back in 2007 so there has been plenty of water under the proverbial bridge leading up to this release.One notable difference for fans of Silent Force is the absence of D.C. Cooper on lead vocals. He has returned to the mighty Danish Melodic Progressive Rock band Royal Hunt and on this album is replaced by Michael Bormann known for his work with Bloodbound and Powerworld.Known as the main brain behind these Metal marauders, Alex Beyrodt starts the proceedings with some Yngwie Malmsteen style fretwork before 'Caught In Their Wicked Game' runs loose. Fast paced and ready to eliminate the competition the band sound hungry and eager to please.The new vocalist here really complements the sound, but may have some struggles winning over purists who yearn for their favourite original singer. 'There Ain't No Justice' and 'Circle Of Trust' both thrust the sword through the torso as the energy remains relentless.I really enjoyed the opening salvo of these three songs the first time I heard this album, through to the fifth spin and so on. The latter of these three tracks retains a pop sensibility, but loses none of the Metal credentials that you'd expect from this band.Not much to find fault about regarding 'Living To Die' which doesn't have the same prominent and obvious hooks as the previous songs, but still retains the quality. Listen out for some tasty keys from Alessandro Del Vecchio in the song 'Before You Run' and there's some mean riffing throughout 'You Gotta Kick It'. The balancing trick between the keys and guitar is the love affair that makes this album so appealing to the ears. They are the real stars from start to finish.Sarah has a lot to answer for as 'Turn Me Loose' tackles a relationship lyrically and maintains the groove in the backdrop. Solid drumming from André Hilgers keeps the good ship Silent Force on course providing a solid backbone, but is still unable to save this song from being below par in comparison to the rest. Perhaps slipping a little through the gears and reaching auto-pilot, 'Born To Be A Fighter' goes through the numbers competently enough, but the sparks aren't flying.Meanwhile, 'Anytime Anywhere' picks up the level of quality and mixes things up with a fine arrangement oozing melodies at each turn. This brings us to the final track 'Kiss Of Death' which chugs along like your favourite Metal anthem. The chorus stands up well and is a great way to round off what overall has been an enjoyable journey.Eight out of ten of the songs here are monuments to their reputation and abilities. Top quality musicianship, crisp production and power found in the crevices are all that I was hoping for initially, plus a feisty and strong delivery from the new vocalist. Thankfully, they tick the boxes consistently apart from a couple of weaker tracks that don't quite reach up to the benchmark they set with the rest of the album. Let power and melody unite in a blissful collision once more, as album number five aligns itself with their back catalogue." - Metal Talk  
    $16.00
  • 2023 Ed Wynne remastered edition.To be honest I haven't heard an Ozrics album sound any different in years. I suspect their fan base prefers it that way. At this point the band consists of Ed and Brandi Wynne, their son Silas, and drummer Ollie Seagle. If you haven't heard the band before this isn't the place to start. If you are known to smoke from Ed's secret stash this will satisfy you just fine until the next one. Blissed out psychedelic space rock.
    $13.00