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  • 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
  • The new Tiles album is a 2CD set in a digipak with a 28 page book.Please note that we will cut off pre-orders for this package on March 31st.  Please do not combine any other items with this bundle - they will be removed form your order.After an eight year absence, T I L E S returns with a vengeance by delivering the mesmerizing 2-CD magnum opus “Pretending to Run.”  Clocking in at over 96-minutes, “Pretending to Run” is an ambitious and richly crafted song cycle spinning the tale of a man blindsided and disillusioned by betrayal.Once again, T I L E S teamed up with producer Terry Brown – and with mastering by Grammy award winning engineer Peter Moore, “Pretending to Run” boasts a powerful and detailed sonic landscape.  Complementing the dramatic and multi-layered storyline is Hugh Syme’s striking and surreal imagery.  Featuring a lush 28-page full-color booklet, the design and packaging for “Pretending to Run” is an elaborate and stunning work of art.Lending their talents to “Pretending to Run” is an extraordinary collection of special guest musicians: Ian Anderson (Jethro Tull), Mike Portnoy (Dream Theater, Winery Dogs), Adam Holzman (Steven Wilson Band), Mike Stern (Miles Davis), Kim Mitchell (Max Webster), Colin Edwin (Porcupine Tree), Kevin Chown (Tarja Turunen, Chad Smith), Max Portnoy (Next to None), Matthew Parmenter (Discipline), Mark Mikel (Pillbugs), Joe Deninzon, and other notable guests from the Detroit area… Destined to be on the radar of Prog fans everywhere, “Pretending to Run” is a distinctive  presentation framed in the grand traditions of progressive rock.  Clearly and unmistakably T I L E S, but infused with a more expansive sound as the guest artists propel the band into new directions sure to please fans old and new.Special guest performances by:Ian Anderson (Jethro Tull)Mike Portnoy (Dream Theater, Winery Dogs)Adam Holzman (Miles Davis, Steven Wilson)Mike Stern (Miles Davis)Kim Mitchell (Max Webster)Colin Edwin (Porcupine Tree)Kevin Chown (Tarja Turunen, Chad Smith)Max Portnoy (Next To None)Matthew Parmenter (Discipline)Mark Mikel (Pillbugs)Joe Deninzon (Stratospheerius)  
    $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
  • Kingfisher Sky is a new Dutch ensemble put together by former Within Temptation drummer Ivar De Graaf along with classically trained vocalist Judith Rijnveld. Ivar left Within Temptation to pursue other musical interests. His collaboration with Judith produced a brilliant debut that encompasses progressive rock, gothic metal and mystical Celtic themes. At times the music bears some similarities to the more mainstream direction that Within Temptation went with their latest release, but the music has more of a prog rock feel. There is a heaviness that permeates the album due to the background of the rhythm section (bassist Eric Hoogendoorn was in Orphanage) but despite the crunch of the guitars it never quite crosses over into metal. Judith's vocals are simply amazing - she sings with incredible control and range - somewhere between Sharon Den Adel and Christina Booth. This is not hyper-complex prog. It relies on moods created by the vocals and writing. The moodiness of the ballads evokes Kate Bush, Tori Amos, Peter Gabriel which the more agressive tunes suggest Porcupine Tree, Within Temptation and even Pink Floyd. For my particular taste this is a different kind of album that pushes the right buttons. If it was a bit heavier we'd probably be referring to it as a metal album but it's not (I do love that crunch though). The band's label is trying hard to not ride the Within Temptation connection too heavily, hoping that the band's music will stand on its own - it does and then some. Having said that it's impossible to deny the musical connection. Highest recommendation!Kingfisher Sky on Myspace
    $6.00
  • "Triple CD contains the Swedish and English versions of Opeth's album In Cauda Venenum with new illustrations by internationally renowned Travis Smith in the booklet. In addition, there is also a third CD including 3 previously unreleased bonus tracks, both in English and Swedish: "Pöbeln" / "The Mob", "Cirkelns Riktning" / "Width of a Circle" as well as "Frihet & Tyranni" / "Freedom & Tyranny"."The album opens with haunting Mellotron and we are off to the races.  By now its the law of the land that Opeth has forsaken the "old" sound.   They are a progressive hard rock band who's albums are packed to the rafters with retro sounds.  The album arrives as a double disc - one version of the album sung in their native Swedish and the other in English.  The traditional melancholy sound is present here.  Expect dynamics galore.  This is an album of contrasts - darkness/light - heavy electric/acoustic.  If Trettioariga Kriget and Gryphon had a child it might sound like this.  The smell of the 70s permeates every aspect of this album so if you like old school hard rock and prog you're going to have a field day with In Cauda Venenum.  When Damnation came out it blew my mind and I think the band has done it again.  They've been kicking the tires of a masterpiece with Heritage, Pale Communion, and Sorceress but they really went and did it this time.  BUY OR DIE!"Given what OPETH have achieved over the past three decades, it seems unfair to question whether or not a new album would be anything less than a domineering success. They are set to release their thirteenth opus to add to a discography that boasts a formidable repertoire of encapsulating albums, but the most interesting line of enquiry is one of discovery. How well does a contemporary OPETH fit into the modern day? The simple answer is that they don’t really seem to care. The years might have seen them transform from death metal icons to a glowing example of prog rock prowess, but while listening to In Cauda Venenum, it is clear that they are writing music for themselves. The record is rife with the kind of personality we have grown to love from the Swedes, ultimately thriving in its honesty and stunning integrity.This is evidenced by the fact that In Cauda Venenum is the first OPETH album to be written entirely in the band’s native Swedish tongue. Even though it stands accompanied by an English version, this is a bold move, and the perception it breeds means that this feels like the most personal OPETH album to date. Coupled with sampled sonic backdrop aplenty and almost organic musicianship, it has the feel of a soundtrack to a movie we can’t see, prompting us to visualise our own masterpiece and inject our own character. Livets Trädgård / Garden Of Earthly Delights seems like opening credits rolling us into lush scenery, before Svekets Prins / Dignity takes up the gauntlet and sends us spinning into a torrid whirlpool of prog rock wizardry. Deft riffing backed by electronic keys builds the track, before a wailing solo ascertains that the OPETH writing style has been injected at full tilt. Cue delicate guitar work and vocals, before a full metallic barrage brings the track full circle with emphatic grandeur. Mikael Åkerfeldt‘s vocals are pristine, slotting perfectly into the dense instrumentals with decades-honed precision. Hjärtat Vet Vad Handen Gör / Heart In Hand continues the charge, with a runtime well over eight minutes allowing plenty of space for OPETH to open the taps. The devil often lies in the details, and throughout the album, the Swedes make use of this philosophy, employing a consortium of instruments to create a surgical level of precision. This is nothing new to OPETH, but this time the approach feels more innate, and better executed than ever.In between raging spells of heavy metal structure, melodic opulence shines in equal measure. In Cauda Venenum isn’t conventionally heavy, nor is it mellow, instead it is an open gateway into the thought process of one of history’s most capable bands. OPETH have already proved they can nail the death metal approach (in fact, they’re largely responsible for the genre being in the healthy state it is today) and with recent albums they have also tapped into a more progressive conception. This time round, the likes of De Närmast Sörjande / Next Of Kin and Minnets Yta / Lovelorn Crime reach beyond expectation. It is the best of both worlds and then some. Never have the band juxtaposed such vast beauty alongside the monstrous riffs of old, and yet the contrast allows the music to pop with brighter colour and deeper shadow than anything in their back catalogue.From the sampled maniacal laughter and time bending riffs of Charlatan to the orchestral intro of Ingen Sanning Är Allas / Universal Truth, each twist and turn is like a blind bend, pleasing the listener time and time again with its unpredictable nature. The blood still runs from OPETH veins, but the execution is more patient, and covers a gargantuan scale. Long swathes of atmospheric space drift by hand in hand with violin, starkly set against biting guitar in an ever waging war. Then, we bridge into Banemannen / The Garroter, one of the album’s most eclectic tracks. Jazzy, wandering riffs feel almost like cabaret, sounding like the backdrop to a seedy city underbelly. Drums set the pace, and the bass work shines through, before a meandering solo sees us into Kontinuerlig Drift / Continuum, where choppy guitar drags us into another seven-minute masterclass of prog rock musicianship. It is utterly flawless.OPETH knew that recording the album in Swedish exposed them to a risk of isolating their English speaking fans. It has to be said that writing an English version will stand them in better stead, positioning the record as more accessible; yet as Allting Tar Slut / All Things Will Pass ultimately closes the record, it is clear that they not only made the right decision, but it really couldn’t matter less which language they chose to present the record in. In Cauda Venenum is the finest work OPETH have produced in a long time – if not ever. It will require time and space to soak up its brilliance, but if afforded such simple luxuries, it is an album set to inspire, overwhelm and rewrite the very fabric of what it means to be a heavy band in 2019." - Distorted Sound
    $17.00
  • 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
  • “This smells strongly of British Progressive rock, some Quintessence, some Deep Purple (with flute instead of vocals). The organ and flute, and gung-ho attitude, remind me a bit of both Focus and Out of Focus…” – Daniel Dellamorte, music historian and author of the book Swedish Death Metal"In April 2018 Agusa embarked on a short tour in Italy. The first stop was at Stazione Birra in Rome where the show was recorded by the resident sound technician Alex Di Nunzio. The full gig – without any overdubs – will now be released on a double vinyl and CD by Kommun2 Records. The songs on "Ekstasis - Live in Rome" contain much of the playfulness and improvisational bravado that fans have come to expect from these Swedish rockers. This is the sequel to the live album "Katarsis", but twice as long and with previously unheard renditions of some of the tracks performed exclusively for these Italian gigs. The "Ekstasis" cover features a simple, pencil-drawn picture of the “flower woman” that has become synonymous with Agusa in 2018. I was made by Swedish artist Robin Gnista and was originally sketched out to reflect the complex, yet raw approach of the music. This is the first Agusa album featuring the organ playing of Jeppe Juul and it was mixed by bass player Tobias Petterson together with sound technician Emil Isaksson. This may very well be looked back upon as the most ambitious release from K2."
    $15.00
  • "If you’re talking about modern progressive rock and don’t bring up Haken, you’re doing it wrong. Since the south English sextet started jamming together in 2004, they’ve been one of their genre’s most loyal yet, simultaneously, adventurous forces. And how do you honour such an eclectic, unpredictable career? You make Fauna: Haken’s most genre-busting and conceptually fascinating album to date. “The premise of the album when we started writing it was that every song would have an animal assigned to it,” explains singer and co-founder Ross Jennings. “They all have something related to the animal kingdom that we could write about, but they also connect to the human world. Each track has layers, and some of them are more obvious than others.” Musically, Fauna represents Haken at their most diverse. Taurus commences the album with its scraping heavy metal chords, as polyrhythmic as they are jagged. However, Ross’s melodic croon and the triumphant chorus are true Haken. Eyes Of Ebony is pure math rock, delicate in its start-stop clean guitar picking and chiming cymbals, while Island In The Clouds flaunts its bouncing bassline. Eighteen years deep, they’re still evolving and keeping their fans on their toes. Is there any truer definition of what making progressive rock means than that?"
    $20.00
  • APOLLO: The ancient Greek and Roman God of music and poetry.SONS OF APOLLO: The new supergroup featuring members of Dream Theater, Mr. Big, Guns ‘N Roses, and Journey.In early 2017, rumors began circulating about a new secret project including former Dream Theater members Mike Portnoy and Derek Sherinian. Finally, on August 1st, the duo revealed the details to the rest of the world, introducing their new band, SONS OF APOLLO.Reuniting to form SONS OF APOLLO, Portnoy and Sherinian join forces with guitarist Ron "Bumblefoot" Thal (ex-Guns N’ Roses), bassist Billy Sheehan (The Winery Dogs, Mr. Big, David Lee Roth) and vocalist Jeff Scott Soto (ex-Journey, ex-Yngwie Malmsteen's Rising Force). Their debut album, Psychotic Symphony, will be released October 20 on InsideOutMusic/Sony Music. Psychotic Symphony was produced by the dynamic production duo of Portnoy and Sherinian, also affectionately known as “The Del Fuvio Brothers,” the nickname given to them over 20 years ago during their time together in Dream Theater.SONS OF APOLLO formed very organically, its seeds planted with a predecessor group, as Portnoy explains: “Derek and I reunited shortly after I left Dream Theater in 2010 and we put together an all-instrumental touring band with Billy Sheehan and Tony MacAlpine. That was my first time working with Derek since the ‘90s when he was in Dream Theater, and it was just great to be working with him again. Ever since that tour, which was really just a one-off live thing, he has been nudging me to start a real, original, full-time band. The timing just had never been right, because I had too many other things on my plate. Long story short, the time was finally right to take the bait and put together a band.”“Mike and I work at a relentless pace in the studio,” continues Sherinian. “The music is modern, but we have an old-school soul. What is unique about SONS OF APOLLO is that we have true rock n’ roll swagger along with the virtuosity-- a lethal combination!”But what to call the next great supergroup? “Derek was mainly the one behind the name,” says Portnoy. “I have a list that I keep on my phone of about a hundred different band names, which I constantly have to refer to every time I have a new band every year (laughs). So I pulled up the list and Apollo was one of the names on the list. It was a word that both of us really liked. We started fiddling with different variations of the word. One of the original band names we were working with was Apollo Creed, the character from the Rocky movies, but after lots of different discussions on different variations, Derek suggested SONS OF APOLLO and it seemed to stick. Apollo is the god of music, so with that in mind it seemed like a fitting name.”With Portnoy, Sherinian and Sheehan having previously toured together in the aforementioned lineup that came to be known as PSMS, playing instrumental versions of various songs drawn from each member’s history, SONS OF APOLLO was the next logical step. They kept that fire burning and stoked it higher by bringing in a different guitarist, adding a vocalist, and creating all original material. The nine songs comprising Psychotic Symphony incorporate the progressive style and individual technical prowess Portnoy and Sherinian shared together in Dream Theater, combined with the swagger and groove of Van Halen, Deep Purple and Led Zeppelin.“I have known Mike and Derek for a long time, so when they came to me with SONS OF APOLLO, I jumped on this straight away,” says Thomas Waber, Label Manager/A&R International of InsideOutMusic. “However, the album they ended up recording exceeded my already high expectations by a long mile! We couldn’t be happier about it!”SONS OF APOLLO will hit the road in 2018 for their first worldwide tour.“This is a real band,” Portnoy declares. “This is going to pick up for me and Billy where The Winery Dogs left off, in terms of this being the next logical full-time thing for us. I’m not saying The Winery Dogs have broken up, because we haven’t, we’re just on a break. SONS OF APOLLO is absolutely going to be a full-time band and we plan on touring all over the world throughout 2018 and, honestly, it is the priority for all five of us.”Sherinian agrees, “We will go on a worldwide crusade in 2018 to bring SONS OF APOLLO to as many people as possible. Apollo was the God of Music, and we are his mighty offspring!”SONS OF APOLLO ARE:Mike Portnoy – drums and vocalsDerek Sherinian – keyboardsBilly Sheehan – bassRon “Bumblefoot” Thal – guitar and vocalsJeff Scott Soto - vocals 
    $16.00
  • "English neo-progressive rock spear-header IQ has been furthering the genre in the 21th century with much acclaim. Sound-wise the band hasn't changed much since ' The Seventh House', but on this album the band has finally revolutionized their composition style, arrangements and production. The symphonic layering by Neil Durant has this adult feel, reminding me of 'Tilt' era Scott Walker or 'Blackstar' era Bowie ' yet drenched in a Bladerunner like delicate sci-fi universe. Somehow this album sounds like a collaboration of the band IQ and... well a new 'force' that can look beyond its songs, its verses, its solo's and its refrains. Because of this 'force' the band has also given new meaning to the prog epic. On 'Resistance' a prog epic isn't just a multi- song. Don't take me wrong ' I really like a track like 'The Narrow Margin' ' but on this album the longer tracks really make sense from a songwriting point of view. Bare with me. Like a in a small song, where a bridge can add to strengthening the final refrain ' IQ manages to intelligently intervene and keep the song growing towards that final refrain. Furthermore, the first cd, which is 'the album', flows like a continues experience. Almost like a movie, including some modern cinematic sound-effects. What also becomes apparent after a few spins is the absence of leaning on catchy refrains, which gives the music a modern feel ' at times almost hinting at modern classical music. Peter Nicholl's voice doesn't allow for much variation, but because of the distinctive atmospheres of the songs his performances do tick the box every time. This material doesn't need catchy line A or B, it needs a performer. The rhythm section of the band has found a perfect balance between fusion styled sophistication and adding to the effectiveness of the material. Guitar player Mike Holmes somehow comes off as a bit left behind in the old IQ with his Marillion/Floyd styled guitar solo's. On acoustic guitar his contributions strike me as more imminent ' like on 'Perfect Space'. If the band ever aims to top this album in the future ' which would prove extremely difficult I guess - the electric guitar will need to contribute in more diverse ways. Now about that second disc, which I will describe in a bit more detail because most reviewers will probably focus on the first disc. If that were an album; the 22 minute 'The Great Spirit Way' alone would suffice for an indispensable purchase. Personally, I think this song is placed right after the rather dark and soundtrack-like first disc because it matches best stylistically. 'Fire and Security' is a more traditional IQ piece ' albeit a bit bleak - with a balled type opening, some darker passages and a melancholy ending section with some strong lead guitars. On 'Perfect Space' the band drives its jazz/fusion influences to the max, which will perhaps turn of some ' but I like it. The second epic, the 20 minute 'Fallout' is a bit more relaxing, abstract and dreamy. In its second halve the band experiments beautifully with sophisticated chord progressions, which also allows for Holmes' most interesting guitar solo. Conclusion. Without a doubt this will become the progressive album of 2019 and I hope it will inspire a lot of other neo-progressive bands to elaborate and expand on their Marillion/Genesis/Floyd roots and take the music to a next level of artistry. This album will probably outshine the nostalgic likings of many of its listeners, but it may also attract listeners that have previously written off the neo-prog genre. " - ProgArchives
    $15.00
  • Third album from Sam Vallen and Jim Grey.  Plain and simple another triumph.  The great thing about this band is the way they assimilate different influences and make a cohesive whole.  Vallen's guitarwork touches on djent riffing as well as fluid clean lines and Grey's vocals...well they are spectacular as usual.  You get a little bit of Opeth here and Haken there.  Maybe even a little Dream Theater and Pain Of Salvation.  Naturally if you are a fan of Jim Grey's other band, Arcane, you are going to love this one as well.  Very dynamic and dramatic.  Essential 2015 purchase.  BUY OR DIE!"There are certain albums that require more than just open ears. Sometimes, you need to close your eyes in order to sharpen up your senses, to be able to really consume and obtain the musical message delivered throughout the record. So before pressing the ‘play’ button on Caligula’s Horse newest release, Bloom, pour a glass of your favorite drink, put your headphones on and close your eyes.Consisting of 8 tracks, Bloom delivers something deeper than a compilation of technical riffs; it sets an atmosphere, driven by emotion and by the story line, as the sound and production correlate towards that notion. From the very beginning, with the theme song being the opener of the album, you can see how the band sets the mood for the entire record. Mysterious, dark, heavily Opeth influenced, and yet still having its own characteristics to the story.Right from the beginning of the album, one cannot miss how Opeth deeply affected the band’s music. The vocal ideas and implementation, the guitar sound and the general image that’s created, can immediately drift the listener to many of the Swedish group’s finest works. Nevertheless, I do feel that within these carried elements still lies a large chunk of originality that separates this album from being another Opeth-imitation attempt, which can easily be found on a variety of past-releases of different bands.One impressive thing to notice on this record is vocalist’s Jim Grey. It is easy to fall in love with the color of Grey’s voice, as can be heard on The Tide, The Thief & River’s End (2013), but he did manage to improve a certain and essential vocal ability for this album: I’ve always felt that when hitting the higher notes, he needed to “shout” those notes just a little bit too much, having immediate impact on the tenderness and vibrations of his voice. On this album, it seems that Grey feels much more comfortable on higher scales, and that vocal freedom affects his entire range. Grey has turned it up a notch, becoming not only great a singer, but a great storyteller. His vocal movements are probably the most interesting thing to follow on this album, as it escorts the listener throughout each and every song.Another thing that immediately stands out is the band’s cooperation while putting Grey’s vocals as the leading musical idea of the album. Nothing is over-pressed, and it seems that band took a great care of composing the songs mostly to create an atmosphere, to set the right stage to deliver the story in the best way. It is impressive, since many bands tend to miss this very idea, with every musician trying to overlap the other, which mostly leads to a confusing blend that misses the main idea. This shows great maturity of the band, which helped them carry their music to the next level.Many bands these days try to force their music in to a hidden musical horizon just to be different. What’s so great about Bloom is that the band did not try to reinvent the wheel, but only used the tools they had, mixed just a little bit of everything to create something unique. Every song has that thing that sticks to your head; whether it’s a defying chord, a vocal movement, mesmerizing vocals and at times – some really catchy, groovy guitar riffs. That alone helps the fluency of the record, making it an album, 44-minutes of which you listen to from the top to the bottom, rather than just a collection of different songs.Overall, it’s easy to see how the band feels more comfortable with their work with every passing release. With time, Caligula’s Horse understands what they look for while composing their music, yet something still feels held back. It’s funny, because even I, after countless of times listening to the album, still cannot really put my finger towards what it is that is missing. Perhaps it is something that cannot be described by simple words, but it is that something that turns a 9 into a 10. That something that transforms an album which is great to hear, to a one that really dives into your deeper cells, and stays there. Rest assured: You cannot turn a blind eye in regard of the band’s progress, and you absolutely must give this album a try." - It Djents
    $15.00
  • Love Over Fear album CD  in a digi-sleeve as a glorious textured mini gatefold with lyric bookletTrack listing:1. Everything2. Starfish and the Moon3. Truth and Lies4. 360 Degrees5. Soul and the Sea6. Eternal Light7. Water8. Whirlwind9. Who Really Are We?10. Afraid of Everything 
    $18.00
  • 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
  • “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