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  • “Let us begin where it all began...”Progressive rock band Big Big Train return with Folklore, their first full-length studio album since the award winning English Electric. Folklore contains nine new songs with a total running time of 68 minutes.Despite the album title, Folklore is by no means a collection of traditional-sounding folk music pieces. On Folklore, Big Big Train are reimagining and breathing new life into traditional themes, and also creating a few new ones along the way. The crafts of songwriting and storytelling beat strongly at the heart of the Big Big Train and inform every track on the new album.Folklore features the same line up (eight piece band and brass quintet) that performed three sell out shows at Kings Place in London last summer, with the addition of a string quartet. The experience of bringing this complex music to the concert stage has honed the band’s sound, making Folklore a focussed and exciting listening experience. All the hallmarks of the Big Big Train sound can be found here: powerful and emotional vocal delivery, and dramatic extended song arrangements which showcase the musical ability within the band.Big Big Train proudly present Folklore: an epic progressive rock tour de force.“Heigh-ho, so we go. We pass it on, we hand it down-o...”Folklore Ancient stories told by our ancestors around the camp re, being passed down from generation to generation. The passage of time sees the coming of written language and electronic communication, but still we tell our stories and pass them on.London Plane Once upon a time, a great tree took root on a river bank, and watched through the years as a city grew around it.Along The Ridgeway A journey along an ancient pathway, where legends are reborn.Salisbury Giant Big Big Train tell the true story of a medieval giant.The Transit Of Venus Across The Sun When the astronomer lost the love of his life, he set a course for the stars. Inspired by the much-loved British TV astronomer and educationalist, Patrick Moore.Wassail The old ways get a 21st century reboot in this pagan- inspired progressive-folk groove. The title track from Big Big Train’s Wassail EP, it was nominated in the “Anthem” category at the 2015 Progressive Music Awards.Winkie A ripping action adventure story about a true life war heroine, the  rst to receive the Dickin medal in honour of her achievement. To the best of our knowledge, this is the  rst prog epic about a pigeon...Brooklands John Cobb, racing driver, lived life at high speed on the racing line. Time passes, but the ageing driver yearns for one more adrenaline  lled lap of the track... Cobb died in 1952 while attempting the world water speed record at Loch Ness.Telling The Bees Traditionally, bees were told of births, deaths and marriages within the bee-keeper’s family, as it was believed that otherwise they would leave the hive. When his father is killed in the First World War, a young boy takes on this responsibility, grows up to become a man,  nds love and starts his own family. “The bees are told... and we carry on...”.-------------------------------------------------------------------------------------------------Big Big Train: BackgroundDavid Longdon: vocals and  ute; Rachel Hall: violin; Dave Gregory: guitars; Rikard Sjöblom: guitars and keyboards; Danny Manners: keyboards; Andy Poole: guitars and keyboards; Greg Spawton: bass; Nick D’Virgilio: drumsFormed in Bournemouth, UK, in 1990 by Greg Spawton and Andy Poole, Big Big Train has charted an independent course through the British progressive rock scene, slowly developing a richly arranged blend of electric and acoustic instruments that mixes prog, rock, post-rock, folk and classical in uences. 2009’s The Underfall Yard was the band’s  rst album to feature the powerful vocals of David Longdon, alongside the guitar of Dave Gregory (XTC) and the drums of Nick D’Virgilio (Spock’s Beard), since when critical and public acclaim for the band has grown rapidly.The two-volume English Electric (2012-13) further developed Big Big Train’s favourite themes of English history, industry and landscape, and the band won the Prog magazine Breakthrough award in 2013. The following year, the Classic Rock Society awardedBig Big Train their Best Band and Best Track awards, while David Longdon won Best Male Vocalist, a feat he repeated this year.After 17 years as a studio-only outfit, Big Big Train returned to the stage in 2015 with three London performances which topped the Prog magazine Readers’ Poll for Best Event, with several band members also featuring in the instrument sections of the poll. The band has just released Stone & Steel, a Blu-ray featuring songs from the London gigs along with performances recorded in 2014 at Real World Studios. 
    $16.00
  • "Sólstafir have created yet another incredibly luscious record, filled to the brim with many ideas and emotions that will leave a mark on your soul, but only if you let it.The moment I first feasted my eyes on the beautiful album art for Endless Twilight of Codependent Love, I was left with nothing but high expectations for this record. Historically, Sólstafir have never been a group to disappoint in any way and have consistently been pumping out quality records. Love them or hate them, their music is something unique to them and them alone. Endless Twilight of Codependent Love is a slow, melancholic journey that will only move you if you let it move you. The question is, are you willing to open yourself up?Sólstafir have never been known to compose songs that provide instant gratification. They’ve always strived to write their songs to be incredibly organic and not be confined to any rules or defined structures. Although once a black metal band, Sólstafir have evolved over the years into something that is genuinely unique to them, with that sound being rooted in post-rock, with folk and other various influences. Whenever I think of music that represents Iceland, I always immediately think of Sigur Rós, Björk, and Sósltafir as the ‘big three’.Listening to this record without any lyrical context, as I did the first couple of times, led to a very underwhelming experience in all honesty. At first, it felt like the songs were just too long and didn’t go anywhere interesting. It seemed as if Sólstafir were just aimlessly wandering throughout these tracks, with the songs going nowhere. But once I sat down and read about the conceptual background, my next playthrough was a wholly different experience. I couldn’t believe that I was listening to the same record, given that I was now aware of what inspired the music.At first, Sólstafir’s lyrical content was based around Nordic mythology but their recent efforts, including Endless Twilight…, have taken a different, much more personal lyrical approach. As of late, their lyrical content focuses more on various issues such as depression, alcoholism, and the negative connotation regarding said topics in men; how they’re perceived as weak for expressing their struggles. The members in Sólstafir are all very open with one another regarding their hurdles and mental battles, and they all collectively create this musical safe space to express and learn about these feelings and perspectives. One particular theme emphasized in this record is mental illness. For example, “Her Fall From Grace” delves into experiencing a loved one slowly wither away due to their crippling depression. This is something no one should have to go through, but it happens in every dark corner of the world and people, more often than not, silently cope with this without any support. Given this context, the emotion and atmosphere captured on Endless Twilight of Codependent Love personify this feeling extremely well.Now having this all in mind, as mentioned earlier, every playthrough after was an entrancing experience. At first, I was just listening for the sake of listening, but once I invested my time and effort to further understand the record, the music just hit that much harder. It took me for a long rollercoaster ride of emotions and I did not buckle myself in properly. Although the lyrics for every track, with the exception of “Her Fall From Grace”, are in Icelandic, you can just feel the anguish and sorrow portrayed in the vocals, despite not being able to understand them. This is one of those records where in order to properly appreciate it, you need to lose all sense of time and any preconceived expectations. Sit down, kick back, and let this record consume you.Music-wise, there is plenty of variation throughout Endless Twilight…. At one moment, you’ll be embraced by luscious soundscapes with the inclusion of violins and piano, as heard on “Rökkur” and “Or”, as well as upbeat yet still melancholic passages that follow later in the track. The record starts off incredibly slow and moody with “Akkeri”, and shortly into the track, it kicks into high gear as it leads to a groovy jam session with some killer cowbell. “Drýsill” has a magical, massive outro I cannot get enough of, with layered background vocals as the rest of the band goes absolutely nuts. For the most part, the tracks tend to start off leisurely and sorrowful, but they build to something truly satisfying and emotional towards their end.Once “Dionysus” comes around you’ll want to strap yourself in, as this track takes a turn from the sound heard on the preceding tracks and is paced even faster. It has a galloped pacing that reminds me of “Barracuda” by Heart; it is this track in particular where you can really feel the anguish and suffering in the vocals. In addition, “Dionysus” reminds me quite a bit of the new Wayfarer record that recently dropped, with that Spaghetti Western, black metal/post-rock sound. “Or” is a groovy little ditty that makes me feel like I’m watching a noir film once it starts. Towards the end of this song, I am doing my best to sing along in Icelandic while I ugly cry. Despite being in an entirely different language than I am used to, this record is infectious when it means to be.I am not going to lie, Endless Twilight of Codependent Love definitely had me fooled. I was not sold at all on the record and felt that it was a huge snoozefest at first. But once I took the time to learn more about the album and was more patient with it, I had the complete polar opposite experience. This new adventure was one that was mystifying and had me head over heels for the dreamy and sorrowful soundscapes, along with the twists and turns that awaited in nearly every song. Add Sólstafir’s newest effort to the list of records that age like a fine wine, because this record just gets better and better with each successive listen, that is for damn certain." - Everything Is Noise
    $12.00
  • “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
  • "There’s something to be said for the willingness to change. Some bands get stuck in the mud, developing a signature sound and then finding that they are unable to shake free of it. Iceland’s Momentum is not one of those bands. The band technically started in 2002 as a one-man black metal act called Afsprengi Satans. The first transformation came a year or two later as drummer Kristján Gudmundsson began to add musicians that could help play his music in a live setting. Those early sounds ranged from black metal to death metal, and the Momentum moniker arose out of the realization that this wasn’t the same band that Gudmundsson had started.As the band has progressed, from their first recorded demo Death to Christianity to their newest release The Freak is Alive, they have mutated into a three-piece progressive sludge/doom act. Kristján Gudmundsson is still playing drums, with bandmates Ingvar Sæmundsson and Hörður Ólafsson handling guitar and bass duties, respectively. With tinges of post-metal and deep clean vocals that are reminiscent of some kind of Gregorian chant, Momentum certainly does not rest on their laurels.he Freak is Alive is an album I picked up simply because I thought both the title and album artwork were a little ridiculous. I had no prior experience with Momentum, but I was immediately taken with Holaf’s vocal stylings. The album’s lead off track ‘Bury The Eyes Once Gold’ is one of my favorites, and demonstrates the range in Holaf’s voice. His howls are intense and full of emotion, while his clean singing is low and haunting. The track starts off heavy and sets the tone for the rest of the record. ‘Between Two Worlds’ has opens with a clean, melancholy guitar progression. Other standout tracks include ‘Gauntlet’, a six-minute journey that makes use of a sitar, and ‘Creator of Malignant Metaphors’ with its intricate guitar lead. The record has a gloomy, heavy feeling that is well represented in the first two tracks and carried through final seconds of sound. Whether the guitars are clean or distorted, whether the vocals are clean or howling, The Freak is Alive stays heavy and a little sad.Momentum makes good use of odd time signatures, strings and sitar, and melds progressive and post-metal with sludge in a really interesting way. My only issue with the album is that by the time I get to the final two tracks, ‘Undercover Imagination’ and ‘Depth of the Whole’, the melancholia is played out. The last two tracks don’t grab your attention the way the earlier songs do. It leaves the ending of the album weak. Overall though, I appreciate and enjoy what Momentum has done on this record. I’m very glad to have discovered this treasure from Iceland, and I certainly recommend you dive into their previous albums." - Echoes And Dust 
    $5.00
  • "German progressive metal ensemble The Ocean have always stood out from their genre brethren. For one thing, they strike a persistently compelling and idiosyncratic balance between delicately moody accentuations and abrasively complex underpinnings. Plus, their paleontologically-focused concepts offer academically absorbing lyricism and an innovative way to link all of their LPs.That's as true of 2004's Fluxion debut as it is 2020's Phanerozoic II: Mesozoic / Cenozoic, and fortunately, newcomer Holocene keeps the tradition going wonderfully. In fact, it feels extra connected to its predecessor since the closing song on Phanerozoic II is called—you guessed it—"Holocene." Simply put, it delivers everything fans could want and should anticipate from another Ocean outing by primarily staying loyal to what they do best. (After all, when you have a formula this good, you don't want to mess with it too much, right?)Retaining the same line-up as the prior record, Holocene is intended as the "closing chapter to their … album series" in that it's "an appendix to the two Phanerozoicalbums and [2007's] Precambrian." The band adds: "It's tackling the Holocene epoch, which is the current and shortest chapter in earth's history, but it is essentially an album about the angst, alienation, loss of reason and critical thinking, rise of conspiracy theories and deconstruction of values in the modern age."For better or worse, then, it's a highly relevant—and perhaps necessary—musical statement.As stated earlier, The Ocean predominantly stick to their tried-and-true chemistry, yet the heightened emphasis on "the electronic world" positively gives Holocene its own flavor, too. Similarly, having Swedish producer Karl Daniel Lidén on board (instead of longtime collaborator Jens Bogren) effectively achieves the comparatively "organic sound" the group's aiming for.Guitarist Robin Staps reflects: "The writing process of every album we've ever made started with me coming up with a guitar riff, a drumbeat or a vocal idea. This album is different since every single song is based on a musical idea that was originally written by Peter [Voigtmann, synth]. He came up with these amazing synth parts that were already sounding huge in pre-production, and he sent me some of those raw, unfinished ideas during mid lockdown 2020 … and while it was all electronic, it had that definite Ocean vibe to it."Indeed, that fusion of classic Ocean techniques and newly employed programmed trimmings is apparent from the jump, with fascinating opener "Preboreal" softly radiating foreboding digital tones as it establishes a mostly gentle arrangement comprised of mesmerizing rhythms, urgent guitar lines, and cataclysmic horns. Expectedly, vocalist Loïc Rossetti's corresponding dirges ("No grasp on reality / Attention shaping identities / We've lost our capacities to construct something tangible") are equally gripping and resonant, cementing it as a stunning starter.Follow-up "Boreal" is even more dynamic thanks to its gradual evolution from synthy lamentation (reminiscent of Phanerozoic II's "Triassic")  to explosive prog metal devastation. Later, “Atlantic” doubles down on that dichotomy with some incredibly hooky and heartbreaking guitarwork, whereas the eventual screams and diabolic instrumentation of "Subboreal" and "Subatlantic" find The Ocean tapping into their sludge metal and post-hardcore tendencies.    Although every piece of the Holocene puzzle is magnificently characteristic and intoxicating, it's the relatively atypical "Unconformities" that stands out most. Why? Because it's a gorgeously atmospheric slice of gothic/industrial rock spearheaded by the divine yearning of Norwegian singer Karin Park. Already a celebrated and prolific indietronica artist in her own right, she delivers what Staps rightly deems"the most accessible track of the album, but also the one with the heaviest ending." Juxtaposed by Rossetti's increasingly chaotic and chilling command ("Don't turn on the bright lights!"), Park ensures that "Unconformities" is an indisputable highlight of the group's entire catalog.The Ocean were inevitably going to have a tough time surpassing what they accomplished with the Phanerozoic LPs. While Holocene doesn't definitively best that prior duo, it certainly matches them. By incorporating more electronic elements – as well as the elegance of Park – into their customary yet perpetually alluring recipe, the band has fashioned another immersive journey that's absolutely haunting, courageous, and essential." - Metal Injection 
    $17.00
  • "Sólstafir have created yet another incredibly luscious record, filled to the brim with many ideas and emotions that will leave a mark on your soul, but only if you let it.The moment I first feasted my eyes on the beautiful album art for Endless Twilight of Codependent Love, I was left with nothing but high expectations for this record. Historically, Sólstafir have never been a group to disappoint in any way and have consistently been pumping out quality records. Love them or hate them, their music is something unique to them and them alone. Endless Twilight of Codependent Love is a slow, melancholic journey that will only move you if you let it move you. The question is, are you willing to open yourself up?Sólstafir have never been known to compose songs that provide instant gratification. They’ve always strived to write their songs to be incredibly organic and not be confined to any rules or defined structures. Although once a black metal band, Sólstafir have evolved over the years into something that is genuinely unique to them, with that sound being rooted in post-rock, with folk and other various influences. Whenever I think of music that represents Iceland, I always immediately think of Sigur Rós, Björk, and Sósltafir as the ‘big three’.Listening to this record without any lyrical context, as I did the first couple of times, led to a very underwhelming experience in all honesty. At first, it felt like the songs were just too long and didn’t go anywhere interesting. It seemed as if Sólstafir were just aimlessly wandering throughout these tracks, with the songs going nowhere. But once I sat down and read about the conceptual background, my next playthrough was a wholly different experience. I couldn’t believe that I was listening to the same record, given that I was now aware of what inspired the music.At first, Sólstafir’s lyrical content was based around Nordic mythology but their recent efforts, including Endless Twilight…, have taken a different, much more personal lyrical approach. As of late, their lyrical content focuses more on various issues such as depression, alcoholism, and the negative connotation regarding said topics in men; how they’re perceived as weak for expressing their struggles. The members in Sólstafir are all very open with one another regarding their hurdles and mental battles, and they all collectively create this musical safe space to express and learn about these feelings and perspectives. One particular theme emphasized in this record is mental illness. For example, “Her Fall From Grace” delves into experiencing a loved one slowly wither away due to their crippling depression. This is something no one should have to go through, but it happens in every dark corner of the world and people, more often than not, silently cope with this without any support. Given this context, the emotion and atmosphere captured on Endless Twilight of Codependent Love personify this feeling extremely well.Now having this all in mind, as mentioned earlier, every playthrough after was an entrancing experience. At first, I was just listening for the sake of listening, but once I invested my time and effort to further understand the record, the music just hit that much harder. It took me for a long rollercoaster ride of emotions and I did not buckle myself in properly. Although the lyrics for every track, with the exception of “Her Fall From Grace”, are in Icelandic, you can just feel the anguish and sorrow portrayed in the vocals, despite not being able to understand them. This is one of those records where in order to properly appreciate it, you need to lose all sense of time and any preconceived expectations. Sit down, kick back, and let this record consume you.Music-wise, there is plenty of variation throughout Endless Twilight…. At one moment, you’ll be embraced by luscious soundscapes with the inclusion of violins and piano, as heard on “Rökkur” and “Or”, as well as upbeat yet still melancholic passages that follow later in the track. The record starts off incredibly slow and moody with “Akkeri”, and shortly into the track, it kicks into high gear as it leads to a groovy jam session with some killer cowbell. “Drýsill” has a magical, massive outro I cannot get enough of, with layered background vocals as the rest of the band goes absolutely nuts. For the most part, the tracks tend to start off leisurely and sorrowful, but they build to something truly satisfying and emotional towards their end.Once “Dionysus” comes around you’ll want to strap yourself in, as this track takes a turn from the sound heard on the preceding tracks and is paced even faster. It has a galloped pacing that reminds me of “Barracuda” by Heart; it is this track in particular where you can really feel the anguish and suffering in the vocals. In addition, “Dionysus” reminds me quite a bit of the new Wayfarer record that recently dropped, with that Spaghetti Western, black metal/post-rock sound. “Or” is a groovy little ditty that makes me feel like I’m watching a noir film once it starts. Towards the end of this song, I am doing my best to sing along in Icelandic while I ugly cry. Despite being in an entirely different language than I am used to, this record is infectious when it means to be.I am not going to lie, Endless Twilight of Codependent Love definitely had me fooled. I was not sold at all on the record and felt that it was a huge snoozefest at first. But once I took the time to learn more about the album and was more patient with it, I had the complete polar opposite experience. This new adventure was one that was mystifying and had me head over heels for the dreamy and sorrowful soundscapes, along with the twists and turns that awaited in nearly every song. Add Sólstafir’s newest effort to the list of records that age like a fine wine, because this record just gets better and better with each successive listen, that is for damn certain." - Everything Is Noise
    $23.00
  • ""It is a rare thing these days for a post-metal band to break the mold. So many bands play sludgy, lurching, epic metal that it can be hard to tell what band is trying to sound like Isis this time. This brings me to the breath of fresh air that is Secrets of the Sky.The Oakland based sextet takes what is a great but tired genre and adds a dash of black metal and a bit of prog. Imagine if you tossed Neurosis, more recent Immortal, and Porcupine Tree into a blender. Sounds like a fucked up mix, right? It's an awesome fucked up mix though.The Sail Black Waters consists of 4 tracks that are rooted in sludge, that manage to take twists and turns throughout it's all-too-short forty-one minute run-time. There are moments of dreamy soundscapes, harmonized clean vocals, and crescendos aplenty.A band they bring to mind is the Australian black-metal-with-a-violin band Ne Obliviscaris. They don't necessarily sound alike, especially because Secrets of the Skysimple aren't playing as fast, but their progressions are quite similar. Also, Secrets happen to employ a violin as one of the several talents of vocalist Garett Gazay. Their use of it is much more subtle than Ne Obliviscaris to the point where it becomes a game listening for it.In short, a phenomenal debut." - Metal Injection
    $14.00
  • Beautiful, haunting experimental metal from this Icelandic band.  Like some other extreme metal bands (think Ulver and Opeth) they have evolved into something very different.  If Sigur Ros recorded a black metal album it might sound like this.  If you like to be challenged by metal outside the norm this is highly recommended."I’m a prime example of being caught in a rat race, a cog too much a part of the corporate clockwork and maybe that’s why on some basic level I identify so strongly with the timeless concept behind Sólstafir‘s fifth and much anticipated release. Ótta comes three years after the release of Svartir Sandar, with the concept of the album staying close and personal to their Icelandic roots. So much so that that the album flows according to an old Icelandic form of time-keeping similar to the monastic hours or Eykt (one eighth of a solar day), And so, Ótta consists of eight tracks, beginning with a representation of midnight, moving through each Eyktir in the day, coming to a close in the period between 9 pm and midnight. Hardly a riveting concept on paper, but thought provoking nonetheless.Much like the post-metal genre being built on rising crescendos, so “Lágnætti,” “Ótta,” “Rismál” and “Dagmál” are the slow and steady climb before you reach the boiling point of “Middegi” and “Nón,” only to have their power stripped away quite dramatically with “Midaftann” and “Náttmál.” Now stop for a moment, close your eyes and feel “Lágnætti” (low night) wash over you. The intro rises up, uncoiling with slow deliberation, pure atmosphere at first, culminating in an isolated and memorable piano melody that along with frontman Aðalbjörn Tryggvason’s vocals, would fit right in on Coldplay‘s Viva La Vida. “Lágnætti” quickly settles in and gives you that familiar feeling that Ótta is indeed the next logical progression from Svartir Sandar. The album grabs hold of and builds on the very same subtleties and charm, the same enveloping moodiness and even the same delicate eccentricities of the earlier release, rather than following on with the bolder adolescence like Köld and Í Blóði og Anda (In Blood and Spirit).Aðalbjörn Tryggvason’s vocals have been perfectly matched to each track and at times it’s tough to imagine it’s the same vocalist. For much of the front-end of Ótta and then again towards the back-end, our intrepid frontman dabbles in the same instrumental, minimalistic style he used on Svartir Sandar. In “Lágnætti” and the title track, he could take the place of Chris Martin fronting Coldplay, and then in “Rismál” and “Midaftann” he creates a new and fantastical beast seemingly from leftover parts of Shining and Katatonia. Giving the release more time to soak in, you’ll find hints to the glory of the past, like his screamy shouts leftover from Köld‘s “Love is the Devil (and I am in Love)” and then in “Middegi” and “Nón” there are hints of the glory locked and loaded in Svartir Sandar‘s “Þín Orð.”Instrumentally Ótta feels like a swirling melting pot of flavours, colours and textures. The title track stands out, surely competing with Ulver‘s “Not Saved” as one of the most addictive pieces of music I’ve come across, all thanks to its bluegrass-like banjo frivolity playing with the violins. And while I have no idea whom to credit for the piano arrangements on “Lágnætti” and “Midaftann” and they don’t don’t hold quite the same dizzying quirk of Svartir Sandar‘s “Æra,” they’re beautiful, melodic, well played and hold just the right amount of tragedy and atmosphere. Aðalbjörn Tryggvason, Sæþór Maríus Sæþórsson and Guðmundur Óli Pálmason go minimalist on the guitars and drum lines, only playing what’s absolutely necessary. The guitars are delivered with a tasty distorted fuzz that takes away from the cleanliness of the album, and while solos are used sparingly, stand-out moments do filter through on “Nón” and “Miðdegi.”The production used on Ótta sounds largely like what worked so well on Svartir Sandar, and if it ain’t broke don’t fix it. There’s enough fuzzy warmth and focus of dynamics to keep the album an interesting and comfortable listen. What more can I say here, I’m unable to find fault with this album. It’s not one you’re going to skip around and listen to in bits and bites and needs to be experienced as a whole. Ótta is a serious piece of art and yes, it does indeed stop time!" - Angry Metal Guy 
    $12.00
  • Collector's edition in clamshell box including CD with bonus tracks 'Hrollkalda Þoka Einmanaleikans' and 'Hann fór Sjálfur' in Digipak with 20-page booklet + black teddy cloth wristband with embroidered SOLSTAFIR logo in white + printed fake-leather magnet + black webcam cover with white SOLSTAFIR logo.All items are exclusive to this collector's edition!"Sólstafir have created yet another incredibly luscious record, filled to the brim with many ideas and emotions that will leave a mark on your soul, but only if you let it.The moment I first feasted my eyes on the beautiful album art for Endless Twilight of Codependent Love, I was left with nothing but high expectations for this record. Historically, Sólstafir have never been a group to disappoint in any way and have consistently been pumping out quality records. Love them or hate them, their music is something unique to them and them alone. Endless Twilight of Codependent Love is a slow, melancholic journey that will only move you if you let it move you. The question is, are you willing to open yourself up?Sólstafir have never been known to compose songs that provide instant gratification. They’ve always strived to write their songs to be incredibly organic and not be confined to any rules or defined structures. Although once a black metal band, Sólstafir have evolved over the years into something that is genuinely unique to them, with that sound being rooted in post-rock, with folk and other various influences. Whenever I think of music that represents Iceland, I always immediately think of Sigur Rós, Björk, and Sósltafir as the ‘big three’.Listening to this record without any lyrical context, as I did the first couple of times, led to a very underwhelming experience in all honesty. At first, it felt like the songs were just too long and didn’t go anywhere interesting. It seemed as if Sólstafir were just aimlessly wandering throughout these tracks, with the songs going nowhere. But once I sat down and read about the conceptual background, my next playthrough was a wholly different experience. I couldn’t believe that I was listening to the same record, given that I was now aware of what inspired the music.At first, Sólstafir’s lyrical content was based around Nordic mythology but their recent efforts, including Endless Twilight…, have taken a different, much more personal lyrical approach. As of late, their lyrical content focuses more on various issues such as depression, alcoholism, and the negative connotation regarding said topics in men; how they’re perceived as weak for expressing their struggles. The members in Sólstafir are all very open with one another regarding their hurdles and mental battles, and they all collectively create this musical safe space to express and learn about these feelings and perspectives. One particular theme emphasized in this record is mental illness. For example, “Her Fall From Grace” delves into experiencing a loved one slowly wither away due to their crippling depression. This is something no one should have to go through, but it happens in every dark corner of the world and people, more often than not, silently cope with this without any support. Given this context, the emotion and atmosphere captured on Endless Twilight of Codependent Love personify this feeling extremely well.Now having this all in mind, as mentioned earlier, every playthrough after was an entrancing experience. At first, I was just listening for the sake of listening, but once I invested my time and effort to further understand the record, the music just hit that much harder. It took me for a long rollercoaster ride of emotions and I did not buckle myself in properly. Although the lyrics for every track, with the exception of “Her Fall From Grace”, are in Icelandic, you can just feel the anguish and sorrow portrayed in the vocals, despite not being able to understand them. This is one of those records where in order to properly appreciate it, you need to lose all sense of time and any preconceived expectations. Sit down, kick back, and let this record consume you.Music-wise, there is plenty of variation throughout Endless Twilight…. At one moment, you’ll be embraced by luscious soundscapes with the inclusion of violins and piano, as heard on “Rökkur” and “Or”, as well as upbeat yet still melancholic passages that follow later in the track. The record starts off incredibly slow and moody with “Akkeri”, and shortly into the track, it kicks into high gear as it leads to a groovy jam session with some killer cowbell. “Drýsill” has a magical, massive outro I cannot get enough of, with layered background vocals as the rest of the band goes absolutely nuts. For the most part, the tracks tend to start off leisurely and sorrowful, but they build to something truly satisfying and emotional towards their end.Once “Dionysus” comes around you’ll want to strap yourself in, as this track takes a turn from the sound heard on the preceding tracks and is paced even faster. It has a galloped pacing that reminds me of “Barracuda” by Heart; it is this track in particular where you can really feel the anguish and suffering in the vocals. In addition, “Dionysus” reminds me quite a bit of the new Wayfarer record that recently dropped, with that Spaghetti Western, black metal/post-rock sound. “Or” is a groovy little ditty that makes me feel like I’m watching a noir film once it starts. Towards the end of this song, I am doing my best to sing along in Icelandic while I ugly cry. Despite being in an entirely different language than I am used to, this record is infectious when it means to be.I am not going to lie, Endless Twilight of Codependent Love definitely had me fooled. I was not sold at all on the record and felt that it was a huge snoozefest at first. But once I took the time to learn more about the album and was more patient with it, I had the complete polar opposite experience. This new adventure was one that was mystifying and had me head over heels for the dreamy and sorrowful soundscapes, along with the twists and turns that awaited in nearly every song. Add Sólstafir’s newest effort to the list of records that age like a fine wine, because this record just gets better and better with each successive listen, that is for damn certain." - Everything Is Noise
    $24.00
  • "Katla is an Icelandic band featuring ex-Sólstafir drummer and visual artist Guðmundur Óli Pálmason and singer/multi-instrumentalist Einar Thorberg Guðmundsson (Fortíð, Potentiam). Named in tribute to one of Iceland's greatest active volcanos, Katla creates powerful, panoramic music where shimmering guitars, crushing melodies and atmospheric density meet dark, entrancing power. Katla's debut album, "Móðurástin", shines a spotlight on the band's hook-heavy, horizon-stretching sound. The lyrics tell tales of living in a country of contrasts; a land where fire and ice co-exist and dark winters are offset by the summer's midnight sun. Iceland: a country where insular existence has spurred a rich and vibrant culture. "Móðurástin", Icelandic for (a) Mother's Love, might seem like a strange title for a metal album, but Katla dares to be different. What on Earth is stronger than a mother's love? Nothing. Not hate, not lust, not greed. Katla has shaped a towering sound sharpened by experience and forged for fans of heavy, atmospheric music. It is time for Katla to erupt again!"
    $15.00
  • "TRANSATLANTIC — the multinational progressive rock supergroup featuring vocalist/keyboardist Neal Morse (SPOCK'S BEARD, THE NEAL MORSE BAND), drummer Mike Portnoy (SONS OF APOLLO, DREAM THEATER), bassist Pete Trewavas(MARILLION) and guitarist Roine Stolt (THE FLOWER KINGS) — will release its fifth studio album, "The Absolute Universe", on February 5, 2021 via InsideOut Music. Representing the band's first new music since 2014's "Kaleidoscope", with "The Absolute Universe" the band has done something unique and created two versions of the record: "The Absolute Universe: The Breath Of Life (Abridged Version)" and "The Absolute Universe: Forevermore (Extended Version)".As Portnoy explains: "We've got two versions of this album. There is a two-CD presentation, which is 90 minutes long, and a single one — that's 60 minutes. However, the single CD is NOT merely an edited version of the double CD. They each contain alternate versions and even in some cases, new recordings. We wrote fresh lyrics and have different people singing on the single CD version tracks as compared to those on the double CD. Some of the songtitles have also been changed, while others might remain the same, but compositionally, what you'll hear has been altered."You must appreciate that what we have done is unique. We revamped the songs to make the two versions different."Trewavas adds: "We did write some new music for the single CD. What's more, there are also differences in the instruments used on some of the tracks across the two records."Each album will be available on CD, LP and digitally. But there will also be what has been called "The Absolute Universe: The Ultimate Edition", which collects both versions together in one lavish package that includes 5LPs, 3CDs and a Blu-ray that contains a 5.1 Surround Sound mix with visuals and a behind-the-scenes documentary. All editions have unique artwork created by Thomas Ewerhard.Initial tracking began in September 2019 when the band met up in Sweden to write and arrange the new material. As Portnoy explains: "Over a period of 10-14 days, we mapped out the songs. Then we all went back to our home studios and did the recording. That's the way we always do it. At one point, though, it was suggested that instead of doing what was by that time going to be a double album, we should just be content to do a single CD.""What happened was that everything kept expanding and expanding," recalls Stolt. "Therefore we decided it made sense to make it a double album. It was Pete and Neal who then came out and said they felt this would be too long, and we should reduce it to one…But we were already recording, and it didn't seem feasible to cut it back. There were so many pieces that each of us loved in what we were planning and didn't want to lose. That's when we ended up in discussions over the best way forward."This album also marks a return to the concept album for TRANSATLANTIC."Well, the idea of TRANSATLANTIC deciding to do a concept record this time around won't shock anyone, right?" laughs Portnoy. "What we have is essentially one giant composition, split into chapters. The storyline is about the struggles facing everyone in society today.""We didn't start out with the idea of this being conceptual," admits Stolt. "The way things work with us is that we have a load of ideas, and these are developed spontaneously when we meet up. Everything happens in the moment."So, how does this new groundbreaking album compare to TRANSATLANTIC's previous four albums?"I always try not to compare albums as much as possible," insists Morse. "It's very difficult when you're trying to be creative, because your natural instinct is to constantly compare. But in order to create you have to kind of step away from that. Having said that, I would say this would have more in common with 'The Whirlwind' album [the band's third, from 2009] than others that we've created."For Trewavas, "The Absolute Universe" is a momentous project. "I think it is right up there with the very finest albums we've done," he says. "As the others have said, it compares very well to 'The Whirlwind', which I believe represents TRANSATLANTIC at our best. As on that album, we took our time to write and arrange everything, and that shines through. I am very excited for people to hear it."TRANSATLANTIC formed in 1999 and released its debut album, "SMPT:e", the following year. Sophomore effort "Bridge Across Forever" followed in 2001, but the group went on an extended hiatus after Morse left SPOCK'S BEARD in 2002 to focus on his newly launched career in the Christian music industry.The group reunited in 2009 and released third album "The Whirlwind", which consisted of a single 77-minute track, that same year. A fourth album, "Kaleidoscope", was recorded in 2013 and released the following year, when it debuted at No. 6 on the German top album charts. The band has also released several live albums and live videos, most recently 2014's "KaLIVEoscope".Portnoy and Morse are frequent musical collaborators, having recorded more than a dozen albums together outside of TRANSATLANTIC, including three FLYING COLORS releases, three by THE NEAL MORSE BAND and seven Morse solo albums."
    $10.00
  • All Traps On Earth is the solo project created by Anglagard bassist Johan Brand.  He's enlisted former Anglagard keyboardist Thomas Johnson and current drummer Erik Hammarström.  In addition Johan's daughter contributes vocals.  There are a number of guests on board including guitarist Phil Mercy.Musically speaking the apple doesn't fall far from the tree.  You can hear a direct musical connection to Anglagard.  There is so much going on in the compositions and arrangements that your head will be spinning for days.  Its a very intense listening experience and essential for any fan of Anglagard or 70s progressive rock in general.  BUY OR DIE!"Take a modern progressive rock fan and let him listen to the first notes of "A Drop of Light", debut album from a new project called All Traps on Earth: we have no doubt that it will take him a few seconds only to recall a name that has become a legend of Scandinavian symphonic prog: Änglagård!As a matter of fact, All Traps on Earth is the name chosen by Änglagård's founding member and bassist Johan Brand for this project of his, involving keyboard player Thomas Johnson and drummer / percussionist Erik Hammarström from the same 'source band'. They are joined by Johan's talented daughter, Miranda Brand on vocals, as well as a plethora of guests from the Swedish scene.Almost five years of painstaking work and an obsessive care and attention even for the smallest details have led to the creation of an exceptional work that starts Änglagård's music, amplifies its complexity and epicness, and enriches its sonic spectrum thanks to the presence of five other musicians on guitar and wind instruments. As for instrumentation, improvisation, dynamics, rhythmic shifts and atmosphere, All Traps on Earth have put no limits, releasing a monumental record, destined to leave a mark not only for the current year 2018, but also in the future to come.Fans of King Crimson, Goblin, Magma, the Canterbury scene and even of Ennio Morricone, whose sounds are frequently recalled during the record, will enjoy this album for sure, but we have no doubt that any prog-lover will appreciate this unexpected, fantastic album."
    $17.00
  • "For those unfamiliar with German progressive/post-metal band The Ocean (Collective), this unique collector’s ‘live’ edition of their double concept album Phanerozoic might either be the perfect, or the absolute worst time, to discover the twenty-year veterans.Conceptually themed around the titular geologic era covering 541 million years until the present, spanning their 2018 Phanerozoic I: Palaeozoic album and 2020’s conclusion Phanerozoic II: Mesozoic / Cenozoicthrough epic-length musical exploration, The Ocean chart the history of tectonic plates, mass extinction events and the changing face of the planet in an intellectual and strangely emotional, personal way. This release doubles as the band’s definitive statement and may just be the greatest thing that they have ever done, however, if that does not sound like your cup of tea, then I suggest you run screaming.Those still on board with all of this, you’re in for an absolute treat as it’s fucking great. Released over a number of jaw-dropping formats, not least triple vinyl in beautiful and limited variants, this is more than just an album, it’s a beautiful piece of considered art, produced in very stressful times for the musical community and an absolute triumph of achievement.Having spent so long without being able to tour and having scored their highest charting position with the second instalment of the album, they performed Phanerozoic I: Palaeozoic for live streaming as part of the Club100 series from the Pier 2 venue in the port of Bremen.Filmed on a big stage in a large hall, the band recreated their full live experience with no expense spared on the production. With the band set up as a traditional gig facing the cameras, The Ocean belt out a masterclass in showing not only why the album was exceptional, but so is their ability.Subtly creeping out of the darkness with a lone keyboard, the swirling synths build until the whole band come in with crushing power and an intense, dramatic light show worthy of peak Nine Inch Nails that serves to emphasise the scale of the music. The album builds and shifts in subtle (and not so subtle) musical movements, building the story of the planet’s formation through tender, searching moments and then hard-hitting moments of roaring Cult of Luna like hardcore.The multiple camera set up, including a roving handheld camera on stage, tells the story of this tight knit unit of musicians as they feel their way through their first perforce as a band for 18 months. Consummate professionals, this is a complete band performance, and as the camera moves between the members, everyone plays their part; from Robin Staps conducting the music on guitar, to Paul Seidel energetically slamming the drums whilst providing backing vocals and Loïc Rossetti on lead vocals, drifting in and out of the focus to provide savage barking or ethereal, almost alien lilting and compellingly emotive moments of empathy.this is not only a culmination and celebration of their finest work yet, but it’s also a Darwinian step up in terms of the band’s evolution…Despite the German’s focused and clinical delivery in their performance and execution, there is a palpable air of relief as the band scythe through the final track Permian: The Great Dying, after the near perfect delivery they allow the mask to slip and rock out with smiles on their faces, all the tension of not playing live together for so long banished, despite the unusual circumstance of delivering a near faultless live performance to an empty room, yet knowing that out in the ether there are people watching.Phanerozoic II by contrast was performed for the stellar Roadburn Redux event in the confines of synth player and sound designer Peter Voigtmann’s studio. Deliberately juxtaposed with the Bremen show, the second instalment is claustrophobic, enclosed with minimal, stark lighting, the band performing in a circle facing each other, giving the atmosphere a voyeuristic, intimate atmosphere.As a fan, you can debate the strengths of each album versus the other in terms of sequencing and content, but Phanerozoic II is a different beast to its counterpart, and as such the presentation, complete with graphic interludes makes the more downbeat and emotionally charged content bristle with equal intensity.The music can tend to drift more seamlessly into flows of peaks and troughs, given the close focus of the camera, working through the individual elements and band members. One moment you’re lost in the haunting melodies and progressive exploration, before a jagged riff and vocal hook drags you into full on headbanging, like on the near black metal crescendo of Pleistocene and the final muted sign off with Holocene.Recorded in the freezing cold, again armed with a battery of HD cameras surrounding the performers on the outside, the constantly moving picture snatches glimpses of this strange, but passionate, performance and is utterly captivating as the lighting subtly shifts in hue, providing contrast and continual linear movement.It is hard to talk about just the music in amongst the incredible presentation, but these recordings rival the studio album versions and showcase the band on a level with the likes of Tool and Cult of Luna, in terms of sonic delivery, with the drawn out, subtle shifts in mood of truly great progressive metal. If you missed these albums the first time round, then this release could be the gateway to a whole new experience.You can accuse the dedication to music as art in its most intrinsic form as pretentious, and there absolutely is an element of that in Phanerozoic Live. If you like your music ragged and full of punk ethos, then The Oceanreally aren’t for you, as make no mistake they’ve been making grandiose music for a long time, and this actually forms the conclusion of a trilogy they started with 2007’s Precambrian. As I said at the start, this is not only a culmination and celebration of their finest work yet, but it’s also a Darwinian step up in terms of the band’s evolution and an absolute treat for the fans." - The Sleeping Shaman
    $20.00
  • "Chill metal? In our genre-naming culture, Zaius would do well to jump in front of that one in terms of colorful self-description. In all seriousness though, it does seem to pretty accurately describe what is going on with their music. The up-and-coming instrumental act has been at it for a few EPs at this point, with Prosthetic officially launching their full-length debut, Of Adoration.Casually blending metal with post rock, there’s never a moment on the album that feels abrasive or even aggressive in tone. While that might be a turn off for some, some of the strongest instrumental band work usually comes in this form. Without having to stick vocals in front of their music, they don’t have to feel relegated to the ‘verse/chorus/verse’ formatting and just simply go with gut instinct. Zaius have a good grasp on this, and never wander too far into random territory. Instead each track seems to focus itself on the mood and setting of the material, giving it just enough structure. It can all flow together if you let it, but each track on its own still stands strong. Gentle melodies still contain a fair bit of power (see “Echelon”), and they work best to stick into your head in an almost hypnotic approach. There’s a good blend of melancholy and tenderness, with songs like “Anicca” slowly building up towards something a bit heavier in their back-end. The type of material that you could easily imagine being the soundtrack for a video game on the dreamier side of things. Some moments of heaviness level things once in a while, such as “Magnolia,” and give the band a chance to flex some muscle in a way that doesn’t feel out of character.Of Adoration carefully strings together floaty, airy music that still has enough riff power to keep you attentive as they weave pensive melodies. Some really beautiful passages to be had, which will whisk you away to a peaceful journey." - Dead Rhetoric
    $15.00