Blues Rock

Debut solo album from Wobbler’s Lars Fredrik Frøislie! Fitting perfectly into the 70s prog-rock tradition where the keyboardist makes a solo album between the band albums, this is music Frøislie has been doing, mostly alone, during the pandemic. Had it not been for the pandemic, much of the material would probably have ended up on a new Wobbler album - but then run through the Wobbler grinder and with English lyrics. In other words, this is unpeeled and raw, as spontaneous as possible without going through too many rounds of processing. Trying to preserve the impulsive - much of what you hear is improvised, and one-takes (preferably with playing errors and piano strings that break and the like). Trying to preserve the human aspect to a large extent, avoiding click tracks, auto-tune, MIDI or too much technology. Expect lots of old analogue keyboards such as cembalo, Mellotron, MiniMoog, Yamaha CP70 and Hammond organ. Four tunes; Four stories. The first song "Rytter av dommedag" is themed around Ragnarok, when King Rakne awakens in his large burial mound outside Romerike and, together with the old gods, creates real mischief. The second song “Et sted under himmelhvelvet” is dreamy, possibly set in a Renaissance garden near Florence or Arcadia. But in principle it can be anywhere where it feels good to be. It is partly about travelling to a place and feeling that you have been there before - only to find out that you had ancestors who lived there long ago. The third song "Jærtegn" opens in a frenzy, with a horse and cart speeding through the forest. The wagon overturns at the same time as there is a solar eclipse, and the riders become eternal wanderers in the dark forest, only visible to us now and then like the northern lights, as they vainly stretch their arms towards the sun in the hope of finding their way home. The final song “Naturens Katedral” is a depiction of the Norwegian mountains in winter where the cold is bitter, and blizzards and avalanches abound. It is also a search for bygone times when life was more basic out in the wilderness.

Prospekt are a British Progressive Metal band influenced by bands such as Dream Theater, Symphony X, Opeth and Circus Maximus, as well as film scores and fusion. Prospekt combine the fierce technicality of progressive metal with the symphonic elements of contemporary prog.From brutal riffs coupled with odd time-signatures, to majestic melodies, the principle of Prospekt’s music is to create an intelligent and atmospheric mix of melodic, modern progressive metal. Incorporating passionate higher ranged vocals, frenetic guitar work, haunting orchestration and solid grooves, every composition remains both interesting and original.The Colourless Sunrise was mixed by  Adam "Nolly" Getgood of Periphery and mastered by Jens Bogren at Fascination Street.

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

Its been seven years since Phideaux Xavier's last album.  Everyone has been chomping at the bit for this album and I can honestly say he delivers the goods.  If you are unfamiliar with his work you should expect contemporary progressive rock with lots of references to the 70s giants.  A perfect blending of old and new sounds.  (I'm a sucker for the Mellotron sounding bits).  While he originally started out as pretty much a one man show, Phideaux has morphed into a band with 10 musicians contributing, including Discipline's Matthew Kennedy who holds down the bass notes.  There is a lot of music here and its new so its going to take some time to digest.  This will easily sit high on year end top 10 lists.  Buckle yourself in and dig deep into this one.  Well worth the effort.BUY OR DIE!"Arguably no other progressive rock creation in recent years has been shrouded in as much mystery and expectation as Infernal, the latest studio effort from Phideaux. After all, it follows what many fans (myself included) consider to be three of the best genre albums of all time: 2007’s Doomsday Afternoon, 2009’s Number Seven, and 2011’s Snowtorch. (Of course, the prior collections were great as well and paved the way for such distinction.) As such, devotees have spent the last seven years—if not eleven since Infernal concludes the Great Leap/Doomsday Afternoon set—speculating and anticipating how exceptionally it’ll tie into the trilogy, maintain the idiosyncratic brilliance of its predecessors, and rank as one of the top works of its release year.So, was it worth the wait?Well, that depends on what you expect. Upon initial listens, those hoping for a consistent continuation of the aforementioned trio’s robust eccentric intricacy may find it a bit wanting; sure, that side of Phideaux certainly crops up from time to time within its ninety-minute duration (especially during the second half), but Infernal is deceptively unvaried and reductive at first glance since it appears to prioritize straightforward songwriting and lush yet modest arrangements. However, a deeper analysis and appreciation reveals how resourcefully Infernal actually does two things at once: touch upon the styles and stories of its two narrative precursors while also establishing an almost brand-new approach entirely. Thus, the double LP is markedly different from—yet equivalent to—the extraordinary achievements that came before it.Just as The Great Leap and Doomsday Afternoon were different kinds of albums, so too is Infernal (despite featuring the complete Doomsday Afternoon line-up). In fact, during our last correspondence, Phideaux confirmed my conclusion that the first and second discs are meant to channel the first and second entries in the trilogy, respectively, as it simultaneously feels more theatrical (“like a play”) than either of them. Perhaps, then, it’s best to think of Infernal as the BE (Pain of Salvation) or The Lamb Lies Down on Broadway (Genesis) of the band’s discography, as it extends out of its predecessors in the midst of existing as a singular experiment unlike anything else in their catalog.Although the first half of the undertaking captures the more accessible rock nature of The Great Leap overall, it’s still filled with multilayered splendor and a fair amount of complexity. Opener “Cast Out and Cold,” for instance, is a tour-de-force that builds ominously (with effects and harmonies) before instantly evoking the classic Phideaux charm with its blend of male/female lamentations and pastoral instrumentation. In doing so, it sets a great stage on which to introduce the more multifaceted, urgent, and dynamic “The Error Lives On”. Later, “We Only Have Eyes for You” is relatively bouncy and playful (despite being foreboding beneath the surface), whereas “C99” is a venture into sinister surrealism and “Tumbleweed” uses the trademark piano ballad as a poignant cliffhanger. Again, these songs in particular may seem too similar to each other originally, but they eventually become truly essential components in making the record flow like a unified performance filled with captivating melodies, lively textures, poetic lyricism, and entrancing structures.The concluding portion of Infernal absolutely channels Doomsday Afternoon in its heighted emphasis on flamboyant intricacy. This is clear from the start, with “The Order of Protection (One)” contrasting its introductory choral serenity with a latter helping of dissonant tones over mesmerizingly mischievous piano motifs (that—no surprise—are reimagined brilliantly in “The Order of Protection (Two)”). Elsewhere, “In Dissonance We Play” finds a strong balance between solid songwriting and musical showmanship, “The Sleepers Wake” is tenderly enchanting, and “Endgame – An End” wraps things up in a mildly foreseeable yet entirely fitting and satisfying way. Without question, though, the standout track of the whole journey is “From Hydrogen to Love,” a fourteen-minute masterpiece that serves as the “Microdeath Softstar” of Infernal (in more ways than one and I’ll leave it at that).At the risk of spoiling any more of the LP’s magic (hence why the breakdowns of each disc barely scratched their surfaces), suffice it to say that arguably the chief feats of Infernal are its abundant allusions to past sequences and its refreshing theatricality. Not only does it offer plenty of links—both subtle and overt—to itself, Doomsday Afternoon, and The Great Leap as it develops, but it even throws a nod or two at another full-length triumph (whose identity is then made obvious via a clever anagram). Every one of these connections will delight devotees, as will the brief scattered respites that basically act like soliloquys/monologues/intermissions. Together, these elements make the album feel at once laudably unique and endearingly familiar while also revealing (and justifying) why it took so long for such a passion project to be completed.Ingeniously, Infernal simultaneously pays tribute to the Phideaux legacy and etches itself as a wildly ambitious, enthralling, and fresh entry into it. Although it can be a bit incongruent and underwhelming at first, those who fully internalize all that it offers—and appreciate what it’s doing both expectedly and differently—will find it to be another benchmark creation in the catalog of one of the most distinctive and essential artists in modern progressive rock. Taking that into consideration, a new question must be asked: Is it Phideaux’s greatest achievement to date?Well, it could be." - The Prog Report 

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!

“You can expect a beefy rock album, freak style. I think that Cooking with Pagans finally has the sound and energy of Freak Kitchen live; the energy and rawness. It is anything but overproduced, stripped down, drums, bass and guitar. To the point.” – Mattias “IA” EklundhIt has been 5 years since Freak Kitchen graced us with a new album.  Since the release of 2009’s Land Of The Freaks, the band has toured the world – making stops in Europe, USA, and Asia along the way.  Finally the band was able to settle down in their home base of Sweden to record the long awaited follow up Cooking With Pagans.The album finds the band collaborating with Blacksad comic book creator and former Disney animator Juanjo Guarnido.  In addition to creating the amazing packaging for the album, Mr. Guarnido has created an incredible animated video to support the album release.Freak Kitchen consists of world renowned guitarist Mattias “IA” Eklundh, bassist Christer Ortefors and drummer Bjorn Fryklund, The trio offers an intense blend of progressive metal and rock, often served up with a wicked dose of humor.  RIYL Frank Zappa, Steve Vai, and Bumblefoot.