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  • "If there is one band who has captured the sound of the golden age of Progressive Rock (1969 – 1975) without sounding regressive or copycat, it is the Norwegian band Wobbler. The band has always had an energetic and youthful approach to the classic prog era, and has managed to blow new life into the genre. Wobbler´s fifth offering is an exciting blend of carefully planned and jammed material that encompasses everything the band has done up to now. Dwellers of the Deep consists of four distinctive pieces and is a broad looking glass into Wobbler´s creative whims and playful exuberance. The album showcases the band´s mastery of dynamics and flow, with passages and themes veering from the scenic and serene to the downright rocking. On the final track, Wobbler is in full blast, with a 19 minutes suite taking the listener through aspects of the darker sides of Wobbler´s sound. The lyrical themes on the album deals with human emotion, and the ongoing struggle between juxtaposed forces within the psyche. An introspective voyage among the realms of memories, feelings and instincts, where the light is brighter, and the dark is darker. The concepts of wonder, longing and desperation permeates the histories told, and the currents from the deep are ever present. The production is open, detailed, warm and punchy, making the soundscape put together by the now seasoned sound alchemist Lars Fredrik Frøislie to an aural feast. New musical directions further the quintet’s burgeoning aural idiosyncrasies and solidify the band stature as one of the most exciting and interesting bands on the global music scene, independent of genre."TRACK LISTING:1. By the Banks2. Five Rooms3. Naiad Dreams4. Merry Macabre
    $15.00
  • Originally formed on Long Island, NY, Ice Age began in 1991 when the four members clicked over a mutual passion for classic and progressive rock with a penchant for heavier music undercurrents.The band was signed by the noted progressive label Magna Carta resulting in 1999’s THE GREAT DIVIDE.  This ambitious debut stands the test of time, acclaimed and sought-after by progressive rock and metal fans alike.  2001 saw the release of the band’s sophomore record LIBERATION, pushing the boundaries even further with melodic heights and metallic crunch.  The band supported the release with festival performances and tours of Europe and the USA.  At that point the band took an extended break but the members stayed in contact.Now 22 years later Ice Age is back with their third album WAVES OF LOSS AND POWER. The material that comprises the release finds the members of Ice Age wearing their varied influences confidently on their collective sleeve.  Once again the band conjures the spirits of Kansas, Genesis, Styx, fleeting shades of Queensryche, Rush, and Fates Warning.  In the true prog tradition, Ice Age continues their epic sagas begun on their first two albums.  In all respects, WAVES is a seminal masterwork of catchy, thoughtful, progressive songwriting.The album was mixed and mastered by Rich Mouser (Transatlantic, Dream Theater, Spock’s Beard).  The cover art concept and booklet design were brought to life by Killustrations, with a fresh new band logo by Thomas Ewerhard.Ice Age will see the band returning to the US festival stage by kicking off ProgPower USA XXII on September 6, 2023 in Atlanta.
    $14.00
  • "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
  • DISCIPLINE has performed and recorded together since 1987, and remains one of the top bands in the American progressive rock scene. The band’s current lineup, including drummer Paul Dzendzel, bassist Mathew Kennedy, lead guitarist Chris Herin (Tiles), and vocalist/keyboardist Matthew Parmenter, worked with veteran music producer Terry Brown (Rush, Fate’s Warning) for the mixing of their newest opus, Captives Of The Wine Dark Sea, which Parmenter describes as, “an escape to ameliorate the workaday world.”“DISCIPLINE weaves a wicked web of lush, whimsical melodies, cynical stories and melancholy theatrics — so disturbing some fans have pegged lead-man Matthew Parmenter as ‘unstable,'” writes Heidi Olmac in Detroit’s Orbit newspaper. New Zealand rock critic Kev Rowland describes DISCIPLINE as “one of the most important bands to come out of America in the last twenty-five years.” The band’s earliest live shows were memorable for unusual theatrics. Parmenter (a.k.a. the Magic Acid Mime) would wear different costumes and act out the songs. Though the costumes have long since gone away, spontaneity remains a hallmark of DISCIPLINE‘s stage presence. “I think most of it comes from playing live,” says Parmenter in The Observer and Eccentric newspaper. “If something goes wrong, it’s kind of interesting how you will get out of it.”Jeff Milo of Ferndale Friends newspaper writes, “Go online and you’ll find various zines, blogs, and sites devoted to ‘prog’ music sending some substantial love toward Detroit’s DISCIPLINE.” The band’s previous album To Shatter All Accord (2011) includes the twenty-five-minute song suite “Rogue.” John Collinge, publisher of Progression Magazine, acknowledged To Shatter All Accord with the publication’s highest marks in his review (16 out of 16 stars). The band may be best known for its album Unfolded Like Staircase (1997). With four sprawling epics, including “Canto IV (Limbo)” and “Crutches,” Unfolded Like Staircase is considered by some to be one of the best progressive rock albums of the 1990s. In the Dutch Progressive Rock Pages, Brian Watson goes further: “Unfolded is my favourite progressive rock album of all time. In over thirty years of listening, and out of a collection touching fifteen hundred albums, Unfolded Like Staircase is ‘the one.’” The CD Push & Profit (1993) introduced Discipline to an international audience supported by a tour of Norway. The band also recorded a virtually unknown first album Chaos Out of Order (1988) that remained out of print for twenty-five years until the band’s indie label, Strung Out Records, reissued the recording in 2013. DISCIPLINE has also released three live albums; the This One’s for England (2014, 2xCD), Live Days (2010 2xCD on Cyclops/GFT), and Into The Dream (1999 on Syzygy/SOR).DISCIPLINE has appeared at numerous progressive rock festivals In 2012 the band appeared at RoSfest, the Rites Of Spring progressive rock festival in Gettysburg, Pennsylvania. That performance can be viewed as an Amazon Instant video. The band has also performed at NEARfest (Northeast Art Rock Festival), Terra Incognita, ProgScape, Orion Studios, and six separate performances at ProgDay in Chapel Hill, North Carolina. The band drew praise at UK’s Summers End festival in 2015 with reviews declaring Discipline “the band of the weekend.”. 
    $14.00
  • Legendary guitarist Steve Hackett presents his brand new live audio/visual extravaganza, with the release of ‘Foxtrot at Fifty + Hackett Highlights: Live in Brighton’. Filmed & recorded live on his 2022 UK tour, in the coastal city of Brighton, this release documents Steve and his band celebrating the 50th anniversary of the much-loved Genesis album ‘Foxtrot’. Played in full, this album features fan favourites including ‘Watcher Of The Skies’ and ‘Supper’s Ready’. The show also features a set of Hackett solo material, including ‘The Devil’s Cathedral’ from his latest studio album ‘Surrender of Silence’, and the powerful ‘Ace of Wands’. Mixed by Chris Lord-Alge & mastered by Ten Jensen at Sterling Sound.
    $16.00
  • “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. 
    $6.00
  • Phase - Midnight Madness is the third release in our limited edition Modulus series.  Pressed in an edition of 500 copies, it comes housed in a old school style tip-on mini-LP jacket.  A 12 page booklet features detailed liner notes from the members of the band.Phase was a New Jersey based quartet formed in 1978.  It featured Regan Ryzuk (piano, Moog, Celeste), Dave Anderson (electric and Anscor stereo guitar), Carl Scariati (Carl Thompson electric bass), and John Hvasta (drums/tympanis).  All members were young but highly accomplished musicians with a serious interest in jazz, classical composition, and progressive rock.  Their high energy instrumental music clearly demonstrated these influences.  The music of Phase can easily be classified as fusion but there are strong undercurrents of progressive rock that weaves its way through the album - not just in terms of the instrumentation or playing, but the compositions as well.The band signed a deal with QCA/Red Mark Records in Cincinnati.  The band left New Jersey and heading out to Ohio to record Midnight Madness.  The album was recorded and mixed very quickly.  It saw a release in 1979 and unfortunately sank without much of a trace.  Keyboardist Regan Ryzuk reissued the album two years label, rebranding and repackaging the release under the Fusion Quartet moniker.Hearing this music for the first time was quite a revelation.  I was blown away to say the least.  When I'm asked to describe the music I typically reply "Return To Forever meets Emerson Lake & Palmer".  Not only did this quartet have chops from hell but the compositions were challenging as well.  If you are a fan of RTF, Mahavishnu Orchestra or the prog giants ELP, Yes, Zappa, and PFM you will find much to enjoy here.Please keep in mind that when this edition sells out it will be gone forever.   
    $27.00
  • "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?"
    $33.00
  • “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
  • "Norwegian prog-rockers Jordsjø are something out of the ordinary as evidenced by the stunning quality of their previous releases (the flawless Nattfiolen in particular) and the band’s entirely unique sound and spirited compositions. Yours truly can think of no other act out there who sounds even remotely akin to Jordsjø or inhabit those same traits and characteristics that one associates with said outfit. With respect to their upcoming opus titled Pastoralia, words and phrases are heartfelt and original, intriguingly layered and infinitely captivating, and exquisitely crafted from top to bottom, constantly present themselves when in the company of this oftentimes pastoral-sounding effort where superb melodies are beautifully interwoven with each other.Pastoralia is a musically cohesive yet playful and loose affair that incorporates a myriad of different influences, elements, and vibes. There is something almost rural and earthy about their folk-tinged passages and there are certainly also parts that are drenched in a thick, passionate sense of melancholy. But what about those slightly eerie and unnerving sections that occasionally creep into the mix? Those delightfully jazzy tones that sneak into the eclectic soundscape also? What exactly is this LP? Perhaps it is the most suitable soundtrack to unearthing the secrets of the past that you will come across this year – that’s what this is. Personal favourites and highlights include the Baroque-ish ‘Fuglehviskeren‘ and the sprawling (not to mention dazzling) epics that are ‘Skumring i Karesuando‘, ‘Beitemark‘, and closing track ‘Jord III‘. Every tune contains plenty of light and shade and so things never turn stale or boring here; there is always something exciting going on. The lyrics and words are in their native tongue, which lends an air of authenticity and authority to the compositions, and the title of the record, Pastoralia, is meant to signify a fictional place where the forest people dance around campfires on warm nights in northern Norway.While there are subtle parallels and nods to Jethro Tull, Van der Graaf Generator, and Camel throughout, Jordsjø possesses a musical identity that is entirely their own. Pastoralia does require time and patience on the part of the listener as there is an awful lot to absorb here and it only really starts to makes sense once you have spun the disc several times. It is darkly magical and strangely enchanting albeit with ever so slightly sinister textures shimmering underneath it all. This is the perfect album to immerse oneself in if you require solitude and/or escapism, and this eight-track offering is one of the finest and most adventurous and musically explorative Norwegian works within the field of progressive rock yet, which is saying something. I simply cannot detect any flaws here and this is Nordic prog rock with a folk-ish twist to it that leaves nothing to be desired." - Velvet Thunder
    $11.00
  • Virtuoso keyboardist Vivien Lalu has created a new progressive metal epic featuring an all star cast:Band [A-Z]---Martin LeMar (Mekong Delta) - VocalsMike LePond (SymphonyX) - BassSimone Mularoni (DGM) - GuitarsVirgil Donati (PlanetX)- DrumsVivien Lalu (Shadrane) - KeyboardsGuests [A-Z]---Jens Johansson (Stratovarius)Joop Wolters (Shadrane)Jordan Rudess (Dream Theater)Marco Sfogli (James LaBrie)Mike Andersson (Cloudscape, Fullforce)Peter Wildoer (Darkane, James LaBrie)Born of Noelle and Michel Lalu, musicians from the ‘70s French progressive act Polene, Vivien Lalu has released a surplus of recordings through an array of different bands and projects since 1997, as the keyboard player for underground black/doom band Time For A Change. At the turn of the millennium Lalu played keys for two underground progressive metal bands from Paris, Sad Warden and then Mind’s Orchard, and in 2002 was hired by Hubi Meisel (ex-Dreamscape vocalist) to compose and record the keys for his solo album EmOcean, the following year doing the same for Meisel’s sophomore album Kailash, both of which were released by Lion Music.It was at this time Vivien Lalu begins recruiting his own associates from major prog and metal bands — some of which he shares time composing music alongside in progressive metal act Shadrane — and forms his own solo project, LALU. The first full-length Oniric Metal was released on Lion Music in 2005 and began an entirely new chapter for this composer and his insatiable need to create mind-expanding, cinematic music.These accomplishments helped Lalu to begin securing score and soundtrack work for film and television; over the last few years he’s written many cues for the orchestral soundtrack for the Warner Bros movie Seuls Two, for the show Science X made in association with Lucasfilm Ltd. Additionally he joined the production team behind Laszlo Jones in order to assist the recordings and production of Banana Nation (Universal Music Group). He’s composed many soundtracks for French television, music and sound effects for Neko Entertainment, worked as a sound designer for Ubisoft Entertainment and much more.After collaborating with Shadow Gallery for a song on their Digital Ghosts album, and working with Canadian drummer Chris Nalbandian for his Paralysis of Analysis solo album — recording all keys and sharing solos with Derek Sherinian and Alex Argento — Vivien finally settled in and began work on the second LALU opus. Handling all composition and songwriting duties, as well as all keyboards on the massive production, Vivien weaved the cloth of the new album with vocalist Martin LeMar (Mekong Delta), bassist Mike LePond (SymphonyX), guitarist Simone Mularoni (DGM), drummer Virgil Donati (PlanetX), the album’s parts recorded in several countries including the United States (Los Angeles and New York), Germany and Italy, produced by Lalu in his own studio, and mixed at Boumbox Studio in Paris by Yan Memmi (Dio’s Lock Up The Wolves, Marcus Miller’s The Sun Don’t Lie, etc.). Additional contributions from Jens Johansson (Stratovarius), Joop Wolters (Shadrane), Jordan Rudess (Dream Theater), Marco Sfogli (James LaBrie), Mike Andersson (Cloudscape) and Peter Wildoer (James LaBrie) were also carefully built into the album, the final product boasting over fifty minutes of exceptional, massive  cinematic, atmospheric metal Lalu has dubbed, Atomic Ark. 
    $5.00
  • "Frost* are returning with their first new studio album in five years on May 14. Day And Age is the band’s fourth record, and features Jem Godfrey once again joined by John Mitchell & Nathan King, as well as three guest drummers: Kaz Rodriguez (Chaka Khan, Josh Groban), Darby Todd (The Darkness, Martin Barre) and Pat Mastelotto (King Crimson, Mister Mister). The album also features actor Jason Isaacs.Jem Godfrey comments of the new album: “2020 was the year of the studio for obvious reasons. As a result 2021 is going to be a bumper year for new music I think and we’re very happy to be riding that wave too into what I hope will be a better year for everybody.”Day And Age was recorded over the course of 2019 and 2020, featuring eight tracks and striking cover artwork by Carl Glover of Aleph Studios (Steven Wilson, Marillion, Steve Jansen)."
    $17.00
  • NOTE: THE MEDIABOOK CONTAINS TWO BONUS TRACKS"Norway’s inventive Rock mavericks LEPROUS return with their seventh studio album, “Aphelion”. Although unmistakably the work of the same band that made “Pitfalls” in 2019, “Aphelion” immediately stands out as a radical statement: Veering from some of the most intense material of their career to some of the most delicate music in the LEPROUS career, “Aphelion” is an album of beautifully crafted and meticulously arranged mini-masterworks. Recorded at three different studios (Ghost Ward / Sweden, Ocean Sound Recordings / Norway and and Cederberg Studios / Norway), mixed by Adam Noble (Placebo, Biffy Clyro, Nothing But Thieves) and mastered by Robin Schmidt (The 1975, Placebo, The Gaslight Anthem, etc.), "
    $8.00
  • 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.
    $15.00