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  • Swedish psychedelic/progressive rock alchemists AGUSA present their third full-length album simply titled Agusa.The follow-up to 2015’s Agusa 2 (Två ) sees the AGUSA circle expanding their kaleidoscopic output which conjures images of nature and the cosmos, their extensive passages again leading the listener into fantastic realms of a possibly supernatural or parallel existence. While Agusa 2 (Två) engulfed forty minutes of music through two massive tracks, Agusa sees the band delivering their singular brand of, trance-inducing, folk-inspired, occult rock through more traditional track lengths, offering five songs which range from five to ten-and-a-half minutes in length and are a bit heavier than the album’s predecessors.Agusa was recorded and mixed by Viktor Rinneby and mastered by Grammy-winning engineer Bob Katz, and completed with art by Danilo Stankovic and design by Peter Wallgren.In September 2016 AGUSA released their live disc Katarsis, which had been recorded in Athens, Greece six months before. Following that release the band had hectic schedule with gigs in Scandinavia, Poland, and back to Greece. This proved to be too much for organ player Jonas Berge who left the band in January 2017, while recording the new Agusa album, which caused the band to take a pause in order to complete the album and replace Berge. Finding a talented organ player who would also fit into the group proved to be a difficult task, but finally Danish organ player Jeppe Juul was picked as Berge's successor. Juul is originally from Denmark but now lives in the deep woods of southern Sweden in primitive circumstances, where they must carry all water from a nearby well and occasionally get some electricity from some solar cells on the roof. He has previously played with many acts in different genres; Marcus Miller, Royal Danish Ballet, and Lili Haydn, among many others.AGUSA has performed live throughout Europe, including the mighty Roadburn Festival and more. Preceding the new Agusa album, flute player Jenny Puertas gave birth to a daughter in May which saw the band performing sans-flute for several shows, and additionally, organist Jonas Berge rejoined the lineup for several performances, which saw them playing live with two organ players. As always, AGUSA performed vastly different versions of the new songs live compared to how they ended up on the album, continuing their ongoing mission of turning every concert into something unique.
    $15.00
  • “This smells strongly of British Progressive rock, some Quintessence, some Deep Purple (with flute instead of vocals). The organ and flute, and gung-ho attitude, remind me a bit of both Focus and Out of Focus…” – Daniel Dellamorte, music historian and author of the book Swedish Death Metal"In April 2018 Agusa embarked on a short tour in Italy. The first stop was at Stazione Birra in Rome where the show was recorded by the resident sound technician Alex Di Nunzio. The full gig – without any overdubs – will now be released on a double vinyl and CD by Kommun2 Records. The songs on "Ekstasis - Live in Rome" contain much of the playfulness and improvisational bravado that fans have come to expect from these Swedish rockers. This is the sequel to the live album "Katarsis", but twice as long and with previously unheard renditions of some of the tracks performed exclusively for these Italian gigs. The "Ekstasis" cover features a simple, pencil-drawn picture of the “flower woman” that has become synonymous with Agusa in 2018. I was made by Swedish artist Robin Gnista and was originally sketched out to reflect the complex, yet raw approach of the music. This is the first Agusa album featuring the organ playing of Jeppe Juul and it was mixed by bass player Tobias Petterson together with sound technician Emil Isaksson. This may very well be looked back upon as the most ambitious release from K2."
    $15.00
  • Third album from Sam Vallen and Jim Grey.  Plain and simple another triumph.  The great thing about this band is the way they assimilate different influences and make a cohesive whole.  Vallen's guitarwork touches on djent riffing as well as fluid clean lines and Grey's vocals...well they are spectacular as usual.  You get a little bit of Opeth here and Haken there.  Maybe even a little Dream Theater and Pain Of Salvation.  Naturally if you are a fan of Jim Grey's other band, Arcane, you are going to love this one as well.  Very dynamic and dramatic.  Essential 2015 purchase.  BUY OR DIE!"There are certain albums that require more than just open ears. Sometimes, you need to close your eyes in order to sharpen up your senses, to be able to really consume and obtain the musical message delivered throughout the record. So before pressing the ‘play’ button on Caligula’s Horse newest release, Bloom, pour a glass of your favorite drink, put your headphones on and close your eyes.Consisting of 8 tracks, Bloom delivers something deeper than a compilation of technical riffs; it sets an atmosphere, driven by emotion and by the story line, as the sound and production correlate towards that notion. From the very beginning, with the theme song being the opener of the album, you can see how the band sets the mood for the entire record. Mysterious, dark, heavily Opeth influenced, and yet still having its own characteristics to the story.Right from the beginning of the album, one cannot miss how Opeth deeply affected the band’s music. The vocal ideas and implementation, the guitar sound and the general image that’s created, can immediately drift the listener to many of the Swedish group’s finest works. Nevertheless, I do feel that within these carried elements still lies a large chunk of originality that separates this album from being another Opeth-imitation attempt, which can easily be found on a variety of past-releases of different bands.One impressive thing to notice on this record is vocalist’s Jim Grey. It is easy to fall in love with the color of Grey’s voice, as can be heard on The Tide, The Thief & River’s End (2013), but he did manage to improve a certain and essential vocal ability for this album: I’ve always felt that when hitting the higher notes, he needed to “shout” those notes just a little bit too much, having immediate impact on the tenderness and vibrations of his voice. On this album, it seems that Grey feels much more comfortable on higher scales, and that vocal freedom affects his entire range. Grey has turned it up a notch, becoming not only great a singer, but a great storyteller. His vocal movements are probably the most interesting thing to follow on this album, as it escorts the listener throughout each and every song.Another thing that immediately stands out is the band’s cooperation while putting Grey’s vocals as the leading musical idea of the album. Nothing is over-pressed, and it seems that band took a great care of composing the songs mostly to create an atmosphere, to set the right stage to deliver the story in the best way. It is impressive, since many bands tend to miss this very idea, with every musician trying to overlap the other, which mostly leads to a confusing blend that misses the main idea. This shows great maturity of the band, which helped them carry their music to the next level.Many bands these days try to force their music in to a hidden musical horizon just to be different. What’s so great about Bloom is that the band did not try to reinvent the wheel, but only used the tools they had, mixed just a little bit of everything to create something unique. Every song has that thing that sticks to your head; whether it’s a defying chord, a vocal movement, mesmerizing vocals and at times – some really catchy, groovy guitar riffs. That alone helps the fluency of the record, making it an album, 44-minutes of which you listen to from the top to the bottom, rather than just a collection of different songs.Overall, it’s easy to see how the band feels more comfortable with their work with every passing release. With time, Caligula’s Horse understands what they look for while composing their music, yet something still feels held back. It’s funny, because even I, after countless of times listening to the album, still cannot really put my finger towards what it is that is missing. Perhaps it is something that cannot be described by simple words, but it is that something that turns a 9 into a 10. That something that transforms an album which is great to hear, to a one that really dives into your deeper cells, and stays there. Rest assured: You cannot turn a blind eye in regard of the band’s progress, and you absolutely must give this album a try." - It Djents
    $15.00
  • Ultimately, progress will not be stopped. Pain of Salvation have been firmly at the forefront of the progressive rock and metal scenes for nearly three decades now. Led by mercurial multi-instrumentalist Daniel Gildenlöw, the Swedish band have consistently demonstrated a sincere passion for moving their own extraordinary music forward, while always remaining lyrically enlightened and ferociously intelligent. As a result, the band’s return in 2020 could hardly be better timed.Since selecting the Pain of Salvation banner back in 1991, Gildenlöw’s crew have arguably been the definitive prog band of the modern era. From elaborate and pointedly metallic early classics like The Perfect Element, Part I (2000) and Remedy Lane (2002) to the obtuse wizardry of Be (2004) and the genre-blurring mischief of Scarsick (2006), Pain of Salvation’s all-encompassing musical vision has delivered some of contemporary prog’s most brave, bold and startling moments. Perennially restless, the band switched to a more retrogressive style for Road Salt One (2010) and Road Salt Two (2011), conjuring a precocious blend of ‘70s blues rock and proto-metal with Gildenlöw’s unerringly inventive instincts.Also one of modern rock’s most revered and acclaimed live acts, Pain of Salvation reached a new peak of efficacy on 2017’s In The Passing Light Of Day, an intricate but soulful concept piece that focused on notions of mortality and joy. Both a technically dazzling metal band and a freewheeling prog ensemble, Pain of Salvation have earned their formidable reputation by simply being their brilliant, creatively fearless selves.Fast forward to 2020 and the world is in a state of disarray. But music’s power to uplift and unite has never been in doubt, and the new Pain of Salvation album PANTHER is guaranteed to provide prog fans with a much-needed dose of sumptuous musical substance. Since the release of In The Passing Light Of Day, the band have deftly weathered the departure of guitarist Ragnar Zolberg, discovering a newfound enthusiasm for what happens next in the process.“We did In The Passing Light Of Day and that ended with the departure of Ragnar from the band,” Gildenlöw recalls. “In the past, 10 or 20 years ago, that would probably have made me doubt the future of the band and all of that. I went through that a lot in the past with members leaving or things not turning out in a good way! It’s always difficult and it’s always something that makes you sad, when your little band family is disrupted, but I never came to the point where I doubted where to go or what to do. The other band members were pushing us on to continue, so I just kept writing music.”The result of that sustained surge of creativity is PANTHER, the eleventh Pain of Salvation album and a very obvious landmark release in a career full of them. PANTHER is a concept piece that delves into the conflicts and contradictions between so-called normal people and those who are wired entirely differently.“I guess a lot of the songs that came out dealt with not being part of the norm of society,” Gildenlöw says. “Because we live in a time where we’re more aware of people not fitting the norm and we’re doing everything we can as a society to acknowledge all of these individuals, but at the same time, they’re more disowned than ever, more medicated than ever. The album is painting pictures of a world, I guess. If this was a movie it would be scenes from a city. It’s set in one city, and it’s populated by dogs and the panthers, the so-called normal people and the spectrum people. That’s the setting for the entire album.”As with all Pain of Salvation records, PANTHER will demand multiple listens before it reveals all of its secrets, both musical and narrative. But one things is certain: Gildenlöw’s ability to create a unique and fascinating musical and lyrical world has only grown in recent times. Both traditional and radical, PANTHER is the epitome of a modern prog concept album.With such a deep and varied catalogue, Pain of Salvation – completed by guitarist Johan Hallgren, keyboardist Daniel ‘D2’ Karlsson, bassist Gustaf Hielm and drummer Léo Margarit - have taught their fans to expect the unexpected at all times. Although instantly recognisable as music from the wild mind of Daniel Gildenlöw, PANTHER once again refines and redefines the Swedes’ sound, with echoes of the past vastly outnumbered by vivid, new textures, tones and sonic sleight-of-hand.“For this album, I started off looking for sounds. I always feel I need to move and change and find new ground for myself. Maybe it’s not intentional, but looking back I see that I chose a different starting point every time, or a different methodology, which makes everything else unfold in a different way. It’s a way of making sure that I’m not repeating myself.”Meticulously pieced together by Gildenlöw in Eskilstuna and The Cabin, and mixed together with Daniel Bergstrand (Meshuggah, In Flames, Devin Townsend) at Studio 33 in Stockholm as well as mastered by Thor Legvold / Sonovo (Tambours de Bronx, Purified in Blood, Susanne Sundfør, Gazpacho) in Los Angeles, PANTHER ended up becoming a very intense and personal labour of love for Pain of Salvation’s leader.“It’s been somewhat of a lonely process, but I was finding sounds that I felt were communicating something, and then built something around that,” says Gildenlöw. “It started off a chain of events that led to PANTHER. Just like we did with the last album, you have a song and you find a new sound that you like, and then you start pulling the other songs into that world, step by step. So there’s a lot of odd sounds and a lot of trying to think anew, particularly from my point of view. I don’t have to try to make it sound like Pain of Salvation – the sound is basically what I do when I write music.”Old school PoS fans need not panic, however. Panther still features plenty of guitars and recognisable prog rock and metal tropes: It’s just that Daniel Gildenlöw can’t help but do things differently, every time he hits the studio.Yet another groundbreaking monolith to progress, passion and the joy of music itself, and with artwork consisting of fantastic illustrations made by André Meister, PANTHER is destined to be one of 2020’s most significant releases. Sprung from the maverick mind of prog’s most ingenious contributor, it’s a triumph for artistic imagination and an exhilarating new chapter in the life of a truly great band.“I don’t think that an album can change the world in any way, but I think that every small drop in the ocean can make a difference,” Gildenlöw concludes. “Hopefully people will look around at life as it surrounds us and they’ll realise that this is something we choose. We don’t have to have things as we have them right now. Then I hope, as always when it comes to our albums, people will take time to absorb it all. Our albums work best when they have a little time to sink under the skin. Hopefully with our track record, people know what’s coming!”"
    $19.00
  • “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
  • After an exceptionally long year full of personal change and near manic levels of creative activity, Canadian musician Devin Townsend releases his follow up to 2019’s acclaimed ‘Empath’ album. Assembled from a barrage of material written during the pandemic ‘Lightwork’ represents a new level, and has ended up being one of the most accessible, yet ambitious releases of his storied career. A project that has been on Devin’s mind since he was a teen, (and flirted with throughout his career) is a more melodic and direct album with a great producer to help guide the work. Enter Garth Richardson: A Vancouver based producer with a long resume and a friend of Devin’s for many years. And the goal? To provide something beautiful, cathartic, powerful and clear. A sense of optimism and power through what can be commonly known as a ‘depressing period’. It’s about strength, love, acceptance, fear, and overcoming together. Guests on the record include friends and stalwarts from his past (Anneke Van Giersbergen, Ché Aimee Dorval, Morgan Agren, Mike Keneally, Steve Vai, Elektra Women’s Choir) as well as some newer friends and faces (Darby Todd, Diego Tejeida, Nathan Navarro, Federico Paulovich, Jonas Hellborg), and also, in a rather hard to believe turn of events, legend producer and guitar player Nile Rodger plays on the track ‘HoneyBunch’.[[{"type":"media","view_mode":"media_large","fid":"22173","attributes":{"alt":"","class":"media-image"}}]]
    $33.00
  • APOLLO: The ancient Greek and Roman God of music and poetry.SONS OF APOLLO: The new supergroup featuring members of Dream Theater, Mr. Big, Guns ‘N Roses, and Journey.In early 2017, rumors began circulating about a new secret project including former Dream Theater members Mike Portnoy and Derek Sherinian. Finally, on August 1st, the duo revealed the details to the rest of the world, introducing their new band, SONS OF APOLLO.Reuniting to form SONS OF APOLLO, Portnoy and Sherinian join forces with guitarist Ron "Bumblefoot" Thal (ex-Guns N’ Roses), bassist Billy Sheehan (The Winery Dogs, Mr. Big, David Lee Roth) and vocalist Jeff Scott Soto (ex-Journey, ex-Yngwie Malmsteen's Rising Force). Their debut album, Psychotic Symphony, will be released October 20 on InsideOutMusic/Sony Music. Psychotic Symphony was produced by the dynamic production duo of Portnoy and Sherinian, also affectionately known as “The Del Fuvio Brothers,” the nickname given to them over 20 years ago during their time together in Dream Theater.SONS OF APOLLO formed very organically, its seeds planted with a predecessor group, as Portnoy explains: “Derek and I reunited shortly after I left Dream Theater in 2010 and we put together an all-instrumental touring band with Billy Sheehan and Tony MacAlpine. That was my first time working with Derek since the ‘90s when he was in Dream Theater, and it was just great to be working with him again. Ever since that tour, which was really just a one-off live thing, he has been nudging me to start a real, original, full-time band. The timing just had never been right, because I had too many other things on my plate. Long story short, the time was finally right to take the bait and put together a band.”“Mike and I work at a relentless pace in the studio,” continues Sherinian. “The music is modern, but we have an old-school soul. What is unique about SONS OF APOLLO is that we have true rock n’ roll swagger along with the virtuosity-- a lethal combination!”But what to call the next great supergroup? “Derek was mainly the one behind the name,” says Portnoy. “I have a list that I keep on my phone of about a hundred different band names, which I constantly have to refer to every time I have a new band every year (laughs). So I pulled up the list and Apollo was one of the names on the list. It was a word that both of us really liked. We started fiddling with different variations of the word. One of the original band names we were working with was Apollo Creed, the character from the Rocky movies, but after lots of different discussions on different variations, Derek suggested SONS OF APOLLO and it seemed to stick. Apollo is the god of music, so with that in mind it seemed like a fitting name.”With Portnoy, Sherinian and Sheehan having previously toured together in the aforementioned lineup that came to be known as PSMS, playing instrumental versions of various songs drawn from each member’s history, SONS OF APOLLO was the next logical step. They kept that fire burning and stoked it higher by bringing in a different guitarist, adding a vocalist, and creating all original material. The nine songs comprising Psychotic Symphony incorporate the progressive style and individual technical prowess Portnoy and Sherinian shared together in Dream Theater, combined with the swagger and groove of Van Halen, Deep Purple and Led Zeppelin.“I have known Mike and Derek for a long time, so when they came to me with SONS OF APOLLO, I jumped on this straight away,” says Thomas Waber, Label Manager/A&R International of InsideOutMusic. “However, the album they ended up recording exceeded my already high expectations by a long mile! We couldn’t be happier about it!”SONS OF APOLLO will hit the road in 2018 for their first worldwide tour.“This is a real band,” Portnoy declares. “This is going to pick up for me and Billy where The Winery Dogs left off, in terms of this being the next logical full-time thing for us. I’m not saying The Winery Dogs have broken up, because we haven’t, we’re just on a break. SONS OF APOLLO is absolutely going to be a full-time band and we plan on touring all over the world throughout 2018 and, honestly, it is the priority for all five of us.”Sherinian agrees, “We will go on a worldwide crusade in 2018 to bring SONS OF APOLLO to as many people as possible. Apollo was the God of Music, and we are his mighty offspring!”SONS OF APOLLO ARE:Mike Portnoy – drums and vocalsDerek Sherinian – keyboardsBilly Sheehan – bassRon “Bumblefoot” Thal – guitar and vocalsJeff Scott Soto - vocals 
    $18.00
  • Vly began as strangers sending 1's and 0's across the Atlantic Ocean. British-based guitarist Karl Demata had a vague idea and a few demos, when a friend put him in touch with New York singer / artist Keith Gladysz. Keith began working on the demos, adding a more melodic, dream-like and decidedly indie sensibility. "It was a new way to work", says Gladysz. "The music and collaborative art I've made always started with people I knew, and creating naturally came out of that understanding. That's not the case with Vly. We managed to make an album without ever meeting. There was no gauge or reference point except for the music. It was a total shot in the dark".The sound of Vly shooting in the dark hits elements of progressive rock, classic rock, folk, early-Floydian psychedelia, intimate pop melodies, massive walls of epic guitar riffage, post-classical, post-rock and electronic music. And it's the diverse background of the members that lead to the breadth of their sound.The progressive sentiment of Italian keyboardist Elisa Montaldo quickly attracted the ear of Demata. "The first time I heard Elisa play" says Karl "I knew we had to be in a band. Her innate melodic approach and instinctual understanding and knowledge of 'anything prog' is simply remarkable"."Karl asked me to join the project at the very beginning" Elisa picks up: "My idea of prog is somehow more vintage, more typical 70's Italian style. After various experiments on arrangements and sounds, I went to Karl's studio to record most of the keyboards, where we found the right balance".Connecting with strangers, and expanding circles of mutual friends became the pattern for Vly. Karl next recruited experienced bass player Chris Heilmann who worked together previously in Crippled Black Phoenix. Chris provided a solid backbone with a more classic rock attitude.Demata doesn't hold back when talking about Sweden-based musician Mattias Olsson. "He is simply a genius. And he's never predictable as a drummer. Mattias also contributed some vintage keys and odd analog noises, which have a definitive effect on the bands sound. A common friend described him as a 'lateral thinker', and I can't think of a better way to describe him."Vly makes good on the futuristic dreams of the late 1990's, when promises of international recording sessions via the Internet excited incredulous musicians. Now that it's a reality (thanks to Dropbox and Skype), the method may be less glamorously sci-fi than one had hoped; still, they get the job done."I always disliked the cliches about music as a universal language, and more recently about the Internet bringing people together", explains Keith. "I'm even more uncomfortable with those sentiments now, since Vly proved them true".Vly's debut album, I / (Time) is available on the Laser's Edge imprint September 18, 2015. It's engineered and produced by Karl Demata, with additional production by Keith Gladysz and Mattias Olsen, and audiophile mastering by Bob Katz.VLY is:Keith Gladysz (Diet Kong, Typical Reptiles) - Vocals.Karl Demata (ex-Crippled Black Phoenix, Karl Demata Band) - Guitars, synths, programming.Elisa Montaldo (Il Tempio Delle Clessidre) - keyboards and synths.Chris Heilmann (ex-Crippled Black Phoenix, Bernie Torme', Shark Island) – Bass.Mattias Olsson (ex-Änglagård. White Willow, Necromonkey) - Drums & keyboard 
    $5.00
  • Mixing rock, hard rock and progressive rock with heavy metal and power metal influences, Brazil's Daydream XI is a band with no self-imposed boundaries.Formed in 2008 the group have played with bands like Angra, Symphony X and the former Iron Maiden vocalist, Paul Di'Anno. In 2014 Daydream XI was invited by legendary drummer Mike Portnoy to perform on the 1st edition of Progressive Nation at Sea with bands like Transatlantic, Devin Townsend, Pain Of Salvation, Animals As Leaders, Anathema, Jon Anderson, King's X and many other leading names in progressive music.The band's debut album was produced by Jens Bogren, head of the world-class Fascination Street studio, in Orëbro, Sweden, released on September 27th, 2014, via POWER PROG. It has received many great reviews all over the globe, placing the band as one of the most promising names in Progressive Metal in South America.In their sophomore release, The Circus Of The Tattered And Torn, the band embraces the progressive side of their music in a dark concept album. The concept is a metaphor to express that we are drawn to each other more by our weaknesses and our flaws than our strengths and virtues. It’s portrayed through a journey, where Phillip, the Circus master, takes his new apprentice, Circe, across the various acts of this Circus. Each song represents a feeling or aspect of human life, channeled by the storyline of each character.On September 8th, 2017, Daydream XI will be opening the third night of ProgPower USA in Atlanta.
    $6.00
  • "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
  • Its been quite a long time since we've heard from Magic Pie.  They went through lots of trials and tribulations getting this album finished but now its finally arrived.  If you are not familiar with this band here's the deal: Magic Pie are a Norwegian band with a retro 70s sound.  The music is a bit of a high wire act balancing the neo-prog sounds of The Flower Kings with the heavier elements of classic Uriah Heep.  They also seem to be the darlings of Rosfest having played there multiple times."It's hard to believe it's been 10 years since these proggers from Norway released their promising debut "Motions of Desire". At that time, their music struck me as an enthusiastic combination of classic prog and classic hard rock. (Think Deep Purple for the hard rock side of that equation.) At their best, they offered memorable passages and pieces that sounded like they very well could have been long lost recordings from many years ago. At their worst, they sometimes fell short of filling the big shoes of the legendary bands whose music they strove to emulate. That's actually not bad for a debut album from a new prog band. I found much to like and looked forward to hearing from them again in the future.Checking back in on them a decade later, I must say that I am very impressed with how they have developed and matured. No longer do I get the feeling that certain sections of songs are direct homages to any particular band from any one particular decade of prog's illustrious history. Their influences, while still very present and valid, are now more varied, including a greater percentage of modern reference points. More importantly, their influences are just that--merely influences rather than templates or even primary reference points.The sound quality on "King for a Day" is superb thanks in large part to the enlistment of sonic genius Rich Mouser (whose resume includes similar work for prominent contemporaries like Spock's Beard, Transatlantic and Dream Theater).Keyboardist Erling Hananger is an excellent addition to Magic Pie's recipe. His keyboard parts are expressive, dynamic and integral to the music. When appropriate, his leads seamlessly blend, harmonize, and work synergistically with electric guitar.The lyrics have a melodramatic and somewhat tragic flair this time around, but this is prog so you should be accustomed to the musical ride including a few tragic tales from time to time by now, right?OK ' so it's time for the "magic" question... A decade after their debut album, how has my impression of Magic Pie changed?On "King for a Day", I now hear a band which has found "its own voice", one that resonates confidently in the space somewhere between classic arena rock of yesteryear (on prog-steroids of course) and modern melodic prog of the 21st Century (like Spock's Beard and The Flower Kings). Add a few dashes of modern prog-metal to taste and you, my friend, have baked up a very nice confection indeed... MAGIC PIE!If you love modern prog anthems with big harmonies and 'sing along' choruses, give "King for a Day" a listen! I'm glad I did!" - ProgArchives
    $14.00
  • Finally, the new studio album by RIVERSIDE, Poland’s pioneering and leading Progressive Rock band! Succeeding 2018’s widely acclaimed ‘Wasteland’ album, which entered the charts in Germany at # 13, The Netherlands at # 28, Switzerland at # 23, Austria at # 39, UK at # 83, Finland at # 30, France at # 97, Czech Republic at # 59 and Poland at # 1, their new album ‘ID.Entity’ extends and expands RIVERSIDE’s characteristic sound, but all in a revamped and more dynamic formula. Recorded and mixed in two studios (The Boogie Town Studio in Otwock with Paweł Marciniak and in Serakos studio in Warsaw with Magda and Robert Srzedniccy), the album was mastered by Robert Szydło and produced by RIVERSIDE’s Mariusz Duda himself. ‘ID.Entity’ kicks off the third decade in RIVERSIDE’s career in a remarkable way.
    $13.00
  • ‘Arise’ gives the impression that the creative skills of Steve Babb have gone into overdrive, is there a better storyteller in modern progressive music?” - Progradar.comGlass Hammer shoots for the stars with the new concept album, “ARISE.” Set against the backdrop of deep space exploration, ARISE follows the extraordinary journey of an android dispatched by overzealous scientists to uncover the galaxy’s hidden wonders. The album’s lyrics, liner notes, and artwork convey a tale of cosmic dread and wonder that doesn’t begin with a big bang, but, according to Glass Hammer mastermind Steve Babb, “...definitely ends with one.”He’s joined by singer Hannah Pryor and guitarist Reese Boyd for Glass Hammer’s twenty-first studio album. “ARISE is my progressive-rock spin on space rock,” says Babb. “I’m still flirting with doom metal on a couple of songs, as we did on the last two albums, but there’s also psych-rock and even 80’s influence going on in the music. Even so, it’s very much a prog-rock album, just one that touches on other styles.”Babb goes on to make a bold claim. “We’ve always been big on finales,” he says. “But the final track on ARISE is like nothing we’ve done before. It’s an epic-length instrumental prog-rock jam meant to leave our fan’s jaws on the floor!”
    $13.00
  • Edensong is a progressive rock quintet from New York City.  The band's self-released 2008 debut "The Fruit Fallen" was hailed as a "masterpiece" by critics, and helped to pave the way for live shows and notable festival appearances throughout North America.At over 70 minutes of new music, their 2016 followup, "Years in the Garden of Years" is even more ambitious than it's predecessor, and will be sure to appeal to fans of both classic progressive rock and metal.  The concept album features an extended song cycle on themes of time, each song a different scale and perspective.  The melodies are more memorable, the riffs more powerful, the flute playing more inventive and propulsive.  The songs prominently feature immersive new textures, from lush keyboard and orchestral arrangements to esoteric percussion from around the world, such as hang drum and Balinese gamelan.   "Years in the Garden of Years" is mastered with audiophile precision by Grammy winning engineer Bob Katz, and the CD release features stunning original cover art and booklet illustrations from beloved surrealist painter Dan May. 
    $6.00