Atlantis

SKU: RCD2134CD
Label:
Rune Grammofon
Category:
Progressive Rock
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Fourth album from this incendiary Swedish trio finds them hooking up with Landberk/Paatos/Dungen guitarist Reine Fiske and chaos ensues.

This heavy organ dominated trio are modeled around Tony William's Lifetime but the prog rock influence of ELP is undeniable.  Keyboardist Ståle Storløkken really rips it up.  I found Fiske's playing complements the band well, adding another dimension to their sound.  This is music that is immersed in the 70s but it has extreme vitality and doesn't sound dated at all.  Highly recommended.

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  • After losing their female vocalist, Hoelderlin moved away from folk music and lucky for us into more progressive territory. The self titled album is actually their second but the first pure prog effort. It's quite a stunning album. While it's not nearly their most technically advanced album it has a great vibe about it. It's one of the great Mellotron albums of all time so that might have something to do with it. The band was more or less seen as contemporaries of Grobschnitt as they also utilized a theatrical aspect to their live performances. They were clearly influenced by British bands of the time. The melodic sensibilities of The Moody Blues, the theatrics of Genesis and the muscularity of King Crimson all come into play. The remaster of this stunning effort is augmented by a bonus live version of "Deathwatchbeetle". A killer - highest recommendation.
    $14.00
  • "After what has been a rather public and unseemly split from Nightwish (déjà vu anyone...?), onetime Alyson Avenue front-lady Anette Olzon returns with her first solo album, Shine. For anyone expecting something akin to the Nightwish bombast and bluster, it is an album set to surprise, possibly shock and ultimately disappoint. However, for those willing to simply take this album at face value, the surprise will be of an altogether different variety; a classy mix of Pop hooks, grandiose arrangements, intimacy and a sprinkling of the eccentricity which marked Kate Bush out, creating a quite beautiful, confident record that really does indeed shine very brightly indeed. What Shine also allows Olzon to do, is to illustrate a voice that soars, whispers, commands and seduces, revealing far greater facets and variety than her previous musical situation could ever have allowed. Put simply, like the music here, or not, there's absolutely no denying that Anette Olzon is mightily impressive.Thankfully, it is also extremely easy to give in to the music's charms, Olzon surrounding herself with a crack team (Stefan Orn, Johan Glossner, Johan Kronlund) of songwriters, producers and mixer-masterers, to craft a set of songs that are reasonably simple, memorable and thoroughly captivating. The likes of "Lies" hits like a shimmering Evanescence, "Invincible" is a string and voice (and plaintive guitar as the song builds) masterclass of stark melancholia, "Moving Away" a Scandi-folk tinged piece of adult Pop which works tremendously well. Add to that opener, "Like A Show", which fuses strings to slow electro-beats and a fragile vocal; "Falling", which I could imagine a stripped back Scorpions attempting, and the wonderful, soaring, is it Pop, is it Rock of the album's title track and not only do each and every one of the songs hit their mark, but they do so with enough eclecticism to stand up to repeat listens. And I haven't even mentioned the Kate Bush "Army Dreamers" clone "Floating", which while landing possibly too close to this particular Bush, is still a highlight. Factor in the commercial nous of Abba in places, and Shine really becomes a rare beast. An intelligent, yet utterly accessible and singalongable Pop come Rock album.Some may have thought that Anette Olzon's departure from Nightwish signalled the beginning of the end of her career in the limelight. On the strength of Shine, it is only just the beginning." - Sea of Tranquility
    $12.00
  • "Veterans in the Power/Progressive Metal scene, Brazil’s ANGRA set the world on fire right out of the gate on their debut album “Angel’s Cry” – at the time in 1992 a throwback to the classic Kiske-led HELLOWEEN era with its “Keepers of the Seven Keys” uplifting melodies and speed/ guitar harmony attack. Since that time they’ve blazed their own trail, surviving key member changes in the vocal and drummer departments as well as expanding their musical template into more of an original, Progressive Metal sound. Their eighth studio album “Secret Garden” will be another barometer test for their fans, as RHAPSODY OF FIRE vocalist Fabio Lione steps in the singer slot – and drummer Bruno Valverde slides into the percussion position. What does this mean overall for ANGRA? Will it be a step into the past- or a move into the future?After a solid 20 playbacks, this will probably be one of the favorite ANGRA records in their discography due to the quality and dynamic diversity for these 10 tracks. Those who expect Fabio to soar to high heavens solely on this record, well expand your minds because he truly delivers one of the best performances of his career – stretching out his lower and middle registers more so on this record than ever before. Check out opener “Newborn Me” and the serene ballad “Silent Call” for new facets to his range – emotionally connecting like never before. Musically you can hear a lot of the South American nuances plunging head first into more New Age/ jazz-like Progressive textures on highlight “Upper Levels”, something I would appreciate more from DREAM THEATER and helps ANGRA achieve that surprise element necessary beyond their obvious instrumental talent level.Those who desire the fast paced, double bass, scream to the sky Power anthem material, well “Black Hearted Soul” or “Perfect Symmetry” should give you the fist-pumping adrenaline workout you crave. Special guests include EPICA’s Simone Simons on the dramatic, Symphonic-laden title cut ballad and early Metal icon Doro Pesch who does a vocal duet with Guitarist Rafael Bettencourt on the heavier, bouncier “Crushing Room”. Add in a conceptual storyline that features a fictional account of a scientist seeking happiness after dealing with the tragic loss of his wife in an accident and stunning production values where all parts shine (including the bass heroics of Felipe Andreoli) and I’m sure this 49 minute record will receive consistent airplay for not just 2015, but an eternity as the best albums should.“Secret Garden” could be ANGRA’s best album to date: rich in Progressive Metal highlights but also remembering the right balance in terms of individual songwriting and melodic/hook aspects, this should be a benchmark for other bands to study and up their creative game. A great start to 2015 for sure." - Metal Temple
    $11.00
  • A new Glass Hammer is like a universal constant.  I can always expect exemplary old school prog rock.  For an old timer like myself Glass Hammer is right in my wheelhouse.  This is their 17th studio album (amazing!) .  If you are unfamiliar with the band you should know it revolves around the core of bassist Steve Babb and keyboardist Fred Schendel.  There have been a lot of musicians through the doors of their studio over the years but somehow they always seem to find an endless supply of them.  The line up seems to be fairly stable at the moment.  Salem Hill mainman Carl Groves handles lead vocals along with Susie Bogdanowicz returning as well.  Guitars are handled by Kamran Alan Shikoh and drums by Aaron Raulston.Glass Hammer music is a reverential amalgam of Yes, ELP, Kansas and what the hell throw in a little bit of Genesis.  Steve and Fred proudly wear their influences on their sleeves.  Want wicked keyboard pyrotechnics?  Fred brings the thunder.  In fact they all do.  The Breaking Of The World arrives with epic length tracks and audiophile quality sound.  I wouldn't want it any other way.  BUY OR DIE!
    $12.00
  • "'Hand. Cannot. Erase.' is the highly anticipated fourth studio album from Steven Wilson - four-time Grammy nominee and founder member of cult legends, Porcupine Tree.Hand. Cannot. Erase. follows the critical and commercial success of The Raven That Refused To Sing, released in February 2013, and a run of sold-out shows around the world including London's Royal Albert Hall. Steven will embark on an extensive 'An Evening With Steven Wilson' European tour in March & April 2015.Recorded at London's illustrious Air Studios, Hand. Cannot. Erase, reunited Steven with Guthrie Govan (guitar), Adam Holzman (keyboards), Nick Beggs (bass / stick), and Marco Minneman (drums), the spectacular band responsible for The Raven That Refused To Sing album and world tour.The album is presented in an elaborately designed 96 page case-bound book, with several additional inserts - including a diary, a sketchbook, newspaper cutting, a letter etc - featuring artwork by long-term SW collaborators Lasse Hoile (photography), Hajo Mueller (illustrations) and Carl Glover (design).Blu-Ray contents include hi resolution stereo & 5.1 audio (96/24 5.1 LPCM & DTS-HD Master Audio 5.1), seven additional alternative versions, mixes & radio edits, half-hour studio documentary, studio sessions photo gallery.The album follows the critical and commercial success of 2013's 'The Raven That Refused To Sing' (Germany #3, UK# 28) and an international run of sold-out shows, including London's prestigious Royal Albert Hall.Joined by Guthrie Govan (guitar), Adam Holzman (keyboards), Nick Beggs (bass / stick), and Marco Minneman (drums) - all part of the world-class band that graced The Raven and the 2013/2014 world tours - Wilson recorded 'Hand. Cannot. Erase.' at the renowned Air Studios in London."
    $16.00
  • Harald Grosskopf is one of the founding fathers of the German underground Kosmiche Musik scene.  He was one of the Cosmic Jokers and also a member of Wallenstein and Ash Ra Tempel.  Perhaps his more notable contributions occured with his collaborations with Klaus Schulze.  Synthesist was his first solo album, originally released on the Sky label back in 1980.  Its a classic example of an electronic album in the Berlin School style.  Sequencing gives the music an incredible rhythmic pulse but there are also gorgeous meditative drifting tracks that will take you to another dimension.  Highly recommended.
    $17.00
  • "When Jethro Tull released Benefit in 1970, it signaled a new, more progressive musical direction for the English band. It also became one of the best-known albums of their career, which is going strong more 60 million records and 40 years later. The Grammy winning group is revisiting that pivotal album with a 2-CD/DVD-Audio collector s edition.The 2-CD/DVD collection comes loaded with a massive amount of music recorded by the band, which at the time featured: multi-instrumentalist frontman Ian Anderson, guitarist Martin Barre, drummer Clive Bunker, pianist John Evan, and bassist Glenn Cornick.The first disc contains the album s 10 original tracks, plus five bonus tracks that include both the U.K. and U.S. stereo versions of "Teacher. " All the songs are newly mixed by Steven Wilson and approved by Ian Anderson. The second disc includes newly remastered versions of rare tracks and singles recorded around the same time as Benefit, such as "Sweet Dream" in both stereo and mono.The audio-only DVD, which is available exclusively with this version, is packed with 58 tracks, including the album and bonus tracks in 5.1 surround sound. It also contains the U.K and U.S. versions of the album. The American version was sequenced differently and replaced the U.K. track "Alive and Well and Living In" with "Teacher. " In addition, the set also comes with a handsome booklet filled with rare photographs, an essay by Martin Webb, and interviews with band members."
    $28.00
  • "The story gets kind of complicated, so stick with me. In 2010, then-Iowa-based psych/prog five-piece Mondo Drag released their Alive Naturalsound debut, New Rituals (review here), which was full of ’70s-style lysergic serenity, open spaced guitars and heady vibes. It was, in short, a winner. The next year, Mondo Drag‘s labelmates Radio Moscow — who also have their roots in Iowa — imploded. It was the stuff of viral video. Radio Moscow bassist Zack Anderson and drummer Cory Berry moved home shortly thereafter, to Iowa, and got together with Mondo Drag vocalist/keyboardist John Gamino, guitarist Nolan Girard (also synth), and guitarist Jake Sheley. At the same time they were recording as the new rhythm section of Mondo Drag, Anderson and Berry were also putting together Blues Pills with Swedish vocalist Elin Larsson. That band took off, and the bass player and drummer moved to Sweden as a result, but not before Mondo Drag had recorded — mostly live — the seven tracks of their self-titled sophomore outing, which also found Gamino taking the vocalist role, using a host of vintage gear and analog tape to further play into a classic feel. After the departure of the rhythm section, the remaining three members of Mondo Drag picked up and headed for the West Coast, where swing-drummers and warm-toned bassists looking for psych rock acts to join rule the land, and in Oakland, California, they met up with bassist Ventura Garcia and drummer Andrew O’Neil, who along with Gamino, Girard and Sheley, comprise the current lineup of the band.Got all that?When you whittle down all the complexities of comings, goings and relocatings, what you’re left with is the fact that Mondo Drag‘s Mondo Drag (released on wax by Bilocation Records) captures a very special moment in the life of the group. It’s a credit to Mondo Drag that it exists at all, and not just because Anderson and Berry would go on to attain a higher profile in Blues Pills (Berry has since left that band as well), but also for the cohesion they managed to make out of all that flux. With ultra-organic atmosphere across the board — guitar, bass, keys, drums, vocals — the seven-song/35-minute run of Mondo Drag is gripping on side A, hypnotic on side B and wonderfully progressive throughout. Later moments like the penultimate instrumental “Pillars of the Sky” call to mind a wash of keys Astra might be able to conjure, but the analog spirit of the recording is relentless, and the album winds up with its own character, warm and welcoming. No need for pretense here, whether it’s the key-led fade-in and shuffle of “Zephyr” or the organ-soaked build of side A closer “Plumajilla,” which comes brilliantly to an instrumental head after swinging verses and choruses that foreshadow the sleazier side B finale “Snakeskin,” the guitars providing a highlight solo to transition into the quiet start of the build. Second cut “Crystal Visions Open Eyes” brings Gamino‘s vocals forward to create an immediately memorable impression, moving quickly through verses of subtle intricacy toward a descending instrumental finish in an early showing of how well the guitar and synth work together throughout, and of course how well that work rests atop the rhythmic foundation of the bass and drums.Some jabbing starts and stops pervade the three-minute “The Dawn,” but nothing about its garage psych roll is abrasive or interrupting the overarching flow, a boogie solo and run emerging in the midsection to help ease the way into “Plumajilla”‘s two-movement run, which in linear form — i.e. digital — makes a fitting centerpiece solid transition into the second half of the record, which slips into more exploratory material with the tense undercurrent of synth and bass on “Shifting Sands” and the interwoven lines of keys and synth on “Pillars of the Sky,” which follows, taking the best of pre-noodling progressive heavy psych and topping it with a bluesy-but-not-overdone plotted guitar lead. A peaceful mood emerges, the song in conversation with the back half of “Plumajilla,” and the richness of Mondo Drag‘s layering becomes a hook unto itself, despite no actual chorus present. Closer “Snakeskin” arrives quietly but unfolds a Doors-style throb given bluesy fervor not unlike the echoing output of Maryland’s The Flying Eyes, but perhaps more atmospherically dense. A final reaffirmation of swagger at the heart of Mondo Drag‘s Mondo Drag only makes the album more impressive, both in the actual listening experience and in context when one considers how quickly such fluid chemistry emerged between the five players involved, two of whom would soon enough be gone. As Mondo Drag was recorded in 2011/2012, and since the band has moved to the fertile psych ground of the West Coast, one can’t help but wonder what conjurations they may have come up with since these songs were written, and when those might appear and follow-up the lush but humble resonance of this self-titled. More important right now, however, is the achievement Mondo Drag managed in capturing this fleeting incarnation of the band, which will be plainly evident to any among the converted whose ears it reaches." - The Obelisk
    $14.00
  • "Riot has always been ahead of the curve, be it their powerful riff machine, or their unapologetic status as pioneers in the speed metal genre. I would like to take an opportunity to differ once again with the common viewpoint here, this is not “almost” Painkiller 2 years before; it is its doppelganger, at least in terms of kick ass aggressiveness and image. It is a more musical and complex answer to the thrash genre that it fathered; its spirit is that of a triumphant warrior cutting down its foes. While the heroic Painkiller soared through the sky putting fear into the hearts of his enemies, Thundersteel’s half-cyborg/half-tank body stood tall to face them on the ground.In 1988 metal was mostly known by its image, and if you judge these guys by that alone, they look like the bastard sons of Motley Crue and Judas Priest. But when Tony Moore blasts his high banshee voice into the microphone, he sounds like a crazed Viking Berserker ready to behead an army of frightened Romans. Mark Reale, the only remaining originator of this outfit, wields his guitar like a battle axe and challenges the likes of K.K. Downing, Dave Murray and Ross the Boss. Bobby Jarzombek, who is well known for his work with Rob Halford’s solo project, as well as several other bands, gives the performance of his life on here. Don Van Stavern keeps the bottom end solid and has a wicked bass intro in “Johnny’s Back”.There is never a dull moment on this album, from start to finish it grabs you by the throat and commands you to praise the Gods of Metal. Be it the fast as hell title track, which rivals anything Judas Priest has ever put out, or the more moderated Deep Purple riff monster “Sign of the Crimson Storm”, it screams metal. You’ve got an anthem of rebellion and non-conformity at warp speed like “Johnny’s Back” in the running, or the Manowar inspired heavy ballad “Bloodstreets”, which gives Heart of Steel a run for its money. “Fight or Fall” and “Flight of the Warrior” have memorable choruses and plenty of amazing lead work, all done by the original speed metal riff man Mark Reale, while “On Wings of Eagles” is a better produced version of something you might find on Kill Em’ All.We’ve got two highlights on this album, both of which are a good bit different than the lion’s share of speed driven songs on here. “Run for your life” is an upper mid-tempo crusher with tons of great lead guitar work, but it’s true charm is the chorus, which reminds me a bit of the high/low vocal interchanges that you hear on Dio’s early material. “Buried Alive (The Tell Tale Heart)” is actually a bit reminiscent of Crimson Glory’s work on Transcendence, which came out the same year that this did. You’ve got a rather odd spoken intro with a clean and somber guitar line, followed by some brilliant twin guitar soloing (all done by one guy, just the same way Tony Iommi did it). After 3 minutes of mind-blowing, we get a slow and evil sounding groove that grows into a brilliant homage to the NWOBHM, names like Iron Maiden and Angel Witch come to mind.In conclusion, this is a piece of metal history that demands to be listened to. If you are a power metal fan who lives for speed and melody, get your tight jeans wearing ass to the store right now. If you’re a holdover from the glory days of traditional metal and you don’t have it, get it now or risk having your credentials as a metal head questioned. If you love thrash with attitude, this gives the bands that carry that label a run for their money. Fans of Judas Priest, Manowar, Helloween, Running Wild, and Iron Maiden in particular will love this. There is a new power alive in the distance, carrying a fully charged plasma cannon, followed by an army of true metal warriors, and his name is “Thundersteel”." - Metal Archives
    $7.00
  • This version is not getting a US release.  It will only be available as an import (Yes we know its expensive).  Hardbound mediabook with 28 page booklet and a bonus 4 track EP.Killer UK spacerock/post-progressive hybrid."Less than three years after their magnum o(ctop)us, Amplifier return with an altered line-up (former Oceansize guitarist Steve Durose is now a permanent fixture) and another hefty dose of spaced-out space rock. After the longest fade-in history (beyond even the intro to the first Psychedelic Furs album), a heavily chorused guitar starts the gently meandering ‘Matmos’. Then, around seven minutes in, it all explodes with a shredding guitar and you know that Amplifier are once again firing on all cylinders. With just eight tracks and a running time of 61 minutes, they’ve produced a work that’s much more succinct than its predecessor. That isn’t to say ‘Echo Street’ is any less ambitious or epic than the sprawling ‘Octopus’. ‘Between Yesterday’ is the shortest track at 5:18: the 12-minute ‘Extra Vehicular’ is a prog rock monster of monumental proportions and is not so much a song as a journey through time and space. The title track is a high-octane slice of swirling space rock, and as a whole, ‘Echo Street’ is expansive and cinematic and, in short, classic Amplifier." - Shout4Music
    $20.00
  • "Germany's Mob Rules hit an absolute home run in 2010 with their album Radical Peace, and the band is back with the equally stellar Cannibal Nation. Don't let the title fool you into thinking that the veteran power/prog metal act has gone all horror on us, as Cannibal Nation is another sizzling collection of melodic, heavy, power & progressive metal songs. With a singer as good as Klaus Dirks, Mob Rules already has a step up on the competition, and he once again delivers a stunning performance here. "Tele Box Fool", "Lost", and the brilliant opener "Close My Eyes" all feature his confident, powerful vocals amidst plenty of catchy melodies and challenging metal arrangements. "Ice and Fire" has been picked as the first single from the CD, and it's a hook laden slice of melodic power metal with Dirks' soaring vocals over tasty guitar riffs & solos from Matthias Mineur & Sven Lüdke with just the right amount of keyboards courtesy of Jan Christian Halfbrodt. The CD has its share of heavy thumpers too, like the headbanging "Soldiers of Fortune" and the crunchy, harmony guitar laden title track. For those that like the more proggy side of Mob Rules, there's the atmospheric "Scream for the Sun (May 29th 1953)" and the textured "Sunrise", both heavily melodic and dripping with emotion.Cannibal Nation is another fine, classy release from Mob Rules, a band that consistently delivers one winner after another without relying on traditional European power metal or progressive metal characteristics." - Sea Of Tranquility
    $15.00
  • "Edinburgh’s North Atlantic Oscillation have kicked up one hell of a metaphorical storm on ‘Fog Electric’, their second album ... There are hints of Mogwai and Hot Chip here, but in terms of pace and mood, it's Engineers that draw the closest comparisons, along with more recent Scottish bands of the same ilk such as Found and Errors. To simply label ‘Fog Electric’ as post-rock would be doing it something of a disservice though. All 10 tracks are more experimental than that, with the band building in layers throughout, thanks to samples, electronics, keyboards, hazy rhythm guitars, rocky riffs and Sam Healy’s effect-heavy vocals ... At its height, ‘Fog Electric’ makes you sit up and pay attention, a bit like storms themselves can." - Kevin Scott, Echoes & Dust
    $23.00
  • "Esoteric Recordings are pleased to announce the release of a remastered edition of the 1980 album by the Canadian Progressive Rock group FM, City Of Fear . The band began life in 1976 with CAMERON HAWKINS (Synthesisers, Bass, Vocals) and NASH THE SLASH (Jeff Plewman) (Electric Violin, Mandolin, Vocals) coming together as a duo, making an appearance on national TV in Canada in the Summer of 1976. By March 1977 FM became a trio with the addition of MARTIN DELLAR on Drums. The band s debut album followed. In 1978 Nash the Slash was been replaced by BEN MINK on Electric Violin and Mandolin. City of Fear was the fourth album by the band, released in 1980 and was produced by Synthesiser wizard Larry Fast (of Synergy and musician with Nektar and Peter Gabriel). This Esoteric Recordings release is the first time City of Fear has been issued in Europe and has been newly remastered and includes an illustrated booklet and a new essay."
    $17.00
  • Although Jeff Lynne found fame and fortune in the later years of ELO, it was the early albums that featured some great and innovative progressive rock. Originally conceived as an offshoot project of The Move, ELO featured Roy Wood and Jeff Lynne (of The Idle Race). The two had a falling out over the direction of the band and Wood split to form Wizzard. After the mixed bag that was ELO II, Lynne found firm footing with On The Third Day. It's a fantastic fusion of classical, pop, and prog. The Beatles are an obvious influence but it was ELO's use of cellos and violin within the context of rock music that made them stand out (OK - they were not the first to do this but they were the best). This is a remastered edition that features a number of bonus tracks including unreleased material. Perhaps I'm nostalgic about this album as it was part of my formative years of listening to progressive rock. File under highly recommended.
    $5.00