Between Two Steps (EP)

SKU: KAEP001
Label:
Knight Area
Category:
Progressive Rock
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Knight Area has undergone a serious lineup change over the past year.  Lead guitar is now handled by Mark Bogert who you may remember from the late, great one-shot Penny's Twisted Flavor.  Bass and Moong Taurus pedals are the domain of the legendary Peter Vink.  Peter is of course well known as a key member of Q65, Finch, and more recently Arjen Lucassen's Ayreon and Star One projects.  These are two virtuoso musicians and they have been given full reign to flex their muscles in the band.

The band decided to self-release this CD-EP as a teaser.  With this infusion of extremely gifted musicians you will now hear a turbo-charged version of Knight Area.  The sound is intact - no worries.  This is pure "sympho" that Knight Area does best.  The five tracks consist of three new ones as well as reinterpretations of two classic Knight Area tunes.

New album released by Laser's Edge in 2014!

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  • Remastered edition.
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  • "Hailing from Torino, Italy, their debut released in 1999 and 6 full length albums to follow, this band stayed consistent. Highlord is a 5 member group and had some line up changes but not much. Having some releases overseas and touring in Europe, Highlord seems to be on top of their game.
I gave "The Warning After" a couple of listens and I have to say the singer is very good and the musicianship on this album is top notch. Magic tracks like Track 7 'Of Tears And Heaven'. Great song! Singer Andrea Marchisio has great range and knows his craft. Not forgetting Stefano Droetto (guitars), Lele Mr. Triton on keyboards (great work). This band can deliver some good metal. KILLER SOLOS!!Other tracks like track 3 'Brothers To The End' gives me the Megadeth/Queensryche feel which kicks ass and I think this band has a lot to offer on this release and for years to come. You might find yourself headbanging to track 5 'Standing In The Rain', a double bass explosion with some megaheavy riffs following. Drummer Luca Pellegrino forging consistency and ear pounding percussion on this release. Production is awesome and hats of to the engineers on this milestone. 

"The Warning After" has something special in it, finding it is the journey.

I recommend it for anyone into progressive heavy metal (Dream Theater/Queensryche). Some of the songs give me the total traditional metal way of writing songs and I think its killer considering a lot of bands don’t write like this anymore, I give these guys props. Solos are great and song writing is metal as F#@K with a rollercoaster of compositions!" - Brutalism
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  • HDCD remastered digipak with 6 bonus tracks."The Grateful Dead's eponymously titled debut long-player was issued in mid-March of 1967. This gave rise to one immediate impediment -- the difficulty in attempting to encapsulate/recreate the Dead's often improvised musical magic onto a single LP. Unfortunately, the sterile environs of the recording studio disregards the subtle and often not-so-subtle ebbs and zeniths that are so evident within a live experience. So, while this studio recording ultimately fails in accurately exhibiting The Grateful Dead's tremendous range, it's a valiant attempt to corral the group's hydra-headed psychedelic jug-band music on vinyl. Under the technical direction of Dave Hassinger -- who had produced the Rolling Stones as well as the Jefferson Airplane -- the Dead recorded the album in Los Angeles during a Ritalin-fuelled "long weekend" in early 1967. Rather than prepare all new material for the recording sessions, a vast majority of the disc is comprised of titles that the band had worked into their concurrent performance repertoire. This accounts for the unusually high ratio (seven:two) of folk and blues standards to original compositions. The entire group took credit for the slightly saccharine "Golden Road (To Unlimited Devotion)," while Jerry Garcia (guitar/vocals) is credited for the noir garage-flavored raver "Cream Puff War." Interestingly, both tracks were featured as the respective A- and B-sides of the only 45 rpm single derived from this album. The curious aggregate of cover tunes featured on the Dead's initial outing also demonstrates the band's wide-ranging musical roots and influences. These include Pigpen's greasy harp-fuelled take on Sonny Boy Williamson's "Good Morning Little School Girl" and the minstrel one-man-band folk of Jessie "the Lone Cat" Fuller's "Beat It On Down the Line." The apocalyptic Cold War folk anthem "Morning Dew" (aka "[Walk Me Out in The] Morning Dew") is likewise given a full-bodied electric workout as is the obscure jug-band stomper "Viola Lee Blues." Fittingly, the Dead would continue to play well over half of these tracks in concert for the next 27 years." - Allmusic Guide
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