Certitudes

SKU: RUNE107
Label:
Cuneiform Records
Category:
Avant Garde/RIO
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Trigaux's brilliant new studio album is virtually a recasting of Univers Zero featuring Guy Segers and Daniel Denis.

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  • The band's fifth album was a brilliant amalgam of Beatles influenced pop and classically influenced progressive rock. I still get a rise out of hearing "Fire On High". This remastered edition comes with five bonus tracks which are a bit dispensible alternate mixes.
    $5.00
  • Since the release of 2013’s In Crescendo, Kingcrow toured North America in support of Pain Of Salvation, and headlined a European tour.  Kingcrow kept busy in 2014, touring Europe with Fates Warning and at the same time crafting the material that would become Eidos.“Eidos” is a new conceptual album about choices, consequences, dealing with regret and disillusion. Their earlier album Phlegethon dealt with childhood and In Crescendo about the end of youth.  Eidos can be considered the third part of a trilogy about the path of life. Musically it sees the band exploring new territories and pushing the extremes of its complex soundscape with a darker atmosphere and a more progressive attitude.Describing the band today is quite a difficult task, but one could state that the influence of such artists as Porcupine Tree, Riverside, Opeth, Anathema, Radiohead , King Crimson and Massive Attack are all present in the music of Kingcrow.With each release Kingcrow has taken a step further away from their original roots as a classic metal band and is now one of the most personal and exciting bands that Italy has to offer.
    $13.00
  • Steven Wilson's second solo album features a variety of interesting prog luminaries including Steve Hackett, Robert Fripp, Tony Levin, Trey Gunn, Theo Travis, and Jordan Rudess. Proggier than his first solo album and frankly recent Porcupine Tree. Lots of Mellotron bliss on this one. Exemplary production wraps up the total package.
    $16.00
  • This is a 2DVD set culled from Pete York's German TV specials focusing on great drummers. These shows were broadcast in 1987-1989. Featured performers include Bill Bruford, Simon Philips, Bill Cobham, Louie Bellson, Dave Mattacks, Jon Hiseman, and many many more. The backing bands are quite phenomenal - Brian Auger, Wolfgang Schmidt, Peter Woelpl, Miller Anderson, Colin Hodgkinson, Eddie Hardin, Jon Lord (!), and others.
    $18.00
  • "In October of 2012, Motorpsycho entered Brygga Studio in Trondheim for the first time in many, many moons -- this being the studio where they recorded a few of their first albums some 20 years ago -- the vibes were good, and the music happened like it was supposed to. As this was the first time in quite a while that the band recorded stand-alone songs -- as opposed to pieces connected by a concept or a narrative -- it felt quite odd working in this way again, but it was also a refreshing approach that highlighted other aspects of their work that perhaps had been ignored over the last few years. In the end, it still very much felt like Motorpsycho music, albeit with a twist: for three days of the two-week session, the core trio was augmented by guitarist Reine Fiske. Best-known for his work in Swedish psych-combos Dungen and The Amazing, Reine is an old acquaintance of the band, and his recent exploits with Ståle Storløkken's Elephant9 made the pairing seem like a potentially interesting one for Motorpsycho as well. It's always good to have a wild card and someone from the outside to mirror your work, and the fruits of Reine's involvement, as presented on this album, speak for themselves: his finger-picking dexterity on the acoustic guitar provides both "Barleycorn" and the old Love chestnut "August" with a solid organic bed for the musical escapades of the other three, and on "The Afterglow," his tasteful guitar shadings and mellotron work adds immensely to the mood of the song. But it's on "Ratcatcher" that his talents shine the best: he slips right in there, and proceeds to glue Snah's lead guitar and Bent's "lead bass" together in a different way than heard before, adding light and shade and splashes of color to the musical repartee, but never getting in the way or hogging center stage in an unwelcome fashion. It's the work of a musician with huge ears and an uncanny musical insight."
    $18.00
  • Although it's a good album, Grace Under Pressure marks a change in the band's sound. It is a bit more synth laden, the tunes are a little short. Somewhere along the line they got it into their heads to become The Police. The similarities in sound are too scary.  Remastered edition.
    $5.00
  • "Accept's creative breakthrough, 1983's Restless and Wild, begins with one of the most unexpected, surprising, and hilarious mock intros ever recorded. Untold thousands no doubt furrowed their brows in confusion at the perky German folk song emanating from their speakers, only to be rudely interrupted by a scratching needle and Udo Dirkschneider's incomparable shriek, as the band launch themselves into the stunning violence of "Fast as a Shark." Not just a thrilling, light-speed juggernaut, the song was probably the last thrash metal prototype waxed in the pre-thrash era (officially inaugurated by Metallica's Kill 'Em All a few months later). Though nowhere near as frenetic, the title track and "Ahead of the Pack" are just as fierce, and despite a sudden stumble with the mediocre "Shake Your Heads" (an overtly cheesy, Judas Priest-style metal anthem, and the album's only stinker), the dramatic "Neon Nights" ends side one on the upswing once again. As for the album's second half, it's pretty much beyond reproach. Introduced by the solid "Get Ready" (another nod to Priest with its "Living After Midnight"-inspired drum intro), it builds from strength to strength with increasingly mature and melodic (though lyrically obscure) tracks such as "Flash Rockin' Man," "Don't Go Stealing My Soul Away," and the colossal "Princess of the Dawn." The latter closes the album as it began, in unexpected fashion, when its extended outro is abruptly interrupted mid-verse. The bottom line here is that this, like its successor Balls to the Wall, is an essential heavy metal album, and any fan worth his salt should own them both. But for the sake of first-time visitors, Restless and Wild is the slightly grittier, less melodic of the two. Whichever you chose, you can only win." - All Music Guide
    $5.00
  • "If you think back to bands such as SixTh then this genre of ultra tech/ djent has been around for some time, however, with bands such as TesseracT, Periphery and Meshuggah perhaps bringing it more to the public eye and out of the groove Metal shadows, it can be no real surprise that more and more bands are coming forward with their own take on what, at the end of the day can be a very difficult style of music to get right.Nothing wrong with that I hear you say, and providing it’s done well, I quite agree.Monuments début album “Gnosis” nails it in a number of ways, yes, we have the jarring riffs that really set this genre apart from most others but we also have that increasingly rare commodity called melody. You can sometimes be technical for technicalities sake but Monuments deliver an album that strikes a near perfect balance between an overriding ambition to push the boundaries even further, and maintaining a level of accessibility for the listener.Tracks such as “Doxa” for example really encapsulate the bands sound in a nutshell, “Blue Sky Thinking”, with its beautiful mix of aggressive and clean vocal, and my personal album highlight “97% Static”, which lends a fantastic, dreamy, atmospheric feel to the ear.Lyrically, the album is quite political in it’s content, with the overall message of think for yourself and not to follow other peoples train of thought, which in a way could easily describe the band themselves.A début release this may be but it has been many years in the concept forming and song writing to get to this stage.Guitarist, John Browne has assembled a fine group of musicians together to realise his dream, non more so than Matt Rose on vocals who has an unnerving gift of moving from the hard edge sound and then to meander seamlessly across the spectrum to deliver some really uplifting melodies.Top of the tree they may not be just yet but on the showing of this highly impressive work, it must surely only be a matter of time." - Planet Mosh
    $12.00
  • Debut album from this Czech technical death metal band very much influenced by Cynic. As is typical of the genre its a mix of clean and death/thrash vocals. Real tight playing. Not a lot of fresh meat in this genre - this one is quite welcome."Czech Mindwork is one of those rare bands who seek to channel the later career of Death, and in many ways this debut album mirrors that style of philosphic attunement. I was also reminded in spots of bands such as Spiral Architect, Watchtower and Psychotic Waltz through the band's rather circular, acrobatic riffing tendencies. The title is an apt one, as I found myself further along the record's playtime I became more engrossed in the compositions, which are genuinely riff-tastic, moreso than Death albums like Human or Individual Though Patterns.The band is characterized by their melodic, infectious hooks, busy bass playing and adventurous leads. The vocals can take a little getting used to, they have a filthy thrash tone to them which sounds a little crisp and unpolished in the mix (a little like older Voivod or Deceased), but you'll be paying so much attention to their riffs you will hardly notice. The band is not afraid to traverse a wide distance within a single track, for example "Parasite" is all over the place, part cerebral nightmare and part precision jam session. Other tracks are a little more reigned in, like "Inner Consciousness" and the melodic "Twisted Priorities". You will find very few bands that walk this path in recent years, and Mindwork has a great deal untapped promise even beyond what you hear on this debut. It's all in the name." - From The Dust Returned" blog.
    $13.00
  • Third album from this fine Polish prog band finds them stepping up their game even further. Believe is led by former Collage/Satellite guitarist Mirek Gil. Those bands had a decidedly symphonic sound, but with Believe a more modern sound is achieved, moving the band more in the direction of bands like Riverside. One of the key elements of the band is the use of violin and flute, adding a classical dimension and a nice counterpoint to Gil's Gilmour-esque guitar lines. Oh yeah - there is a new vocalist in place. His name is Karol Wróblewski and he's great. His expressiveness reminds me a bit of Mariusz Duda. This is the limited edition digipak that comes with one bonus track. How limited? I don't know but experience with Metal Mind tells me that eventually it will be gone....
    $15.00
  • Originally released in 1978, this was the band's second attempt at cracking the English speaking market. Like Follow My Dream, there is some extraordinary progressive rock going on here but you have to put up with Skrzek's intermittent vocals which are pretty drab. This set comes with extensive bonus tracks and has 24 bit remastering.
    $13.00
  • Somehow this one slipped past us last year but we've finally gotten it in stock now. Devil's Slingshot is the trio of Virgil Donati (drums), Billy Sheehan (bass), and Tony MacAlpine (guitars/keys). So basically this is the band that toured with Steve Vai. The material was composed by either Donati or MacAlpine. Although there is plenty of shred to go around it doesn't bludgeon you out of the gate. The tunes tend to set up a groove from MacAlpine to solo over (this isn't really a surprise). Far more tasteful music than I expected to be perfectly honest. Bass legend Bunny Brunel guests on one track.
    $15.00
  • "Remastered by award-winning engineer Andy Jackson, this version comes with new artwork by I Monster’s Jarrod Gosling and a booklet featuring sleeve notes by founder members Tim Bowness and Stephen Bennett.A distinctive combination of 60′s/70′s Progressive influences (Gabriel-era Genesis/Pink Floyd/Soft Machine), Ambient experiments and hard-hitting group improvisations (King Crimson/Mogwai/Miles Davis), the album was released 12 years prior to its critically acclaimed successor Men Singing.Alongside Bennett and Bowness, other contributions come from Brian Eno collaborator Peter Chilvers, No-Man live guitarist Michael Bearpark, Myke Clifford (sax/flute) and Pendragon/Steve Hackett drummer Fudge Smith.Two of the album’s tracks were mixed by Steven Wilson, Tim Bowness’s partner in No-Man.‘A nice blend that takes inspiration from the rich symphonic source of the late 60s-early 70s with references to Genesis, Pink Floyd and Soft Machine and group improvisations a la King Crimson.’IO Pages"Henry Fool came in life out of the coffee shop chats between No-Man's singer Tim Bowness and ex-Lahost/Airbridge's keyboardist Stephen Bennett to come up with a project indicating their music influences as youngsters.Henry Fool officially formed in spring 2000 with the two men gathering also bassist Peter Chilvers, Pendragon's drummer Fudge Smith, guitarist Michael Bearpark (known also for his work with No-Man) and woodwind player Myke Clifford.The project recorded its debut at Chaos Studios in Norwich and at the Music Farm in the hamlet of Lenwade between March 2000 and April 2001 and the album was eventually released on the Cyclops label.The album contains 16 short tracks connected to each other and making a long composition, which passes through extremely different soundscapes and each drawing influences from a mass of music styles.These unrelated textures will definitely surprise the listener in a positive way, though this is the same reason the album lacks in coherence.With Bowness as the leading figure ''Henry Fool'' contains lots of ambiental/psychedelic textures akin to NO-MAN with hypnotic guitars, dreamy flutes, distorted electronics/sound effects and sensitive vocals creating calm, chill-out images.The psychedelic vibes do not stop here, there are also a couple of more upbeat moments with solid grooves and jams, very much in a Kraut Rock enviroment, led by impressive guitars and a powerful rhythm section.The more Classic Prog-oriented tracks feature always the presence of Bennett.Loads of Mellotron, refined electric piano and light organ themes recall the 70's Prog Rock era, mainly influenced by KING CRIMSON, offering dark but well-crafted soundscapes with an orchestral mood.The next leading figure of the album seems to be Myke Clifford and his sax.Many moments in ''Henry Fool'' are led by his strong sax experiments with evident VAN DER GRAAF GENERATOR and EMBRYO inspirations, somewhere between Psych/Prog and Kraut/Jazz Rock.Beautiful performances with an obvious jazzy approach, much in a loose mood.This album should be easily regarded as a nice trip into the world of NO-MAN's music and the Classic Prog ages.Alternating calm and nervous passages result a work of a documentary character as a whole.Not a masterful album, but definitely an original and pleasant listening.Recommended." - ProgArchives
    $16.00