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  • Cynthesis is a new band that reunites three of the original members of Zero Hour (Jasun and Troy Tipton, and Erik Rosvold) along with Enchant drummer Sean Flanagan.ReEvolution is the middle part of a dystopian trilogy begun with 2011’s DeEvolution. The central character, a shaman, is sent out to gather more slaves. He comes across a tribe and senses a light within them that triggers a distant memory of his past.  He realizes this is the original tribe he was taken from.  He brings them back to the city and encounters what was done to the population and sets them free.While Cynthesis maintains much of the Zero Hour tech metal influence, it also demonstrates the more melodic and atmospheric side of Jasun Tipton’s songwriting.  ReEvolution will appeal to fans of both progressive rock and metal.
    $13.00
  • "“Mirror your World through my Touch…Set me Free, oh Set me Free”These words, from the song Colours on Magenta’s new We Are Legend album, are about Vincent Van Gogh, but they could also describe the feelings engendered by this imaginative and impressive release from the premier Welsh Progressive Rock band. We Are Legend underlines Magenta’s outstanding musical credentials, but they have far more than just great technique, imbuing their songs with melodies to stir the soul and stories to fascinate the mind.In a recent interview with Peter Jones on his Progzilla Radio show, Tales from the Tiger Moth, Magenta main-man Rob Reed revealed that he wanted this Magenta album to be “different”. Since their last album, The Twenty Seven Club in 2013, Magenta have overcome some issues, including illness, but Reed revealed that he had struggled in writing a new Magenta album after the peaks he felt they had achieved. As a result he channelled himself into his own excellent Mike Oldfield inspired solo Sanctuary projects and helping Christina Booth complete her fine emotional solo album The Light. The results of this break have clearly refreshed Reed as We Are Legend projects Magenta into a new trajectory, fizzing with energy and creativity.Magenta have never made compromises in their music, ever since Rob Reed decided to stop trying to pursue mainstream success and produce exactly what he wanted to – a truly epic and distinctly ‘uncool’ double debut album Revolutions in 2001 shamelessly referencing his 1970s Prog heroes, Genesis and Yes in particular. Magenta went on to develop their own distinctive sound built around the trademark triad of the pyrotechnics of Chris Fry on electric guitars, Christina Booth’s pure, luminescent vocals and Rob Reed’s mastery of the Piano, Hammond and Moog. However, when considering the new album Reed initially felt restricted by that template and felt he did not want to re-tread old ground. Therefore, he decided to channel what he felt was ‘negativity and angst’ about the direction of the next album, similar to his frustrations prior to Revolutions, and decided to “make a record for me – I will use whatever I want on it”, leading to an album which includes distinctly ‘un-Magenta’ elements such as drum loops, sequencers, dashes of dance music rhythms and heavy guitars as Reed and the band stretch their boundaries. But long-term Magenta fans should have no fear, they are still recognisably Magenta, but noticeably reinvigorated with energy, sounds and an edge, showing a band that does not compromise and wants to move on in terms of its expression and imagination.In a break from previous albums, there is no overall ‘concept’ around this release. Magenta have chosen to present three distinct songs with separate narratives and atmospheres, but there is a cohesive feel to the whole album. In a throw back to vinyl days there is one epic ‘side long’ track and two shorter songs (both in the region of ten minutes) echoing the layout of classic Yes albums Close to the Edge and Relayer, but let’s be clear, Magenta are no ‘Prog by numbers’ clones and have produced a remarkable and vibrant progressive rock album.The epic opening track, Trojan, starts atmospherically with synths which then explode with squealing guitars over a juggernaut of bass and drums, immediately evoking a sense of science fiction. Steve Reed, lyricist and Rob’s older brother, has shared that the theme of this piece was initially suggested by the opening few minutes of the music alone, presented to him by Rob, the musical ideas helping to inspire Steve’s lyrics towards a peculiar yet interesting sci-fi story. In short, huge robots emerge from the sea and initially appear to be benign, but ultimately act as ‘Trojan horses’ to take over the world for a long forgotten and banished human species that took to living beneath the seas and have now returned to reclaim the Earth!If you think that’s bonkers then wait until you’ve heard the music which sounds like some sort of spectacular soundtrack for a Japanese Manga or Studio Ghibli cartoon. This is pulsating music. sweeping across the narrative in a range of distinct parts. Rob Reed revealed that he was influenced by Marillion’s Misplaced Childhood suite, which has the reputation for being epic in length, but is a series of linked songs. Similarly in structure but not in style, Trojan is a series of song sections over 26 minutes ‘sewn together’ (as Reed puts it), although you can hardly see the joins, such is the skill of Reed and the band.Following the opening cinematic section, Chris Fry kicks in with a heavy guitar riff and Christina Booth, over shimmering dance inflected keyboards, chants the early panic of those on land confronted with the slow, emphatic progress of these strange new conquering robots. The atmosphere changes to the gentler perspective of a little girl in Japan who thinks of the robot as a ‘Tin Man’, with imagery akin to Ted Hughes’ Iron Giant. Booth shows great vocal versatility as she switches from the softer vision of the small girl to more dramatic parts of the narrative as the story develops. The music flows descriptively – you can visualise the slow, inexorable march of the robots as Magenta interweave sinuous dance inflected keyboards, reminiscent of Faithless, with passages of fluid, dreamy blues tinged guitar at some points. Pastoral guitars underpin a peaceful passage with Booth’s soft vocals before distorted guitar breaks in, possibly to indicate that the ‘paradise’ of ease brought by the robots will be ultimately destroyed.I hope you’re keeping up!!!Don’t worry, Magenta’s imaginative music carries you along and you may not always understand (or even care!) exactly what is happening as you dive into the rich multi-layered elements that make up the epic sound and story. Steve Reed has always sought to look at subjects from unorthodox and differing perspectives, such as the ‘glutton for punishment’ angle of the classic Gluttony from Seven. Similarly, in Trojan he seemingly shifts from the fate of the land civilisation to the perspective of the long exiled species of undersea dwellers held within the Trojan Robots, looking forward to hopefully reclaiming their world. A beautiful acoustic guitar led section of hope emerges with Christina singing beautifully;“The light it fades, When you all will sleepWith love to share, Anger drifts awayAs the hurting stops, With the time to findPaths to tread in this world…I see the need inside your soulThe love that’s in your heart.”Such poetic and touching lines perfectly match the emotive music as Fry’s languid guitar flows along before ascending into a brief transcendent solo, characteristic of his more restrained performance throughout the album. It’s remarkable that amidst this science fiction complexity they can skilfully insert a song of such delicacy and feeling, underlining that for Magenta the priority is always melody and emotion, not the sterility of mere technique without feeling. Jonathan ‘Jiffy’ Griffiths shows his versatile and subtle percussive skills alongside Fry’s eerie, expressive guitar as the piece sinisterly shifts towards the treachery of the robots as they turn against the land dwellers. The whole composition comes full circle as the dramatic robotic fanfare from the intro re-emerges with soaring guitars over pulsing synths and as one civilisation falls another rises from within the Trojan robots with hope:“At the break of day, As the silence roarsAnd the dust it falls, Open up the doorsWhen we’re stepping out, Walk into the light, Man’s re-birth.”Both musically and through the narrative, the opening track is quite a ride! Definitely a piece that, like most great tracks, pays repeated listenings with a strange story that reveals itself more over time.Legend is another imagined narrative song with a post-apocalyptic sci-fi feel, partly inspired by the films Omega Man and I am Legend, and the intro certainly sounds cinematic as weird sounds throb and pulse before a crunching combination of drums, bass and guitar puts us firmly in the stark post-apocalyptic setting. Dan Nelson, long time live bassist, has now fully joined the band and with new member Griffiths’ fine rhythmic work on drums they underpin this album with precision and power, particularly on the leviathan that is Legend. Christina Booth sings powerfully as this driving song describes the fate of one of the last men on Earth, before Reed’s synths and Fry’s weird distorted guitars intertwine in a nightmare musical depiction of the vampiric state into which humanity descends. A strange but captivating song, it concludes almost elegiacally with the last human trying to hang on to the final vestiges of his humanity as the vampires hunt down the weak and vulnerable, even amongst themselves. Perhaps it’s a comment on the self-consuming and self-destructive nature of much of our society… or just a dramatic but depressing story about zombies and vampires!! Who knows, but the journey is compelling.Colours is another remarkable song about the tortured and tragic soul of an artist. It starts with a beguiling musical box intro before erupting into an intense passage with staccato and textured sounds underlying Booth’s manic vocals. The evocative and multi-layered music conveys images of the artist, on the edge of sanity, passionately and frantically applying his paint to the canvas. Apparently Rob Reed presented the music to lyricist Steve by simply saying “It’s about Van Gogh”, but he had no words, making it remarkable that Rob was able to so fully evoke the musical images of a complex and tortured individual obsessively daubing paint onto canvas to try and express his innermost thoughts and feelings. Flute-like melodies move through to subtle blues inflected guitar, a short fluid Hammond Organ passage followed by a soaring guitar vignette by Fry, with Nelson in fine form, constantly changing the colours of Magenta’s musical palette. Van Gogh perceived everything in swirling vibrant colours, mirrored by the music as the impetus picks up with insistent synthesiser, orchestral keyboards and driving guitars, Steve Reed adding one of his best lyrics to reflect the power of the music and convey the artist’s sad decline in a maelstrom of creativity which he cannot sustain. The music and lyrics combine so well in this remarkable offering, building darkly to an intense finale with Rob Reed excelling, culminating in intensely sung and chilling lines:“Save me, love me, Gun in your hand and I’m waiting to dieSky bright, sun shineField like the sea, I’m wanting the endDarkness, silence, Near to the end TheoPlease set me free, set me free.”The ending is rather enigmatic, but there is a suggestion that Van Gogh’s brother Theo shoots him to put an end to his suffering in an act of mercy. Whether fact or not, it is certainly an evocative and emotive song which displays the combined talents of Magenta. A real showcase for the band, particularly Booth, as the song builds to its dramatic ending, it has already become rather a live favourite, no wonder as it combines the music and lyrics so well.In We are Legend Magenta have created one of the best albums of their career by daring to stretch and express themselves with great integrity and dazzling imagination. This will be regarded as one of THE progressive rock albums of 2017 – Magenta have definitely added to their own ‘Legend’." - The Progressive Aspect
    $14.00
  • Riverside's fifth studio album finds them in a continuing state of refinement of their sound.  While they continue to touch on the bands that were the original foundation of their sound (Porcupine Tree, Pink Floyd, Opeth) the music seems to take on a more atmospheric feel.  At the same time 70s style keyboards creep in more and more.  Michal Lapaj's use of Hammond organ lends a Lord-ian flair when the band ramps up the heaviness.  The spacey flavors of Eloy that appears on Out Of Myself reappear just at the right time.  It seems that Marius Duda's Lunatic Soul side project has cross polinated a bit with the mothership.  His emotion driven vocals once again prove why he is one of the best frontmen in the entire progressive music scene.  This is one of those albums that will take many spins to really allow it to divulge all its secrets.  
    $14.00
  • 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
  • Sons Of Apollo have certainly enriched the music sphere since their formation in 2017. It says much that the huge talent involved immediately combined with a cohesive and recognisable individual stance on debut album 'Psychotic Symphony', acknowledged as one of the finest releases in '17. And in 2019, the band put out the glorious 'Live With The Plovdiv Psychotic Symphony'.Now, though, Mike Portnoy (drums & vocals), Derek Sherinian (keyboards), Jeff Scott Soto (vocals), Ron 'Bumblefoot' Thal (guitar & vocals) and Billy Sheehan (bass) are ready to take everything to a new level with second studio album 'MMXX'.Stylistically, we have followed the same path as the debut, outlines Portnoy. “But we feel that it has come out stronger, simply because we know one another better. 'Psychotic Symphony' was the first time the five of us had worked together, so there was bound to be an air of experimentation happening. Now, we can draw on having the experience not only of recording that album, but also of touring together a lot. And now there is clearly a lot more obvious chemistry going on.We did 83 shows on the last tour, adds Sherinian. And it was so worthwhile, because we came out of it with a stronger bond, and that is certainly reflected in what we wrote.The writing process began at the start of the year, as Portnoy, Sherinian and Bumblefoot got together.The three of us were at my home studio in Pennsylvania, explains Portnoy. And it took about three weeks to get all the music written. That was a very smooth process. The last time, it certainly must have felt a little weird for Bumblefoot to be writing with Derek and me, because we were strangers to him. Now, we know one another better and that helped things push along.Sherinian reveals that at least two of the songs began to take shape even earlier than January '19.I am always writing, and started to come up with ideas straight after we finished work on the previous album. The tracks 'Asphyxiation' and 'Desolate July' definitely date back to that period.I agree with Mike on the way things were smoother this time around when writing with Bumblefoot. The first time I ever met him was when we started getting the songs together for the debut. He walked in, we shook hands, then he put on his guitar and we got right to work!Once this part of the equation had been successfully resolved, things quickly went to the next stage.We demoed everything and then did the pre-production process, continues Portnoy. Once this had been worked through, Derek and I went back to Ocean Studios in Burbank for me to do my drum tracks. It's also where I did them in 2017.As with that debut, 'MMXX' was produced by The Del Fuvio Brothers, who are...That's Derek and me, using the same pseudonym as we did first time around, laughs Portnoy. I got my drum parts done by the end of January, because I had a lot of other commitments coming up. Then the rest of the guys fitted in what they had to do as they had time available in their busy schedules.Because we all have our home studios, it meant everyone could record there as and when they had opportunity, continues Sherinian. We all had the luxury of being able to take our time to get all the parts done, which was a huge help in the way the album's come out. I suppose in all, it took about eight months to record everything.The lyrics were written by Soto, who also came up with the melody lines with input from Sherinian.While Jeff was left to come up with the words on his own, as the melody lines are part of the music, it made sense for me to be involved with that part, says the keyboard player.The mixing stage has once more been handled by Jay Ruston, who also oversaw the mix for the first album.We leave Jay to get on with the mix at his home studio in Sherman Oaks, explains Sherinian. He then sends wav files through to us, and we come up with tweaks when necessary. It doesn't take long for it all to be agreed.There are eight tracks on the album, with variations in length.The final song is 'New World Today, which is 16 minutes long, says Portnoy. This one has elements similar to 'Opus Maximus' and 'Labyrinth' on the previous album. It has some insane, brilliant instrumental moments, which I am sure the fans will love.We wanted to do something epic here, as we did with 'Opus Maximus' last time around, adds Sherinian. You have to remember that Mike and I come from Dream Theater, where we never bothered about how long a song was. So, for us doing a 16 minute track is not a problem.There's also 'King of Delusion', which clocks in at nine minutes in length.This opens up with a piano solo, explains Portnoy. And it also has a middle section where Derek and I do a piano & drum duet.I have actually played more piano on this album than I have ever done before, delights Sherinian. This fitted nicely with what we were aiming for. I am also so pleased that I get to play a lot of Hammond organ this time.The first single will be 'Goodbye Divinity'...This is seven minutes long, says Portnoy. And we have also shot a video for it.The album title was inspired by a chronological fact.This will be released in mid-January 2020, outlines Portnoy. That means it will be one of the first releases in what is a new decade. So I came up with the idea of calling it '2020', except having it written in the Latin form of 'MMXX'.The artwork, which has been done by Thomas Ewerhard (who was responsible for the cover design last time out), inevitably reflects the title.For the first record, we had a mythological feel, explains Portnoy. This time around, though, there's a much more futuristic style to what we've got. It has a very 21st century appeal. And the band crest is more polished, cleaned up and a lot more modern than last time, when it had an old fashioned look.Portnoy and Sherinian are very happy with the way everything sounds.I have never thought we were a progressive band as such, insists Portnoy. I would define Sons Of Apollo as a hard rock band, with occasional prog moments. I would compare us to Rainbow, Van Halen and Aerosmith with some crazy shredding musicianship on occasion and touches of progression.There's a very balanced and good mix of material here. It's a 60 minute album, which I think works nicely when you have eight tracks. And we will certainly aim to do much of this live. The last time out we had to put in covers for our live set list. But when we tour again, we won't have to do that at all. All the material we play onstage will be original. That's a very positive thing.Each member of this band has their own signature sound on their instrument, adds Sherinian. And when you put all of this together what you get is a wonderful five-headed beast. It makes this a sonically special band, which is definitely what comes across on 'MMXX'.You can hear odd time signatures and amazingly crazy performances here. And I feel that personally I have gone deeper musically than I have ever done before. For instance, you'll find some great harmonies. Overall, we've been satisfyingly more adventurous this time than we were before, and I know people are sure to love what we've done. 'MMXX' is an album I am proud of.
    $8.00
  • 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
  • "Sons Of Apollo are one of the biggest success stories of the past two years. The combination of vocalist Jeff Scott Soto, guitarist Ron 'Bumblefoot' Thal, bassist Billy Sheehan, keyboard player Derek Sherinian and drummer Mike Portnoy proved to be irresistible on their debut album 'Psychotic Symphony', released in 2017. Now, they are putting out a special live release. This was filmed at the spectacular Roman Amphitheatre in Plovdiv, Bulgaria on September 22 last year. The band's performance was divided into two sets, the second of which saw them joined by a full orchestra and choir. There are a number of cover songs performed in both sets. And it was down to Portnoy to choose which tracks were done with the orchestra and choir: “[…]I have to say that all of the covers you'll get to see us do in the second part of the performance were only done that night and no other on the tour, which helps to make this unique.”Titled 'Live With The Plovdiv Psychotic Symphony', this is to be available on CD, DVD and Blu-ray. But there are differences between the audio and visual formats. “The CD has the entire gig. But we had problems getting clearance on three of the cover tracks for the Blu-ray and DVD. Sadly, these will not have 'Comfortably Numb' from Pink Floyd, 'Dream On' (Aerosmith) plus 'And The Cradle Will Rock' (Van Halen). The good thing is that you can hear all of these on the CD, so they're not forgotten.“The DVD and Blu-ray also have a behind the scenes documentary on the whole experience in Plovdiv, which includes interviews. In addition, there's also a behind the scenes documentary on the making of our debut album. So, what fans will get is a brilliant summary of the first year in the history of this band.”Portnoy is delighted with the final product, believing it to be a triumph that encapsulates just how tremendous this band are.“This is a very special release. It magnificently captures what happened on the night and the atmosphere that surrounded the occasion.”"
    $48.00
  • Previously only available as limited self-released fanclub/tour-edition, “Lost’n’Found - Live in Tilburg” re-visits an outstanding performance at one of the biggest shows during RIVERSIDE’s European tour in 2015 for their acclaimed “Love, Fear and the Time Machine” album and also documents the group’s last tour with original guitarist and founding member Piotr Grudzinski († 2016, R.I.P.).“Lost’n’Found - Live in Tilburg” is now made available widely as limited Mediabook 2CD+DVD (The concert is coming on DVD for the first time ever!), as Gatefold 3LP on 180g. vinyl with the full concert on two CD’s as bonus and as Digital Album.RIVERSIDE’s Mariusz Duda checked in with the following comment:“We're really pleased to tell you that our live release “Lost’n’Found - Live in Tilburg” with a concert from the "Love, Fear and the Time Machine Tour 2015" recorded at the fantastic 013 venue in Tilburg, The Netherlands, will be officially released later this year via InsideOutMusic.The tour promoting "Love, Fear and the Time Machine" was groundbreaking, exceptional, and, as it turned out later, also the last one with Piotr Grudziński. We played, among others, a special version of "The Same River" and a 20-minute version of "Escalator Shrine".The reissue of this recording we had previously sold exclusively during our shows in very limited edition, is enhanced by artwork from Travis Smith, extended booklet layouts and...a DVD with the concert, for the first time.”
    $21.00
  • I can't remember a buzz on a band's debut since Circus Maximus.  Perhaps due to the album being released in Japan a year ago and its unavailability elsewhere, maybe because they are lined up to play ProgPowerUSA.  Whatever the reason the album finally gets a wide debut and it was worth the wait.  Damnation Angels is a British symphonic metal band fronted by a Norwegian singer.  He goes by the name PelleK and was a contestant on Norway's version of X Factor.  The band's stock in trade is epic sounding metal that pays a huge debt to Kamelot.  The instrumental passages take on the grandeur and scope of Nightwish.  PelleK does a sold job out front - he's obviously listened to a Khan quite a bit.  Highly recommended.
    $14.00
  • Formed in Oslo in 1992/93, WHITE WILLOW has built a reputation over the years as a diverse, subtle, progressively-focused group, their albums always critically acclaimed and revered as influential. They were a part of the original revival of progressive rock in Scandinavia that also included Änglagård, Anekdoten, and Landberk, and original Änglagård drummer Mattias Olsson is the drummer of WHITE WILLOW. Fusing influences from 1970s prog rock and folk rock, hard rock, electronica, and even some pop influences, with each album they explore new territories. A common thread throughout all the albums though, is the use of female vocals and the employment of huge arsenals of vintage keyboards and synthesizers, notably Mellotrons, Chamberlins, Moogs, Solinas, Prophets, and more. Among the bands/artists admired by WHITE WILLOW are Genesis, Blue Öyster Cult, King Crimson, Fairport Convention, Nick Drake, Joni Mitchell and Norwegian bands ranging from Høst to Darkthrone.WHITE WILLOW’s first album since 2011’s well-received Terminal Twilight sees the outfit exploring some of the most “progressive” territory the band has ever ventured into, with several lengthy tracks and more instrumental passages than they are usually known for. Musically the album builds upon the foundation of its predecessor, with a modern approach to production. Future Hopes also features a heavy use of synthesizers, including the unique textures of the famed Blade Runner synth, the Yamaha CS80.The Future Hopes lineup, which as always is a loose constellation of musicians with multi-instrumentalists Jacob Holm-Lupo and Mattias Olsson at the core, sees the return of several WHITE WILLOW stalwarts, including flautist Ketil Einarsen (Jaga Jazzist, Motorpsycho), keyboardist Lars Fredrik Frøislie (Wobbler, Tusmørke), and bassist Ellen Andrea Wang (Pixel, Manu Katché Quartet). The singer is however a new arrival. Venke Knutson is best known in her native Norway for a string of Top 10 hits and is well established as a solo pop artist. She came into Holm-Lupo’s orbit as a guest singer with his other project, The Opium Cartel. Guesting on several tracks and putting a clear stamp on the album is Norway’s trailblazing guitar hero Hedvig Mollestad, known from her own Hedvig Mollestad Trio. Holm-Lupo felt the material needed a soloist who could both navigate the tricky, almost jazz-influenced chord and time changes on the album while at the same time retaining a rock edge, and Hedvig fit the bill perfectly.Future Hopes was mixed by highly respected Norwegian Grammy-nominated engineer Christian Engfelt, known for his work on the Elephant9/Reine Fiske album, Atlantis, and the Todd Rundgren/Lindstrøm collaboration, Runddans. The record was mastered by Grammy Award-winning audiophile legend Bob Katz, and completed with a specially commissioned painting by Roger Dean. The CD and digital versions of the album also feature two bonus tracks, including an original tune, “Damnation Valley,” as well as WHITE WILLOW‘s unusual cover of The Scorpions’ classic dirge, “Animal Magnetism,” re-interpreted as a Tangerine Dream-like electronic piece while still retaining the heaviness of the original. The star on the track is New York-based clarinetist David Krakauer, knows as the world’s foremost klezmer clarinetist, with countless credits to his name both with his own projects, in jazz constellations, with many of the world’s best philharmonic orchestras and with soundtrack music. Krakauer is a recipient of many prestigious nominations and awards, from DownBeat to the Grammys.
    $14.00
  • "Islands is the new double album by progressive rockers THE FLOWER KINGS. After the group’s much celebrated return in 2019 and the highly successful “Waiting For Miracles”, creative mastermind Roine Stolt (Transatlantic, The Sea Within, Anderson/Stolt etc.) now presents 92 minutes of brand-new music with his competent line-up also featuring Hasse Fröberg, Zach Kamins, Jonas Reingold, Mirko DeMaio and special guest Rob Townsend. Due to the Covid-19-pandemic the album comes out quite a bit sooner than originally planned as Roine explains: “All shows and festivals were cancelled and the future didn’t really ‘unfold’ itself like we had hoped. To sit out the pandemic with no activities was not an option for us. We cannot be stopped by an evil virus. With members living in the USA, Italy, Austria and Sweden the only way was to use the magic of the ’net’ sending files and start building, what now became, a double album of 21 songs.” The 92 minutes long “Islands” features artwork by legend Roger Dean (Yes, Uriah Heep etc.) and all trademark sounds and melodies, the band is known for. From vintage keys to epic guitar solos, from odd drum patterns to symphonic elements, THE FLOWER KINGS present a superb, playful and complex record."
    $18.00
  • We have a special offer Tiles "Pretending2Run" t-shirt/2 CD bundle.  The shirt design is courtesy of the illustrious Hugh Syme.  The new Tiles album is a 2CD set in a digipak with a 28 page book.After an eight year absence, T I L E S returns with a vengeance by delivering the mesmerizing 2-CD magnum opus “Pretending to Run.”  Clocking in at over 96-minutes, “Pretending to Run” is an ambitious and richly crafted song cycle spinning the tale of a man blindsided and disillusioned by betrayal.Once again, T I L E S teamed up with producer Terry Brown – and with mastering by Grammy award winning engineer Peter Moore, “Pretending to Run” boasts a powerful and detailed sonic landscape.  Complementing the dramatic and multi-layered storyline is Hugh Syme’s striking and surreal imagery.  Featuring a lush 28-page full-color booklet, the design and packaging for “Pretending to Run” is an elaborate and stunning work of art.Lending their talents to “Pretending to Run” is an extraordinary collection of special guest musicians: Ian Anderson (Jethro Tull), Mike Portnoy (Dream Theater, Winery Dogs), Adam Holzman (Steven Wilson Band), Mike Stern (Miles Davis), Kim Mitchell (Max Webster), Colin Edwin (Porcupine Tree), Kevin Chown (Tarja Turunen, Chad Smith), Max Portnoy (Next to None), Matthew Parmenter (Discipline), Mark Mikel (Pillbugs), Joe Deninzon, and other notable guests from the Detroit area… Destined to be on the radar of Prog fans everywhere, “Pretending to Run” is a distinctive  presentation framed in the grand traditions of progressive rock.  Clearly and unmistakably T I L E S, but infused with a more expansive sound as the guest artists propel the band into new directions sure to please fans old and new.Special guest performances by:Ian Anderson (Jethro Tull)Mike Portnoy (Dream Theater, Winery Dogs)Adam Holzman (Miles Davis, Steven Wilson)Mike Stern (Miles Davis)Kim Mitchell (Max Webster)Colin Edwin (Porcupine Tree)Kevin Chown (Tarja Turunen, Chad Smith)Max Portnoy (Next To None)Matthew Parmenter (Discipline)Mark Mikel (Pillbugs)Joe Deninzon (Stratospheerius)  
    $25.00
  • “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
  • So here's an album that I suspect would be seated on many 2023 Top 10 lists were it not for the fact it was released in the final days of the year.Ten years in the making is the second album from Philadelphia area prog band The Twenty Committee.  The band is led by keyboardist Geoffrey Langley who has been a member of Renaissance for quite some time.  In fact I was tipped to the band by previous Renaissance (and Camel) keyboardist Jason Hart who is a friend of Geoffrey.  I'm glad he did.  This is a futuristic conceptual work - you don't get more prog than that.  Langley's keyboard work is on display and he's an obvious talent but that doesn't overshadow the skills of the rest of the band.  Plenty of nice soulful guitarwork that adds an edge where needed in parts of the album.  The 13 minute title track features a welcome guest appearance from none other than Annie Haslam!  Its probably the heaviest song Queen Annie has ever sung on and it works perfectly.  Here and there the album reminds me of Echolyn but with a more overt prog side, particularly when Langley shows some flashy keyboard work. I suspect there repeated listens with reveal more intricacies.  I'm up to the challenge.  BUY OR DIE!“It is one of the most impressive debut albums I have ever heard and I can see why it found a place on many of the ‘best of’ lists of 2013. It is in turns inspiring, moving and uplifting and will stay with you for a long time to come. It left me wanting more and that happens on fewer and fewer occasions nowadays.”That was my conclusion (when writing for Lady Obscure Music Magazine) of the debut album, ‘A LifeBlood Psalm’, from New Jersey, USA residents The Twenty Committee. That album was released ten years ago and it is only now that they are releasing ‘The Cycle Undone’, the band’s sophomore release and I am so happy that this talented bunch of musicians (with a couple of changes) are back on the scene, and back with an almighty bang!The band’s current line up consists of Geoffrey Langley on lead vocals, keyboards, synthesizers, and organ, Justin Carlton on background vocals, acoustic guitars, electric guitars, and additional keyboards, Joe Henderson on background vocals, drums, and percussion, Jeff Bishop on lead guitar and background vocals and Richmond Carlton on bass, harp, and background vocals. We also have Laura Langley guesting on autoharp and the legendary Annie Haslam of Renaissance dueting on lead vocals on the album’s title track.Way back in 2015 I was chatting with Geoffrey about the prospect of album number two and he told me this, “We’re working as quickly as possible. I think I’ve told you before that I also do a lot of work in the musical theater world. We had our first Twenty Committee practice since January today. No Broadway yet but I’m getting close. Anyway, this puts the band on hold. All I can tell you is there will be another album and everyone that’s heard the new stuff say it sounds like a modern version of “Power and the Glory”. Hope that gets you pumped for album number two.” So, eight years later that promise has finally arrived.According to the band, the album is ‘a sci-fi dystopian tale of sentient robots, flawed humans, out-of-control technology, morality, and how those four things reconcile each other.’ To be honest, after quite a few listens, it’s the music and the heart and soul of this record that really resonates with me.The album opens with the epic twelve minutes of Recodified, a song whose opening reminds me of the fantastic prog/jazz fusion of Snarky Puppy but delivered in The Twenty Committee’s signature cultured style. I just get the feeling that the band had a blast while writing and performing this track. Geoffrey’s intricate keyboards and the effortlessly cool bass and drums of Richmond and Joe blend together perfectly while Jeff and Justin’s fizzing flashes of guitar add real panache, this intro really had me buzzing from the off. The track then opens up into definitive The Twenty Committee territory with Geoffrey’s gorgeous vocals flowing over the uber-smooth keyboards, chiming guitars and elegant rhythm section, it’s just gloriously textured and as polished as you like. Sparks In The Mind does a good job of following the opening masterpiece and is high energy, upbeat and shines with a vitality that positively lights up the place. There’s strong hints of early Ben Folds Five to my ears although the great vocals really do shine here. Now let’s get into Embers, a wistful, almost mournful piece of music that has beauty deep in its soul. Geoff’s vocals are sublime and full of passion and longing and the music just seems to add a plaintive and melancholy edge. The guitar bleeds emotion and a powerful yearning and just sends a shiver down my spine, what a superb piece of music it is. A Star in The Eye carries on the reflective, wishful feel and starts quite gently with the subdued vocals and restrained delivery of the music. There’s longing and hunger in the powerful chorus but this graceful song is calm serenity personified. It’s on tracks like this that you really appreciate the skill of the musicians, they are all particularly wonderful but Geoffrey’s keyboards can really stand out at times.Forevermore is a musical delight, the intricate play between the guitar and keyboards is genius and the whole band are at the top of their game. Calm, reflective vocals give the foundation for what is almost a piece of musical theatre. Deeply thoughtful and introspective yet with a brooding intensity waiting to break out, a hidden intelligence almost. Sometimes you have to just stop and listen to the music and that’s what this song, and album is all about. The second epic on the album, and title track, The Cycle Undone is truly majestic, a prog epic in the best sense of the word. Intricate sections, calm, reflective moods, resplendent overtures, virtuoso musicianship and incredible vocals, this track has it all. The tastefully muted opening feels mystical and magical at the same time, building the story for the listener and holding you rapt in attention. A soulful guitar then takes up the refrain, soaring and diving with an emotive edge before Annie Haslam adds a brief touch of class. A brilliant Lenny Kravitz style guitar riff then lights a fire under the song and we are off on a 70’s rock style musical journey aided and abetted by some wonderful keyboards. Then Annie really gets to strut her stuff and deliver a superb vocal performance, duetting supremely with Geoffrey, as guest appearances go, they don’t get much better than this. Robot Death is all that’s great about The Twenty Committee distilled into six and half minutes of musical wonder. A calming piano and touching vocal really touch the heart strings before the stylish guitar and rhythm section add their skillful touch. This sumptuous song then plays out to the sounds of some pretty fantastic guitar playing, quite a compelling statement indeed. The album then closes with the delicate piano led Dust Returned, a contemplative sixty-four seconds to finish off this amazing musical performance.With ‘The Cycle Undone’ The Twenty Committee have not only returned triumphant, they have also delivered one of THE musical experiences of 2023. Highly emotive songwriting allied with musicianship of the utmost quality, the band’s sophomore release builds on the enormous promise of their debut all those years ago. It may be ten years after but, boy, what a way to make a comeback!" - ProgRadar[[{"type":"media","view_mode":"media_large","fid":"23839","attributes":{"alt":"","class":"media-image"}}]] 
    $12.00