Coming Up For Air

Laser Pic

customers also bought

SEE ALL
  • "London based Neonfly, are Willy Norton on vocals, Frederick Thunder on guitars, Patrick Harrington on guitars, Paul Miller on bass and Boris Le Gal on drums.They have managed to get onto some pretty cool and important supports slots lately, including Power Quest, Magnum, Sonata Arctica and Dragonforce. They lit up the Sophie Lancaster Stage at Bloodstock 2013 and their rapidly rising reputation as a force to be reckoned with live won them an invitation to open for Alice Cooper on the German leg of his Raise The Dead Tour 2013.Neonfly released their explosive debut album ‘Outshine The Sun’, in September 2011 on Rising Records, to critical acclaim. Now they are back with the ever difficult 2nd release ‘Strangers In Paradise’.What is clear about this new offering, is that they have used the three year gap in recording time wisely, so many bands get rushed into making their 2nd album that it is generally a poor effort, full of tracks that never made the final cut the first time around, however I am pleased to say that Neonfly have not done this. The new album is a step up both in songwriting, playing and overall production than the debut, so anything left over from the debut will still be on the cutting room floor.Opening song ‘Whispered Dreams’ is a massive opener, with a big chorus and the soaring melodic vocals of Willy Norton. Both “Better Angels” and “Heart Of The Sun” are catchy enough to win over casual fans and draw them in at festivals, before discovering the deeper delights this album has to offer.The use of keyboards and orchestrations on most, if not all of these songs help to lift them above the norm and add a touch of quality to an otherwise good track. ‘Sons Of Liberty’ has a String section at its heart and this works really really well.‘Aztec Gold’ is another track that benefits from the orchestration treatment yet remembers its power metal roots with a great guitar solo trade-off between guitarists Patrick Harrington and Frederick Thunder.‘Fierce Battalions’ is a fast-paced track allowing drummer Boris Le Gal to show us his skills, a basic yet effective trip down European power metal road.‘Chasing The Night’ and ‘Falling Star’ are two outstanding tracks, both for different reasons, the former is the longest track on the record and it has a more progressive rock feel to it. It’s also has a great lead guitar solo at the mid-point and plenty of explosive passages throughout. The surprise on the cd is the last track though, a ballad, the lyrics on “Falling Star” are just beautiful, this is a massive ballad and AOR rock band would be proud off.This is a very complex album that needs quite a few listens to fully experience it: is it Power Metal, is it AOR , is it Progressive?, the simple answer is Yes, it is all these and much more.
    $15.00
  • Later album - some good moments.
    $15.00
  • "Although I had no idea what has been running inside his head, I have always known that Michael Kiske, once the leading vocalist of HELLOWEEN and one of the prime candidates that was suggested to replace Bruce Dickinson in IRON MAIDEN back when the latter left in 1993, would come back big. Along with his old partner in crime back in the hungry days of 80s HELLOWEEN, Kai Hansen, and with members of PINK CREAM 69, including the wonderful producer Dennis Ward on bass, and Kiske's other band PLACE VENDOME, the UNISONIC band was born. Though it's not the rebirth of old HELLOWEEN but more of a mix with melodic Hard Rock music following GAMMA RAY signatures, this joint force showed true class just as it was expected from these veterans with a superb self-titled debut under Edel / Ear Music. Just for the record, I had the feeling that I won't be stumbling upon a Power Metal album as for Kiske obvious Hard Rock notations over the years that kept him somewhat locked out from the Metal world. I can't count his guest appearances as those weren't enough for new fans to accumulate this guy's amazing abilities. Though his band of late, PLACE VENDOME, has been playing something that is near Metal and its second album, "Streets Of Fire", knocked me to my feet, I knew, just like many others, that no matter how soft Kiske would go and no matter his opinions regarding the evil side of Metal, that is where he belongs. The UNISONIC band proves it pretty well. Kiske might not have the long standing high pitches of the past, yet he has more than enough vocal qualities that top most of the old guard of vocalists. As for his partner and amazing artist, Kai Hansen, it seemed as if his place was to be next to Kiske all along, together they made wonders and I believe that two "Keeper Of The Seven Keys" albums are enough as elaborations. When it comes to UNISONIC, I must say that I was glad it wasn't a sort of continuance to the old HELLOWEEN era, even if the opening hit "Unisonic" blasted as if it was a blast from the past straight from the glory days, yet with the addition of a superstar second lead guitarist in the image of Mandy Meyer. Though heavier and more Metal than anything other thing that Kiske has been involved in the last two decades, UNISONIC still relies on the vibes of melodic Hard Rock. The Metal edge serves as an appetizer and a little spicy ingredient to energize things up. "I've Tried" and "We Rise" delivers true class right to your table. Kiske voice sounds so rich, still full of youth while spewing majestic singing rhythms and I can't also ignore the emotive and crunchy soloing of both crushing guitarists. To this fine selection of high quality features I can account also "My Sanctuary", "Never Change Me", "Never Too Late" and blazing "Star Rider". Kiske, Hansen, Ward, Meyer and Zafiriou delivered a well written Hard Rock / Heavy Metal album with plenty of taste. In general I felt the touch of Kiske rather tuned the band to treads a lightly than if Hansen was at the helm, but with a voice like this and such amazing talents, which also involved a striking production, only good can come from this." - Metal Temple
    $14.00
  • "A keyboardist from Milan, who begun his career in mid-70's at the age of 25.Colombo was signed by Ricky Gianco's obscure Ultima Spaggia label, on which he released his debut ''Sfogatevi Bestie'' in 1975.The album features a huge line-up of 12 musicians, among them some very well-known figures such as Nuova Idea's Ricky Belloni on guitars along with his brother Gigi on bass, Pepe Gagliardi on pianoforte, guitarist Maurizio Martelli from Gramigna, Perigeo's Claudio Fasoli on sax and drummer Flaviano Cuffari (formerly with Nuova Idea as well).The album contains elements from Jazz Rock, Progressive Rock and Fusion with complex themes and an alternation between improvised and structural parts.It opens with the short ARTI E MESTIERI-inspired ''Sono Pronto'', where piano, violin and deep bass hold the interest in a nice and frenetic jazzy opener.The longest track though ''Caccia Alla Volpe'' is the perfect example of Colombo's approach.Manic grooves blended with experimental improvised bits and nice interplays, performed on piano, drums, xylophones and saxes.On ''Entereneuse'' there is a light FRANK ZAPPA influence with some humourous wordless vocals but also some fine musicianship with Colombo's keyboard work on the forefront along with a trumpet section and Fasoli's saxes.The eponymous track is pleasant guitar-based Jazz/Fusion with a fiery rhythm and some good soloing, while ''Metronomo 138'' is sort of Experimental Jazz Rock with obscure persussion parts, effects and piano, rather too long and too improvised.''Assurdo P.II'' will close this release featuring the vocal work of Marco Ferradini but the instrumental sections are the winner on this with some very well work on saxes, guitars and keyboards, always in a Rock/Fusion style.Good energetic Jazz/Prog/Fusion with a light experimental edge, headed by its dynamic sounds and decent interplays.A must-have for fans of the style or anyone deep into the aforementioned bands/artists  .Recommended" - Prog Archives
    $15.00
  • First new studio album since 1999's Darktown demonstrates a masterful musican firmly in control. Steve has continued to evolve as an progressive artist with only a modest look backwards. At times subdued there are plenty of guitar pyrotechnics and keyboard embellishments to remind you of his earlier solo works. Recorded with his recent touring band, notable guests include Ian McDonald and brother John Hackett.
    $13.00
  • When the vinyl came in I proclaimed this as one of the frontrunners for album of the year and nothing has changed since.  Stunning album.Agusa is an instrumental quartet from Sweden.  The band is derived from members of Sveriges Kommuner & Landsting, Kama Loka and Hoofoot.  This is a VERY retro sounding album that will appeal to fans of Kebnekajse, Pink Floyd, and perhaps even Anglagard.  No symphonic elements - just straight up organ, guitar, bass, and drums ripping it up over four long tracks.  Very dynamic sounds going on - shimmering echoey guitar leads that will remind you of Kenny Håkanson or Achim Reichel battling it out with undercurrents of organ that erupt into solos.  Overarching the music is a mystical psychedelic vibe - like this whole thing was cooked up in an Arab hashish den.  BUY OR DIE!!
    $15.00
  • Armed Cloud is a new Dutch band that straddles the line between progressive metal and symphonic rock.  The vocalist moves in the stratospheric realms from time to time drawing Geddy Lee comparisons.  I'm particularly enjoying the keyboard solos which remind me immediately that I'm listening to Dutch "sympho"."Just by looking at the artwork, I knew this was gonna be a good album. Sometimes, you just know. The cover art reminded me Dream Theater's seminal album Awake with the wide array of details and the odd characters. I think it's charming and represents their genre pretty well as it's intricate and nuanced. Fortunately, the album lived to my expectations and it's one of the best progressive metal record I heard in 2015. Obsidian Desert, the debut album of Armed Cloud manages to be a modern yet interesting and fresh take on classic progressive metal/rock. The quintet has all the ingredients to play this complex form of music, an engaging bass presence, super talented guitarist and keyboardist, a singer who can actually sing very well and a versatile drummer who's not afraid to use some blastbeats.While they're obviously technically skilled and that's proven at numerous occasions by the guitar solos and the way the keyboard interacts with the rest of the instruments, they're very emotional and has this frank desire to write compelling songs instead of flashing their technicality, a concept often plaguing their peers, like the later Dream Theater work to give an obvious example. They have a symphonic flair intertwined with some pop tendencies but it's thoroughly enjoyable and it's not saccharine. I think the ballad “Meltdown” is really beautiful and fits their identity as it remains highly atmospheric.Daan Dekker has a particular voice, powerful and with a lot of range but it's also soft and rich. A track like “My Own Kind” is a good showcase of his abilities. For some reasons, I thought of Ray Alder when I first heard them but I enjoy him more than the Fates Warning frontman who never managed to beat John Arch in the heart of many. The vocal melodies are well written and the addition of some aptly placed back vocals add an epic touch to the songs (see “Pyramid of Charlatans”). In fact the band reminds me of the American legends from Connecticut in their capacity of mixing technicality, songwriting and emotions in one solid package. There's also some influences from progressive alternative rock like Muse, Gazpacho or later days Marillion in the vocal department and considering I'm a big fan of these bands as well, it's a big bonus for me.Augment their formula with obvious nods to the more progressive side of power metal (see Kamelot or even Angra) and you have a very solid mix of influences. Furthermore, compared to many progressive metal acts, their songs are cohesive and on the shorter side except perhaps the eight minute closer “Wasted” and the excellent “In Your Mind”. Sometimes, it feels like they're a more streamlined version of some of Ayreon's stuff. There's no fluff as the album is a little bit under a hour and it doesn't feel this long either. There's no self indulgent long ass instrumental track but there's a serene, symphonic one before the last track and it gives the listener a break and a change of atmosphere.To conclude, If you like your progressive metal with solid solos but still in possession of its soul, Armed Cloud is a band that you should check out." - Metantoine's Magickal Realm
    $14.00
  • Guitarist/vocalist Clay Withrow is the heart and soul behind Vangough.  He's made some fine albums in the past but this is clearly his best as you can tell that he's exerting more of his own vision.  The previous albums were fine slices of progressive metal, bu they were clearly influenced heavily by Pain Of Salvation.  While there is some of that early PoS feel, Between The Madness has more of Clay than Daniel.  Its very angst driven music - from the vocals to the grinding guitar solos.  This is one pissed off band.  Its a non-stop prog metal roller coaster ride.  BUY OR DIE!"Over the last two full-length albums leading up to this, the band’s most important release, one thing is strikingly clear: Vangough has been eating their Wheaties. Whereas the last album couldn't find its center of gravity despite merits and high replay value, "Between The Madness" bridges the gap between Vangough's left brain and right brain. Moreover, the band feels much more balanced with the addition of drummer Kyle Haws. Further, it sounds like mastermind Clay Withrow had pushed himself beyond his limits to expand the Vangough tone palate.On the “Acoustic Scars” EP, Withrow developed a vocal technique that finds full maturation on "Between The Madness:” the rage-sing. Almost a yell, but neither a scream nor a simple vocal fry and free of any pitch interference, Withrow's rage-sing makes the lyrical intent as clear as it can be. The album offers bile to many parties, lyrically, and puts the listener behind a sometimes uncomfortable but necessary first-person perspective: any other perspective simply would not do justice to the intent. Vangough has always been more effective at conveying feelings than telling stories, but never before had the songs had such a natural novel-like flow to them. All the while, Withrow peppers his versatile clean singing with elaborate layers of harmony and polyphony, making for subtly different listening experiences each time.The overall sound hasn't drastically changed, and even shows some musical nods to prior songs. In "Vaudeville Nation," a scathing condemnation of a track, a clever link is established with "Mannikin Parade" around 4:28. The main melody of the latter is re-introduced on guitars in a straight-played manner. Later in the song, a similar "Mannikin Parade" vocal melody emerges in the line "...and burn the circus to the ground," and up through the yell following it. Further, continuing the storyline started with "Road To Blighttown" on the “Acoustic Scars” EP, "Depths of Blighttown" adds a fitting dark and ominous chapter to the story.The added input from Haws and bassist Jeren Martin have made the songs seem more logical, acting as balancing forces. The drumming style of Haws is noticeably organized, nuanced, and thought-out and could be accurately categorized as a blend of the styles of Lamb of God's Chris Adler, Opeth-era Martin Lopez, and Pain of Salvation-era Johan Langell. The mixing job by Sterling Winfield is a stunning step forward for the band as well, and the drum sound is particularly remarkable for its bright, punchy, but balanced character. Lead guitarist Jay Gleason makes several shred-tastic appearances to accentuate the technicality of Vangough's instrumentation, while Justus Johnston and Jose Palacios make appearances on strings to further amplify the feeling of the songs and add a superb creep factor touching on Resident Evil levels at times.No song feels out of place or unessential, with "Infestation," "Schizophrenia," "Vaudeville Nation," "Useless," and "Corporatocracy" as highlights. The dynamic growth between “Kingdom of Ruin” and “Between The Madness” makes this album out to be Vangough's “Blackwater Park,” what many will no doubt cite as the band’s seminal record. Put simply, there has never been a better time to jump off of whatever progressive metal train you've been on and ride with Vangough. "Into the dark I take you," Withrow jabs at us. Make sure your seatbelts are securely fastened." - Metal Underground
    $11.00
  • "One of the most elegantly complex and fully realized of the "difficult" Italian classics, Melos is for fans of the Osanna, Balletto di Bronzi, RRR, and Semiramis styles. I have a hunch that fans of Crimson, VDGG, and Gentle Giant will also approve. It will probably be less appreciated by fans of the gentler and more accessible bands like Celeste and Locanda delle Fate. The musical approach and the sound are very sophisticated and unique. A combination of primarily guitars, flutes and saxes are tightly woven into a very dense, often dark, unsettling, and just plain eerie feel. Some sources say there are no (or very little) keyboards used to create this sound palette which is certainly unusual. Sometimes I think I hear some but I can't be sure the way the other instruments are employed. It took me many plays to really get past the rather exhausting outer shell and discover the melodies hiding inside and now I just cannot get enough of this excellent material. This band from Naples was related to the Osanna band via the Rustici brothers, the younger one in Cervello was another example of how the very young were leaders in the Italian scene back then. Corrado Rustici was but a teenager when the band recorded Melos in Milan back in 1973. While Osanna's big album "Palepoli" generally gets the most attention my personal view is that "Melos" is a better album. While not as trippy as the wildly freaky "Palepoli" I feel that Melos is more overtly musical and more genuinely satisfying in the long run.Juan at ItalianProg describes the Cervello sound like this: "There is great deal of excellent acoustic guitar work and mellotron-like sounds created by the saxophones. The vocals coupled with the acoustic guitar and flutes hypnotize the listener into a technical yet fluid atmosphere so the music then breaks into a frenzy full of sax and adventurous guitar playing. The tempo and mood change from calm and melodic to violent and bizarre (interweaving between scales). No keyboards present, but they are not needed due to the "cerebral" arrangements these musicians have created for us on this album."[Juan Carlos Lopez] In another great review Warren Nelson sums up the sound perfectly: ".with soaring and complex melodies, compelling and angular instrumental passages culminating in some aggressive individual performances, all weaved together in a tapestry of beautiful and emotional musical syncopation. One of the few Italian prog releases without a prominent keyboard arsenal, the rich sound of this band is achieved with powerful drumming, multiple woodwinds, and intelligent scaler runs on guitar. But not least of all are the typically emotionally powerful vocals. Dynamic change-ups and exquisite group interaction complete another example of one of the finest Italian progressive albums you will ever hear."[Warren Nelson]My own take on the specific tracks: "Canto Del Capro" begins with layers of flutes over what sounds like a foghorn and cymbal splashes moving left to right in the stereo spectrum. Soon an acoustic guitar precedes delightfully freaky operatic style vocals like only the Italians can do. A thrilling opening. Suddenly the drums kick in and you think it might be "normal" for a bit but soon these ungodly compressed vocals rattle your eardrums. Strange acoustic and electric guitar flares round out the rest of this unsettling start. "Trittico" is an enchanting initially with sentimental flute melody, acoustic and vocal. Eventually a crazy sax and percussion crash the party for a bit before the soft opening style returns with additional guitar noodlings. After a brief fade the end section is a bizarre cacophony of choral voices. My one complaint is wishing the bass were a bit more clear and upfront, sometimes it is distant and muddy but it's a minor nitpick. "Euterpe" begins with acoustic and flutes again in a warm and inviting mood. This eventually leads into the full band jamming with a real e-guitar and saxophone workout. "Scinsicne" begins with guitar that sounds like it came from an outtake of "Astronomy Domine!" In comes great flute and bass interplay and then vocals which are another strong point on this album. As the band comes on full the saxes jump into the fray and the sound gets brutal. At 3:48 is one of my favorite parts of the album, these mutant bizarre sounds and drums that mimic some sinister funeral dirge. This is followed by a maniacal e-guitar solo. "Melos" features great flute and sax workouts again with another Rustici axe thrashing at the end. "Galassia" is a feast of inventive vocal interludes over beautifully played acoustic guitars. Dabbles of flute precede a full blown e-guitar freakout challenged by pursuing sax and percussion attacks. You'll need a shower after this track. "Affresco" is a rather traditional sounding closer piece, very short and there just to bring you gently back to Earth after your cerebral pummeling.I guess the reason I light up the magic star 5 would be this: Even when listening to most good albums it is evident that I am doing just that. I'm listening to a collection of songs that are just too structured and I know what is coming. They might light up my pleasure center and my brain says "oh that's a good song, let me listen to more of the same!" Melos does not allow me to stagnate. It's more like eavesdropping on someone's thoughts (presented musically) than listening to the next "killer song, dude." Their thoughts or perhaps their nightmares in this case with everything being so strange, the album starts and it's like this bizarre trip occurs. Even some of my favorite albums are relatively predictable but not Melos. With each play I still wonder what the hell is going on. It still pushes my buttons and challenges me, my definition of a genuinely progressive album. That's not the only way an album can get 5 stars from me but it is one way.This is one of the Italian albums you hear people describe as "harsh" and you might hate it the first several times you listen. Don't get discouraged. Put it away and spin it every other month..like many of the best prog albums you may end up loving it a year from now. That's how it was for me-a real grower. But while many of us are thrilled by this album it is not universally loved in the way that PFM is. It's rather confrontational sonic style does have its detractors so read plenty of reviews before you take the plunge. In my book this is essential for Italian fans and recommended for fans of stuff like "Red" era Crimson. Try to find the Japanese mini-lp sleeve edition which features decent sound and a high quality reproduction of the cool artwork. I love the cover of this album..fantastic stuff!" - ProgArchives
    $11.00
  • Overlooked gem marked Fripp's proper solo debut. To detail all of the contents on this 2 CD set would almost be confusing. In a nutshell you get the original version of the CD from 1979 on disc 1. Disc 2 includes the version that Fripp remixed in 1983 and released on CD in 1985 as well as 3 of the unreleased Daryl Hall vocal mixes that were originally recorded for the album but pulled by Hall's management. Also you get 4 bonus tracks consisting of alternate tracks. Great remastered sound courtesy of Simon Heyworth - detailed liner notes from Fripp as well as previously unpublished photos. This is the exhaustive and definitive version of Exposure - an album that has held up after 27 years. Easily worth you revisiting.
    $16.00
  • Budget priced but nice slipcased set includes both the "Solution" and "Divergence" albums complete. [[{"type":"media","view_mode":"media_large","fid":"12256","attributes":{"alt":"","class":"media-image","height":"200","width":"200"}}]][[{"type":"media","view_mode":"media_large","fid":"12255","attributes":{"alt":"","class":"media-image","height":"200","width":"200"}}]]   
    $14.00
  • "InsideOutMusic present three albums by US prog metal act REDEMPTION as one attractively priced limited 3CD box set. Featuring the mighty Ray Alder (Fates Warning) on vocals, "The Origins Of Ruin", "Snowfall On Judgement Day" and "This Mortal Coil" are perfect examples of high class progressive metal fusing heaviness and epic melodies."
    $18.00
  • Here's a new band that will give avant prog fans a screaming orgasm.  Rhun are a French ensemble.  Their music quite effectively captures the essence of Magma, RIO, and Canterbury.  That's just the first song!!  "The musicians offer an interesting and vivid mosaic of predominantly Canterbury, Zeuhl, Jazz, RIO, and (Kraut)Rock. Beside two guitars, bass, drum, percussion and thrown in sounds, two horn players bring lively colors on sax, bassoon, clarinet and flute in this complex mix. The two singers act in a more avant-garde way as for example Magma. People interested in above mentioned styles should have fun." 
    $18.00