Dimensionaut

SKU: 0653-2
Label:
Inside Out
Category:
Progressive Rock
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Sound Of Contact is a new band put together by Simon Collins and session keyboardist Dave Kerzner.  Yeah - Simon is Phil's son.  The apple doesn't fall far from the tree - Simon plays drums and he also sings.  His voice is eerily like his dad.  At times virtually indistinguishable.  The music follows a similar path to Phil's work with Genesis and solo.  Parts of the album are pure prog - in fact the album closes with a killer 19 minute epic called "Mobius Slip".  Other parts of the album exhibit a poppier more commercial side.  I don't think of the album as a pop album - its a prog rock album.  Kerzner provides some very interesting keyboard work - lots of intricacies through out the album.  There is that commercial element that reminds me of Genesis in the 80s.  With his voice sounding so much like his father, Simon will always be cursed with being compared to Phil.  That's a fact.  Overall I think he's come up with an interesting album that fans of more contemporary progressive rock will enjoy.

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  • "Yet another female-fronted symphonic power metal band? Frankfurt's Arven does it better, five times better. Arven consists of five young gals at the forefront, and the only male forced behind his drum kit. One guy and five chicks. Don't go there, dude.Fundamentally, Arven has the whole symphonic power metal sound nailed down pretty tight. With the gothic overtones and Carina Hanselmann's mezzo-soprano to soprano voice, they easily get the Nightwish, Epica, Edenbridge crowd. Yet with the strength of their power metal they could easily pull in the male side of things by appealing to fans of Blind Guardian or Sonata Arctica, for instance.After these things, the real questions that remains is Arven doing anything novel or better than their peers. Not necessarily, but what they do, they do very well. They've got a bit of the Celtic folk flair with the instrumental Cercle D Emeraude; a traditional duet with Stefan Schmidt of Van Canto on The One For Me, very nice; My Darkest Dream is the song with the best rock groove and single potential; Believe, Don't Look Back, and Black Is The Color are solid mainstream symphonic power metal. In other words, as said before, they understand their chosen genre quite well and craft some very good songs. If you like the style or you're a fan of the aforementioned artists, you'll be pleased with this album. Recommended." - Danger Dog
    $15.00
  • Heavy progressive monster rarity from Denmark. Recorded in 1971, the music of Blast Furnace features killer guitar breaks playing against a wall of swirling organ. Other tracks feature serene melodic flowing prog with a trace of psychedelia thrown in (and some great flute as well!). At times the music reminds me a bit of another Danish band - Old Man & The Sea. Apparently these guys joined Culpepper's Orchard a bit later on. This fine reissue from master tapes comes courtesy of the folks at Long Hair Music and features a bonus track.
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  • October Equus are one of the more interesting bands on the so-called "avant-prog" scene.  Their music has a dark energy that often evokes the spirit of Present and King Crimson.  A lot of this is due to the angular stylings of guitarist/leader Angel Ontalva.  The clarinet, sax and keys infuse jazz rock elements.  This is their complete live performance at the R.I.O. Festival 2014.  Apparently this was a controversial performance among the attendees.  Not sure why.  Listening to this I hear a band burning with fire.
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  • Two CD pressing. 2013 live release from the Canadian Prog Rock band. Spin It Again - Live in Munich captures the final night of the Saga's wildly successful 2012 tour in Germany. Saga's historical singer Michael Sadler surprised everybody by rejoining the band back just a few days before the recording of their most recent album 20/20. That studio effort charted in the German top 10 and the band sold out nearly 20 concerts in Germany and brought its music in cities and countries where they had never been before. Spin it Again, recorded and filmed in Munich, historically a second home for the Canadian prog rockers, features recent songs and all the Saga classics. Two hours of prog and melodic hard rock at its best.Disc 11.Anywhere You Wanna Go2.Mouse In A Maze3.Careful Where You Step4.The Perfectionist5.You're Not Alone6.Spin It Again7.Corkentellis8.The Flyer9.Fish Beat10. Six Feet UnderDisc 211.The Cross12.Time's Up13.Scratching The Surface14.Tired World (Chapter 6)15.Humble Stance16.On the Loose17.Wind Him Up18.Framed19.Don't Be Late (Chapter 2)
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  • "Unbelievably, it’s almost 50 years since Fairport Convention and their followers – Steeleye Span, Trees, Dando Shaft, Mellow Candle and others – fashioned British folk-rock. Kent-based sextet Galley Beggar – who take their name from a mischievous spirit in English folklore – describe their mission as ‘to imagine the next phase of English folk-rock’ on their third album, Silence & Tears. “We’ve always loved English folk, but when we formed in 2009 it felt like nothing much was happening to carry the style forward,” says guitarist Mat Fowler, “so we thought, we love listening to folk-rock and we love playing it – why not try to write something in that vein?”The results can be heard on their earlier albums, Reformation House and Galley Beggar, and now onSilence & Tears. “Our first record was very folky,” reflects Mat, “but since then we’ve moved towards a more electric rock feel.” Indeed, the eight tracks on the new album span traditional song, Gothic balladry and peculiarly British acid rock, the mood alternately fragile and robust, with sweet vocal harmonies (led by Maria O’Donnell), lyrical guitar playing from Mat and his cohort David Ellis, and added texture from the violin of Celine Marshall (calling to mind Mr. Fox’s Carolanne Pegg), all anchored by Bill Lynn’s steady bass and Paul Dadswell’s deft drumming. The material spans reworkings of the ancient classics Geordie and Jack Orion, brooding ballads like Adam & Eve and the otherworldy Empty Sky, and the intense 9-minute epic Pay My Body Home, which triumphantly recalls folk-rock’s early 70s glory days.Silence & Tears may echo centuries of folk tradition, but its crisp, punchy sound is resolutely modern, despite calling on retro flourishes such as phasing, wah-wah and backwards guitar. Much of that is down to the fact that it was recorded at the profoundly analogue Toe Rag studios, where White Stripes, Tame Impala, the Zutons and many others have also worked with renowned producer-engineer Liam Watson. “We made our first two albums ourselves,” says Mat, “so this was the first time someone else has produced us. Recording at Toe Rag was just wonderful – to see all that incredible gear at work, and to have a tangible recording experience rather than staring at a screen, was amazing. And watching Liam at work is mesmerising – the sounds he gets onto tape are better than they are in real life!”In an era when bands such as Trembling Bells, Circulus and Wolf People have brought folk-rock to the fore again, the hypnotic interplay and inspired jamming on Silence & Tears is sure to find an enthusiastic audience. “We’ve already got a few festivals lined up this summer, including Leigh Folk Festival and Wessex Festival, and several other shows are still being arranged,” says Mat. “It’s an honour to be compared to other folk-rock bands – but we like to think we’ve got something of our own to offer too.”" 
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  • "In what seemed like an eternity since the details on the second Darkology album surfaced in December 2013, the running joke was that the second album should be renamed “Fated to Never Be Released.” “Official leaks” of demo tracks surfaced ahead of a European tour “in support of the album” (and without Carptenter who had other commitments). The demos only served to deepen fan desire for the release, as they revealed vocalist Kelly Sundown Carpenter (ex-Firewind live, Adagio) absolutely KILLING IT with a sharpened buzz saw edge that makes Ripper Owens look like an absolute chump. Flash forward to 2015 and finally a release date through Prime Eon and/or Nightmare (depending on where you live) would happen in late Spring. Was it all worth the wait, agony and hype? You betcha it was.The album is a steamroller from start to finish – with some parts here and there that tend to drift slightly (the title track for one) – but it never disappoints. As evidenced in the demos, Carpenter proves why he should be a vocalist in demand as he drives home the heaviness with his ultra-sharp brilliant delivery. Unlike most singers who like to live in the rafters, Kelly pulls it off with zero annoyance. His shredding high end is absolutely essential given the musical assault of riffs (from the great Michael Harris of Thought Chamber) and pounding rhythms (from bassist Michael Neal and drummer Brian Harris) that back it up. Though not similar in style per se as total impact, “Fated to Burn” gives me the same feel as the first time I heard Winter’s Bane’s “Heart of a Killer” and Sanctuary’s “Refuge Denied,” where the first blush with both the young Ripper Owens and Warrell Dane were absolutely life changing. If you add a little dose of “Breaker” era Accept and a tiny drop of Symphony X you have just the tip of just how brilliant “Fated to Burn” truly is.The Harris brothers have struck upon an exciting formula of U.S. power and traditional with just a touch of progressive. In terms of comparison with 2009’s “Altered Reflections,” this album packs five times the punch and power, sure to please fans that prefer metal heavy, guitar driven, and with shredding vocals. The album is a flurry of amazing grinding riffs with Kelly’s lethal vox that make tracks like “Shadows of Oth,” “Quantum Genocide,” “Kill Me If You Can,” “21st Century Frankenstein (Nobot 2)” and personal favorite “Festival of Fear” sound, and in many ways exceed, “Painkiller.” In fact, Darkology is a Metal Church for a new generation – and “Fated to Burn” leaves such an indelible vibe of “The Dark” that I swear the spirit of circa-1986 David Wayne seems to have implanted itself inside of Kelly.In one of the most exciting and pure metal releases in well over a decade, “Fated to Burn” is well worth the wait. Darkology stakes its claim in a busy circuit and with one flap of burning wings created an album that can easily be labeled an instant classic, thus raising its stock as one of the best U.S. bands out there today. This isn’t a mere claim only to be dashed away by a short time – this is the real deal! If you call yourself a fan of metal than heed these words….”Fated to Burn” lives up to and exceeds any hype you may have for it. If you haven’t familiarized yourself with the band, then you picked the right time, because the album isn’t “fated to burnout” anytime soon. Darkology has arrived.Highs: One of the best pure metal albums in a decade, Kelly Sundown Carpenter shines.Lows: Some songs drift a little, but not by much.Bottom line: Darkology strikes back with an album that is "Fated to Burn" into the memory for a long long time." - Metal Underground
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  • I remember how I felt the first time I heard Riverside. Its purely a coincidence that Pinkroom also hails from Poland but this debut disc hits me in a similar way. The band is (at the moment) a duo of Mariusz Boniecki (guitars, vocals, keys) and Marcin Kledzik (drums). In terms of the music there is definitely somewhat of a similarity to Riverside and Porcupine Tree in the way they incorporate atmospheric blissed out passages and then drop the heavy bomb on you. The more intricate parts have a retro-Crimson vibe particularly from the Mellotron samples. There is lots of intricacies to the music but I'm always drawn to the drama and emotion from this disc. Boniecki is a solid vocalist - the production envelops his voice is a gauze-like dreamy texture adding a hallucenogenic effect is places. Truth be told had Pinkroom not pressed up this disc already it would probably be sporting a Laser's Edge imprint. I'm really impressed by this band and if you are a fan of the band's I've mentioned you really need to hear this.. They are in the process of expanding the lineup so they can gig - can't wait to hear them live. You may very well not hear a better album this year. BUY OR DIE!Don't believe me?? Check 'em out for yourself: http://pinkroom.bandcamp.com
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  • Kindly Bent To Free Us is the long awaited third album from Cynic.  It finds the core trio of Paul Masvidal, Sean Reinert, and Sean Malone intact.  Just as Traced In Air was an evolution from Focus, so is Kindly Bent To Free Us a natural sounding progression from Traced In Air.  There is a common underlying sound which is clearly Cynic.  The music still maintains metallic and jazz roots but it serves as a foundation for a sound that owes more to prog rock.  If you are expecting Focus you will be disappointed.  This probably owes more to Porcupine Tree and Riverside as its not quite as technical as in the past, relying more on atmosphere.  But don't get me wrong, there is some unbelievable playing going on.  Once again Sean Malone demonstrates that he is the most underrated bassist in the world.  Highly recommended.This box set features a deluxe faux book with faux leather finish and gold foil print including “Kindly Bent to Free Us” in Digisleeve CD with the exclusive bonus track “Earth Is My Witness”, and numerous exclusive items including a poster, lyrics booklet, notation sheets booklet, and 5 transparent slides of additional artwork. Limited to 1000 copies worldwide!
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