Donna Plautilla

SKU: 88843099992
Label:
Sony Music
Category:
Progressive Rock
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Obscure primordial effort originally released as a limited edition by Raro Records in 1989. This is material that was recorded for the band's first album in 1969 but was never released. Recorded before Francesco was in the band so you are looking at a different lineup and the sound veers heavily into the proto-prog/beat-psych realm.

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  • Interesting studio project from the Altrock/Fading team.  This is 70s influenced progressive rock with a dark edge to it.  Vocals are in English and overall it doesn't have the typical Italian sound.  If you told me this was a British band I wouldn't think twice.  I'm digging the Mellotron-type sounds!  Highly recommended."Not a Good Sign is a project by AltrOck and some bands’ members of the label. Marcello Marinone, Paolo «Ske» Botta and Francesco Zago, after a successful collaboration in Yugen and Ske, propose a new blend of their musical attitudes. The result is an ominous, fascinating sound melting vintage keyboards, powerful guitars and voice, besides ethereal and autumn nuances, supported by a compelling rhythmic drive.In 2011 Botta and Zago began to write the music, and Zago provided the lyrics too. Soon Gabriele G. Colombi and Alessio Calandriello, from La Coscienza di Zeno, joined the band. The drummer Martino Malacrida completed the line-up in 2012. In these tracks many of you will recognize the Old Prog School from the 70s, but in a modern key, with a pinch of hard-rock and psych. Resonant vocal melodies and lyrics complete the gloomy but colourful imagery of the band."Personnel:Paolo «Ske» Botta, keyboardsAlessio Calandriello, vocalsGabriele Guidi Colombi, bassMartino Malacrida, drumsFrancesco Zago, guitarsGuests:Maurizio Fasoli, grandpiano (Yugen)Sharron Fortnam, vocals (North Sea Radio Orchestra, Cardiacs)Bianca Fervidi, cello
    $18.00
  • "The first thing that came to my mind when I put on the new release Smorgasbord by Norway's The Brimstone Solar Radiation Band was just how much good music is out there that most people never get to hear. In a perfect world these guys would be massive and deserve to have their music heard. Smorgasbord is the band's third full length album. They also have an EP that is no longer available.Consisting of R. Edwards (vocals, guitar), Erling Halsne Juvik (guitar), Thomas Grønner (drums), Øyvind Grønner (keyboards) and Biff (bass), The Brimstone Solar Radiation Band make music that is sometimes hard to pigeonhole into a specific category. You will hear progressive moments to be sure and so many infectious melodies you will probably begin to lose track. If there is such a thing as ear candy this is it, however, this disc contains so much more than that.Musically the band has roots in the sixties and seventies but also employs a modern sound that prevents this from becoming a rehash of the past. These are all very talented musicians but special mention should be given to Thomas Grønner's drum work. His ability to change speed and tempo really form the backbone of these twelve songs.From the opening notes of the quirky pop/rock of "Medic" where an irresistible guitar melody in the form of choppy rhythms playfully mix with organ sounds having a distinct Doors feel, one just knows there is something special here. Folk music can be heard in the beautiful acoustic ballad "Godspeed Mother Earth" a pleading lament to our planet that really pulls on the heartstrings. The saxophone solo combined with lovely background vocals is a real treat. One of the highlights among many has to be the sheer pop delight of "Happy" and that is exactly how I feel after listening to this song. There is a subtle jazz influence heard amongst the light splashes of piano, but the main melody is pure pop with a heavy nod towards XTC, especially in the harmony vocals. The feel good pop/rock of "The Great Yeah" with its killer vocal harmonies and Beatlesque guitar work is another winner that also features a tasty organ solo.There are also unexpected surprises like "Animal Riot Hill" where heavier riffs of organ and guitar come together only to morph into the slow burn of saxophone and jazzy drum work making this one of the CDs defining progressive moments. Beatle's fans will have a real appreciation for the melodic "Strings To The Bow" featuring strings and lovely harmonies. The album's last song is the melancholic "A Hill Of Beans" where lovely acoustic guitar and strings create a breath of fresh air ending the CD in fine style.Smorgasbord will surely make my 'best of' list at the end of this year. With its eclectic mix of prog, pop and psychedelic inflected rock, The Brimstone Solar Radiation Band are a force to be reckoned with. Highly recommended!" - Sea Of Tranquility
    $6.00
  • "The second, along awaited album from the italian multi-talented band is finally out! And "it's not so far" (in italian language "Non è poi così lontano" is a Perigeo work) from the expected!During the preceding months the band has given to fans information about their hard work in studio, but nothing let us know what would be their new musical orientation, though they were noticing it would be different from the debut one!Now we know at last! Though it's not so far from the first one, with a similar melancholic ansiogenic mood and the same powerful expressivity, there's a great melodic research and this gives easy pleasure to the listener, notwithstanding the harmonic and structural complexity. Let me tell you, this is only from talented and inspired musicians: the others entangle themselves in boring and uselessly complex structures.The opening track 'Wait For Me' starts with a powerful intro in Echolyn - Änglagård style, but it suddenly changes in a melancholic mood when Calandriello starts his beautiful singing.It's very difficult to find out what are the more representative tracks since the whole work is very high level. Surely the opener 'Wait For Me' has its big impact, as 'I Feel Like Snowing', the crimsonian 'Pleasure of Drowning', the dramatic 'Open Window' and the intense 'Not Now', this last sometimes recently performed LIVE. The whole work is enriched with musical and sound effect refinements which often bring pleasing surprise to the listener. For a NOT lazy listener this is a pleasure.. hasn't it?Calandriello, in my opinion, reaches his highest in intensity and melodic inspiration, the sound effects and the registers of Botta's keyboards are charming and refined, Zago's guitar work, in counterpoints, accompaniment or solo, has always the right tune and visionary intensity, Malacrida's refined drumming is a powerful support for Cassani's complex bass patterns.King Crimson is reborn in Italy? Not so true! Though the crimsonian inspiration is alive and well, as painful moods, ostinatos, harmonic and structural constructions, NAGS are actually the melodic counterbalance of another italian band where Zago and Botta are involved: Yügen.Sadly in the last days NAGS announced that Zago will not take part to the project anymore. We all hope that Gian Marco Trevisan, the one who will take his heavy inheritance, will be able to grant to the band the same visionary and technical support in future compositions.The last track 'Farewell' is Botta's special gift to Zago." - ProgArchives
    $17.00
  • "Just under two years ago, at ProgPower USA 2012, the first single and video for the new track “Web of Lies” was premiered. Now all the blood, sweat ,and tears that Halcyon Way put into what would become the next album “Conquer” has finally come to fruition. Shortly after the release of the EP “IndoctriNation,” the seeds of “Conquer” were sown. Since that release and the last full-length album “Building the Towers,” the band went through a couple of lineup changes. However, the core remained the same and the end result is a testament to the will of guitarist Jon Bodan, vocalist Steve Braun, and drummer Ernie Topran’s unyielding desire to succeed. “Conquer” is by far the best offering from the band, incorporating a depth of influences that cross genres to the point where you can only call it “progressive.”There is much more to the concept of “Conquer” than the underlying message. Where there has always been great maturity and strength in the songwriting, the band has incorporated some of the most muscular riffs in its history, making this release by far its heaviest material recorded to date. Melody mongers need not fret, as the soulful whims of a hard rock band lurk deep inside the madness. The best way to describe the performance on “Conquer” is “armor-plated Saigon Kick with industrial tentacles.” Knowing much of the influences that each member brings into the fold, I can easily envision a death match where the old hard rock roots being pummeled and distorted by the modern meat mallets of Monster Magnet and Samael.The title track paves the way with Braun’s impassioned chanting equipped with sharpened blades. It’s a nasty little combination that leaves him open to take it in any direction. For tracks like “Conceived in Torment” and “Hatred is My Cause,” Braun ratchets up the edges aided by Bodan’s death grunts for lethal brutality. Lessor “evisceration” comes in the form of “Home” and two of the album’s most expressive tunes “Save Your Tears” and “The Poisoned Apple.” At no time does the album succumb to that programmed standard album formula: heavy, heavy, mid-paced, power ballad, heavy. It has too many moving parts that keep the sound fresh and modern.Some of the strongest offerings come in the relentless attack riffs in “World Comes Undone,” the equally destructive but faster paced “King of Ruin,” and the on par closer “Eviscerate the Morning Sun.” Personal favorites include the long released “Web of Lies” and its “you can’t hold me back” chant, and the brilliant modern metal classic “Militant,” which is the aggregate of what you will hear on the entire release. At the risk of sounding like a broken record, the production and sound aspects of “Conquer” can be summed up with the same two words that have graced many a review from yours truly in 2014: Lasse Lammert. I shall not further expound upon this man’s knob turning talent any more than has been stated in the past.“Conquer” may have been the logical choice for an album title. You can point to the many themes throughout the lyrics and extract all sorts of meaningful impressions. However, the true meaning of “Conquer” is that Halcyon Way has struck a chord of near perfection with an in fallible modern metal sound, which keeps the listener off guard with the unexpected…yet ironically with the same comfort level expected from a band with the maturation, talent, and songwriting ability of 13 year veterans." - Metal Underground
    $12.00
  • CD/DVD digipak edition.  The DVD contains two video clips plus a "making of" documentary."Do you like melody? Do you like duets? And do you like POOOWEEER?!? Then this album has you covered. This project between Michael Kiske and Amanda Somerville has produced a beast that’s every bit as forceful and epic as it is catchy, and even moving at times, with the stunning vocal talent from both singers really delivering on the emotional front. The duets between the two are really the highlight of the release, with some songs mainly including harmonies and others being more of an interaction between the two.The titular “City of Heroes” is one of the definite highlights, opening the album in an uplifting, upbeat explosion of sound. “Rising Up” may be even better, with its very fast rhythm and catchy chorus putting it somewhere among the best songs of the album. The style of music can be described as somewhere between DRAGONFORCE and WITHIN TEMPTATION’s more recent work, with the drums being a massive driving force and propelling the synth and guitars up into the stratosphere.The synth is an essential part of the mix, providing the introduction for the majority of the songs, as well as being the backbone of the record, possibly more so than the drums. Magnus Karlsson has done a great job in both of his roles, giving every track a melody that is enhanced massively by the vocals. It would be easy to imagine that the bass has been smothered by the plethora of other sounds that it supports, but that is fortunately not the case, as it is still present and correct alongside the drums.One strange thing that happened to me while listening to the album was that I felt an overwhelming urge to sing along to each track, and found myself doing so during the occasional chorus, despite being clueless as to what the lyrics were. That’s not the result of a language barrier either; for a mostly German project, it’s surprising that all the lyrics sound so clear in English.The softer songs are worth mentioning, as well as the powerful ones, as they give the vocalists a chance to show off. “Ocean of Tears” is a good example, using strings to provide a minimalistic backing sound to Kiske and Somerville, who belt out a heartfelt duet that is perhaps the best emotional display of the record.There is virtually nothing negative to say about this album; it’s long enough without being too long, it’s varied, the production is top notch, and the musical quality is fantastic. If you haven’t heard it, you’re missing out. Go and listen to it.…Well go on then!" - Metal Temple 
    $19.00
  • Gorgeous officially licensed US edition of this amazing mystical cosmic mind journey. Sergius Golowin is a Swiss author. In 1973 he got sucked into R.U. Kaiser's Cosmic Courier vortex and recorded this masterwerke. Over three long tracks Golowin provides spoken voice. The bed of music is provided by the Cosmic Jokers - Jerry Berkers, Klaus Schulze, Jurgen Dollase, Witthuser and Westrup, and Jorg Mierke. A melange of Mellotron, flutes, electric and acoustic guitars, and a variety of percussion. Essential listening.
    $9.00
  • The Japanese jazz scene is finally getting the attention it deserves.  Long written off as just a scene filled with copycats of American and European artists, jazz fans around the world are now discovering that there was some amazing music being created there.  Some of the musicians like Terumasa Hino and Masabumi Kikuchi crossed over into the world jazz scene but for the most part many of the musicians there only gained popularity in Japan.  One of the most important Japanese jazz labels from the 70s was Three Blind Mice.  It was started in 1970 by producer Takeshi "Tee" Fuji.  The label adhered to strict audiophile standards and all of the releases on the label featured exemplary sonics.  The music of Three Blind Mice tended to fall into three facets of jazz (they would crossover from time to time).  Some of the artists play very traditional straight ahead jazz.  Frankly while this stuff appeals to audiophiles its not that appealing beyond the sonics.  There was also an experimental side to the label featuring a lot of free jazz blowing.  The third aspect, which to my ears is the most interesting, is the area where the label explored modal jazz, often with an electric element.  Very little of it would be hardly be called fusion, but a rock element would sometimes be present.  This falls into the realm that has been broadly tagged as "kosmigroov".The label only existed in the 70s and the rights to the catalog has now passed over to Sony Music.  Think Records in Japan has started a limited ediiton reissue campaign of the Three Blind Mice label.  They arrive in mini-LP sleeves and are manufactured using Sony's proprietary Blu-Spec process.  We are cherry picking titles we think should have your attention.  More will follow in the near future.By the mid-70s Three Blind Mice was loosening up just a little bit in terms of the label's scope.  Ako's Dream is an interesting set that was released in 1977.  Suzuki is a bassist and cellist - on this album he is playing cello.  The lineup features two guitarists - one of which is the incredible Kazumi Watanabe.  Lots of electric piano and (gas) even some synthesizer.  The album consists of four long tracks that really hit a groove particularly on a reworking of Gene McDaniel's "Feel Like Makin' Love" which almost has a funky vibe to it with synth washes that take it into a spacey direction.  Its always fun to hear Watanabe on these jazz sessions, lurking in background and then coming to the fore and tearing it up.  Highly recommended.
    $29.00
  • This was originally released in 2004 and has been out of print for some time.  The band has just reissued it but with the inclusion of a newly recorded 10 minute work "The Day The Earth Stood Still".Here is what I wrote many years ago..."Superb debut release from this Massachusetts based prog rock band. Eccentric Orbit is an instrumental quartet with an odd lineup - bass, drums, keyboards and wind-controlled synths. The band is led by bassist Bill Noland and features Mark Cella (M&M Music) on drums.The music of Eccentric Orbit sounds like a long lost album from the 70s. A heavy debt is paid to King Crimson and ELP. Think Red crossed with Tarkus! Mellotrons (real not samples), organ and blazing synth runs got me booging all over Casa Laser's Edge. I haven't heard much good old fashioned prog rock lately - this one has hit me hard. Will easily be a top 10 year end candidate for me. Man o' man this disc has me grinning from ear to ear.  Essential. "
    $12.00
  • "First Alcoholocaust and now Narcotica. Sense a theme? No wonder the two members of Invisigoth — Cage on all instruments and Viggo Domino on all vocals — call this their "headphone record." And while hearing it under the influence of something might enhance the listening experience, it's already pretty potent.More melodic and less gothic than its predecessor, Narcotica presents nine songs that echo Peter Gabriel, Pink Floyd, Porcupine Tree and the Flower Kings while still retaining their originality. This is tough music to slot into any neat category, making for adventurous and rewarding listening. Five shorter pieces — including the groovy rocker "Scars and Dust" and the seductive, thought-provoking "Pornocopia" — allow Domino to stretch his voice and Cage to work within more structured musical settings. Those songs are sandwiched between a four-part epic called "Dark Highway." Two parts each begin and end the album, and they each average about 10 minutes, pulsing with Middle-Eastern swirls, symphonic elements and dramatic sonic imagery, The entire piece easily is this duo's most ambitious work, brought down only slightly by some strange spoken-word passages.Taken as a whole, Narcotica emerges as a moody and textured album. It's at once complex and accessible, dense and sparse at the same time, and wholly intoxicating." - Sea Of Tranquility
    $3.00
  • This is a companion set to Kompendium's Beneath The Waves album.  It contains over 2 hours of music, including demos, unreleased tracks, and instrumental versions of songs from the original album.ELEMENTS :Disc 11.Opening Narration (Original full length version)2.Exordium Part 1 (Strings only)3.Exordium Coda (Unused coda featuring Steve Balsamo)4.Exordium Part 2 (Strings Only)5.Stars (Unused track. Originally called Lilly, featuring narration)6.Lost (Strings only)7.Mercy Of The Sea (Full choir opening, extended second chorus with choir on end)8.The Storm Part 1 (Original opening and featuring Rob Reed vocal on sea shanty)9.The Storm/Reprise (Angharad Brinn solo vocal with orchestration and guitar)10.The Storm Part 2 (Featuring Mel Collins sax and original narration ending)11.Beneath The Waves (Extended version)12.Sole Survivor (Early mix with alternative vocal build with moog solo13.Alone (Vocal and orchestral mix)14.Il Tempo e Giunto (Strings only mix)15.A Moment Of Clarity (Sound FX opening, gospel vocal by Tesni Jones and moog solo in middle section)16.One Small Step (Piano and vocal only mix)17.Reunion V1 (Original opening, narration in middle section, and male/female opera duet)18.Stars V2 (Original version and different ending)19.Alone End V1 (Alternative instrumental ending)20.Lilly (Original mix with Steve Hackett and Angharad Brinn only)21.Reunion V2 (Featuring Shan Cothi opera section)22.Alone End V2 (Alun Rhys-Jenkins and Shan Cothi opera duet)23.Reunion V3 (African ending)24.Reunion V4 (Coming Home original demo)Disc 2Complete instrumental of the original album 
    $15.00
  • Under the Red Cloud marks the 12th studio album from Finland’s grandfathers of extreme metal, the band’s sixth LP with Tomi Joutsen as vocalist and his 10th year in the band. The string of Tomi’s six records started with 2006’s Eclipse and had an absolutely epic beginning. Eclipse, Silent Waters and Skyforger  showed the band’s new found drive and energy, reclaiming some of their death metal heritage, while veering further into what Nuclear Blast has fittingly labeled ‘melancholy rock.’ Unfortunately, Angry Metal Guy’s Law of Diminishing Recordings™ is a fickle mistress, and The Beginning of Times and Circle were both records that were good, but lacked the urgency of that initial trilogy. These records saw the band pushing into newer territory—heavy Jethro Tull influences bled through on the former, while Circle developed some of the band’s folky elements in cool ways. Neither album gripped me. But when Amorphis releases an album, it’s hard for me not to get excited, and upon seeing the cover art for Under the Red Cloud, all that warm anticipation came back. And fortunately, they didn’t disappoint.Under the Red Cloud is a return to form for Amorphis, and the most cohesive album the band has released since 2009’s Skyforger. Clocking in at 50 minutes, it’s made of ten thematically cohesive tracks. The album isn’t a story though. Instead, the lyrics (written, as always, by Pekka Kainulainen) are conceptually foreboding; about living under a red cloud in troubled times. The music matches this feel, and while I wouldn’t say the album is necessarily so much heavier than previous records, it may have been influenced by the 20th Anniversary of Tales from the Thousand Lakes, because the band has certainly produced the most growl-heavy material of the Joutsen-era.You wouldn’t notice that on the opening title track, however. “Under the Red Cloud” starts with an atmospheric piano bolstered by throbbing bass and a clean guitar in harmonic minor before merging into prime Amorphis territory: a chunky, groovy riff with Tomi’s cleans augmenting the sound perfectly. This format—the classic hard rock song-writing—is the stamp with which the band’s newer material has largely been pressed. “Sacrifice” is similar, breaking in with a “House of Sleep” intro, and a heavy, syncopated verse before giving way to a hooky chorus and a slick guitar melody. “Bad Blood” features Tomi’s growl in the verse, but it’s heavy on the groove and light on the melody before giving way to an epic chorus and beautiful bridge.Amorphis isn’t afraid of their death metal side here. Between “The Four Wise Ones” and “Death of a King,” every single track starts with growls, and the former doesn’t feature any clean vocals from Joutsen at all—instead there’s a short bridge with a haunting, effected vocal line that evokes Elegy. “The Four Wise Ones” and “The Dark Path” both feature crescendos with a ’90s black metal feel—wet with keys and a trem-picked melodies—only undermined by Rechberger’s refusal to use blast beats and Tomi’s growls. The death-laden material works well, though moments like the verse in “Bad Blood” or “Death of a King,” which is one of the singles from Under the Red Cloud, are places where I would have chosen clean vocals rather than growls.There is a danger, however, in Amorphis‘s modern sound, in that it’s pretty easy to fall into a rut. A fairly close listen to Under the Red Cloud reveals that the songs pretty much all follow the same structure, which when the band isn’t producing their sharpest writing can become repetitive. When the album hits its stride, though, it’s an extremely well-crafted record. From “Sacrifice” to “White Night” is a stretch of pure enjoyment—each song flowing into the next, while peaking on the final two tracks. “Tree of Ages” features a folky Celtic theme that has been stuck in my head since the first time I heard it, and “White Night” is a moody track that closes the album out with a surge.Under the Red Cloud is a very good album and a return to form. The record simply sounds like Amorphis; the band has developed a sound that bridges the gap between their old material and the new—with plenty of moments on here that remind me of Elegy and Tuonela with sitar (“Death of a King”) or bong water keyboard solos (“Enemy at the Gates”). And it’s incredible how the band’s riffing can still be so idiosyncratic. “The Skull” and “Enemy at the Gate” have riffs you only hear in Amorphis and Barren Earth; and after 12 records they still pull them off without feeling like they’re ripping themselves off. Consistency is a virtue for big bands if they’re any good, but I think there are hints on UtRC that Amorphis could get more adventurous going forward, and I hope they do. Until that time, though, I’ll be sitting here enjoying these tunes under the red clouds." - Angry Metal Guy
    $15.00
  • Budget price but nicely slipcased 2CD set from this superb acoustic progressive band from Netherlands.  Set includes "Variaties Op Een Dame" and "Gevecht Meet De Engel""The Year 1978 , one of the most productive years of Progressive music in Europe . Specially in Italy , Netherlands , France , Germany ,Greece & Belgium . During my trips to these countries , i've discovered bands like Sensation's Fix , Machiavel , Parzival , Can , New Trolls , PFM , Banco , le Orme , PLJ band , and so many others . Surely i had also the first album released by Flairck in 1978 by hazard , from amsterdam airport , i really liked the sleeve cover first , THEN , back to Lebanon the same day , had a special flavour in my life . This album was & still the best progressive work i've ever heard in 40 years . I have no words to describe such beauty , except it was the first & the last interresting & excellent work by Flairck . Still i'm not disappointed by some of their works during 30 years . This instrumental album full of harmonies & new musical inspirations is a must for all proggers , it contains maybe the first trips in fusion between Classical / jazz / rock / blues & folk . Varieties is a real complete journey between these genres of music in a perfect globe . Tracks are all amazing , they have the same value , and i can't skip anyone . Erik Vesser was really accurate in selecting these songs , specially Variations on a lady (21 minutes) & Voorspel in Sofia , these two tracks are amazing & adorable , it's a progressive rock music played by essential classical equipments . this album took more than two years in the making , but got a perfect recognition all over Europe , specially in France / Belgium / Italy / , and went Platinium in Netherlands . So , if you haven't discover this magnificient Dutch band yet dear proggers , this is the right place to start with Flairck ( Variations on a lady ) 5 Stars for musicianship , 5 stars for all songs included , 5 stars for the technic used in combining Classical - Folk - blues - jazz & rock , and 5 stars for the sleeve cover . One of my best 10 albums ever , and a Masterpiece of progressive music , suit yourselves and Enjoy this wonderful piece of art . Highly Recommended " - ProgArchives"I'm not too much of a folk fan but this band from Holland has always been at the top of my folk charts. Their ambitious compositions and instrumental craftsmanship have a drive and timeless quality that could charm folkies, lovers of classical music and progrock fans alike. Next to the brothers Visser on acoustic guitars and Peter Weekers on flutes, the band is completed with Sylvia Houtzager on violin. Her name translates to 'Sawyer' in English so playing the violin must have been her born destination. The band would continue to perform in that line-up throughout the 80's.Gevecht Met De Engel is Flairck's strongest studio offering and can successfully claim not to have one wrong or misplaced note for its entire 44 minutes of dazzling virtuosity. Each part radiates with playing pleasure, regardless whether it's melancholic and quiet or fast and cheerful. One of the secrets is the perfect interplay between all members. The leading instrument is the acoustic guitar, complemented by dazzling bass guitar and an array of flutes and violin. The arrangements have plenty of breathing space though and never get overcrowded nor bombastic.While it's difficult to point out any particular standout piece, the main focus of the album is on its 3-part title track, a 23 minute tornado raging through European folk music, ranging from Spanish, Celtic and Eastern European traditions. It's particularly essential as it doesn't feature on any of the official Flairck live albums. If you want to hear it then it will have to be here.Gevecht Met De Engel is probably one of the best acoustic folk albums ever made. Given its impressive compositions it's nothing short of essential in any prog rock collection. So it's particularly distressing having only one other reviewer on this page joining me in my praise for this masterpiece." - ProgArchives[[{"type":"media","view_mode":"media_large","fid":"12269","attributes":{"alt":"","class":"media-image","height":"200","width":"200"}}]][[{"type":"media","view_mode":"media_large","fid":"12270","attributes":{"alt":"","class":"media-image","height":"202","width":"200"}}]]
    $14.00
  • Wonderful new Christian Vander/Magma tribute set coordinated and released by Soleil Zeuhl. There are 25 different bands participating - some of the "higher profile" names include Minimum Vital, Klaus Blasquiz, Pochakaite Malko, Patrick Gautheri, Setna, Simon Steensland, Forgas Band Phenomena, Guapo, Jannick Top, Gerard Prevost Trio, Neom, and as they say...many more!
    $11.00
  • "Hi Fiction Science comprises former members of Suncoil Sect and Fuzz Against Junk. Guitarist James McKeown is also known for his solo work released by Fruits de Mer and Reverb Worship. Following their self-titled debut album on own label Negative Drive and a 7" on Fruits de Mer, Hi Fiction Science have signed to Cherry Red offshoot Esoteric Antenna. Curious Yellow, their first release on this label, is a truly amazing synthesis of late 60s/early 70s-style electric folk, psychedelia, and electronica. Think Trees, Liege and Lief era Fairport, Pentangle, or any number of bands on the Erewhon History of UK Underground Folk-Rock compilation albums, combined with vintage electronica and ambient music; as bizarre as that description may sound, it really is a winning formula. Elsewhere they introduce elements of angular art-rock and intense psychedelic guitar work (Vapour), wordless vocal and electronic soundscaping (Komorebi), and in Curious Yellow they set a medievalesque song to mesmerisingly repetitive psychedelic instrumentation. This is a really exceptional album from a band I will definitely be looking out for more from in future." - Bliss/Aquamarine
    $17.00