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  • "There are few bands, with a better than 25 years career, that have been as consistent in their sound and output as Denmark's Royal Hunt. Sure, they've had their share of personnel changes, significantly in the vocalist position, yet they carry on with increasing success. Recently, some of that success comes from one simple yet significant change. They brought Pennsylvania native D.C. Cooper back on the microphone. For my money, he'll always be the voice of Royal. He remains so, and the band records their thirteen album with Cooper, XIII - Devil's Dozen, his fifth on vocals for Royal Hunt.For those unfamiliar with Royal Hunt, which I doubt if you're reading this, the band performs melodic and symphonic heavy metal, with large emphasis on the first two descriptors. The symphonic element comes from founder and principal songwriter Andre Anderson's influence and keyboard presence. I'm presuming it's his synths that account for the large than life orchestration and not an actual orchestra. PR material was wanting on that information. Suffice to say, the symphonic layer provides two things. It provides a lush and lavish canvas and reinforces the melody of the arrangement, in every song. After this, Anderson offers keyboard solos throughout, sharing the limelight with the guitar leads. And those leads are as present and immense as everything else. Actually, I think the guitar presence is even larger on this album than most. Jonas Larsen is at the top of his game.Following these things, Cooper is also in top form, with a strong vocal presence. His skill comes from his natural ability to follow the melody and harmony of an arrangement, and then stay in range. Then there's the character of the songs, which has been alluded to by speaking of the particular musical elements.What's notable in those song arrangements is the importance of harmony and melody, but also the basic rock groove. This is where, from the band's inception, classic melodic hard rock has been as much a pillar of the musical foundation as the symphonic element. When these things dovetail together as with So Right So Wrong, How Do You Know, Way Too Late, and the quite catchy Hear On A Platte, Royal Hunt is a formidable melodic metal powerhouse. And that was only to mention four songs. They're all outstanding, all terrific and no filler. Once more, with XIII - Devil's Dozen, Royal Hunt's melodic and symphonic heavy metal is consistent, creative, and entertaining. Sweet stuff and strongly recommended." - Dangerdog.com 
    $16.00
  • "Now We Have Light is the third Sanguine Hum album, following on from the acclaimed albums Diving Bell and the Weight of the World. Now We Have Light is a double CD concept album. Unusually with this record, it is also something that the band have been working on for over a decade, and its roots go right back to the days of Antique Seeking Nuns, which was the earliest project that guitarist Joff Winks and keyboard player Matt Baber collaborated on. During this time they hatched a truly bizarre conceptual story to hang even more music around - a work that perhaps was too ambitious for them at the time, and one which took the formation of Sanguine Hum to make it a feasible challenge to complete. Somewhat like a twisted mix of Hitch-Hikers Guide to the Galaxy, Frank Zappa's Joe's Garage and the Lamb Lies Down On Broadway, Now We Have Light is a future parable set in an entirely possible scenario, in which entirely impossible events start occurring.Although a core group of songs were written for this album as far back as 2002, the band were inspired by the most recent Sanguine Hum material to revisit the old tunes and where needed develop and rewrite what already existed, whilst also creating a large amount of brand new music at the same time. Ultimately, it has come to represent a definitive cross section of all the work that they have made as Antique Seeking Nuns, Joff Winks Band, Nunbient and Sanguine Hum thus far. Recorded once again in Oxford, at Evolution Studios, the double album features alongside Joff Winks and Matt Baber, original bassist Brad Waissman and, making his second studio appearance with the band, Henry Fool and No-Man drummer, Andrew Booker. Also, the band invited renowned UK jazz vibraphone player, Jim Hart, to perform on several tracks, which marks the first time that a guest musician has appeared on a Sanguine Hum album. The package comes wrapped in a striking cover of illustrations from graphic artist Meriel Waissman.Now We Have Light is arguably the finest album to date from Sanguine Hum, one of the most innovative bands in modern Progressive music." 
    $17.00
  • Wolf People are an incredible ensemble from the UK.  They channel the late 60's/early 70's British sound.  Definitely psychedelic buzz from these guys.  Folk elements crop up that will remind you a little bit of Fairport Convention but the electric side dominates and it constantly reminds me of bands like The Groundhogs and High Tide - think TS McPhee and Tony Hill blazing away.  This is guitar oriented music that is completely immersed in THAT SOUND.  Killing solos through out.  Man I love this band!!!  Highly recommended.
    $15.00
  • The seeds for The Fullness Of Time were planted with the band's self-titled debut in the summer of 2002. That album features members of Fates Warning, Steel Prophet, and Symphony X. Redemption leader Nick van Dyk prevailed upon his close friend, Fates Warning lead singer Ray Alder, to take the producer's chair.The band quickly gathered a following in the metal underground, and received rave reviews from the press, which recognized the band for its combination of intensity, progression and melody. The German magazine Rock Hard awarded it 9 out of 10 points. The accolades culminated in a performance at ProgPower in September 2002. Alder also joined the band on stage as a guest performer.With a newly revised lineup in place, Van Dyk set to work writing and recording the follow-up, and upon hearing the completed music, Alder asked to join the band as its full-time vocalist in the summer of 2004. The band recorded its sophomore release, The Fullness of Time, and van Dyk selected Tommy Newton, known for his production work with such bands as Conception, Ark, Helloween and UFO, to mix and master the record.Once again, the music combines heaviness, complexity and irresistible melody drawing on such diverse influences as Kansas, Savatage, Iron Maiden, Fates Warning, Dream Theater, Rush and Megadeth. The Fullness of Time promises to be one of 2005's most unique and compelling offerings in the prog/power genre.
    $13.00
  • Second album from this interesting Danish band incorporating elements of thrash, death and even melodic metal in an usual way. Curiously enough this was created as a binaural recording and should be listened to with headphones. Recommended to fans of Meshuggah and Soilwork.
    $10.00
  • This is another one of those classic Renaissance radio broadcasts that tape traders have circulated for years.  It gets an "official" release courtesy of Purple Pyramid.  It was recorded on the Turn Of The Cards tour at the Academy Of Music in NYC on May 17, 1974.  If you are fan and you don't have a cassette squirrelled away somewhere you need to own it.
    $15.00
  • New vinyl pressing of the band's magnificent second album.  
    $22.00
  • "Marillion seems to be appealing to a commercially-oriented buying demographic with this album. There are parts of this record you'll love, and there are parts ... you might not. The band's work in the Hogarth era is marked by its variability - or some might say inconsistency. Although there have been some dud CDs, arguably including Radiation, Anoraknophobia and marillion.com, each of those records had some excellent songs. Similarly, the great albums had songs that were less than stellar. So it's generally safer to think of Marillion's work in terms of the songs rather than the CDs. Having said that, though - Somewhere Else probably fits somewhere between Marbles and marillion.com stylistically, and it's closer to .com in terms of quality.Somewhere Else doesn't share all of Marbles's progressive elements, its subtleties, or its general appeal. This music is a bit more linear, and it's very vocals-oriented. Steve Hogarth's singing is as emotion-laden as ever, switching effortlessly in and out of falsetto, and very expressive - in the style of "The Invisible Man" or "Angelina" from Marbles, or Radiohead's classic "Creep". But you might wish that he would stop singing for just a few minutes and let some instrumentals shine through. Steve Rothery's legendary guitar work is heard in only a few places, and Mark Kelly provides some very appealing piano lines, but there aren't any instrumentals to into which you can really sink your teeth."Most Toys" is a hard-hitting rocker with very simplistic lyrics that won't have much appeal to Marillion's traditional fanbase, although it might win them some commercial radio time. "Last Century for Man" also has simplistic lyrics with little subtlety, and a catchy melody that stays with you for days. There are no epics here, with 10 songs in just 52 minutes, and the title track (the longest at 8 minutes) is the standout piece with a meandering structure, gently appealing delivery and an almost minimalist approach to the instrumentals. Some might call it sleepy - but it definitely goes into the list of Marillion's better songs. Other highlights are the opening track "The Other Half", and "Thank You, Whoever You Are" - a fairly straightforward piece that features some nice but all-too-brief moments from Rothery's guitar.If Marillion is chasing after radio time, or if they're wooing the Coldplay / Radiohead / Pineapple Thief audience, this song-oriented record will probably get them there. But it will do so at the cost of a significant portion of their progressive rock fanbase." - Sea of Tranqulity
    $8.00
  • Slimline set with CD wallets for A Change Of Seasons, Scenes From A Memory, and Octavarium.
    $15.00
  • Second part of the English Electric concept dealing with life across the UK landscape.  What a beautiful album.  First off lets make it clear - Tony Banks and Mike Rutherford made a huge mistake.  Vocalist David Longdon should have been Phil Collins replacement in Genesis.  He would have fit like hand in glove.  The album features the band augmented by a variety of guest musicians including Andy Tillison of The Tangent who contributes organ, Moog, and Mellotron parts.  Its all very British sounding and once again a wonderful mix of old school prog and a more contemporary neoprog sound.  Highly recommended.
    $16.00
  • "In a society which continues to develop at breathtaking speed, racing through world history in seven-league boots, mercilessly trampling down anything unable to keep pace with this ruthless goose step, Riverside have composed an album which is a perfect reflection of our times. An offering full of symbolism – starting with the fact that the title of their fourth release consists of four words and that the album is precisely 44:44 minutes long – and an intelligent stocktaking of reality. Anno Domini High Definition is no concept album in the classic sense, although it features a central theme and a haunting message. “It’s a story about people who angrily state that such-and-such a device is no longer fashionable, before they`ve even learnt how to use it properly themselves. Even worse – it’s no longer usable, because there’s something better on the market now”, Mariusz Duda, vocalist, bassist, guitarist and lyricist of the four-piece explains. “For me, those are the thoughts of people who wake up every morning worrying that perhaps today their ‘sell-by date’ may expire.”Riverside was founded by guitarist Piotr Grudzinski, drummer Piotr Kozieradzki and Mariusz Duda in 2001. Immediately after the recording of their debut album, Out Of Myself, keyboardist Michal Lapaj joined the band, completing the current line-up which has impressed fans and media alike with the musicians’ great technical skills. Musically and in terms of its subject matter, Anno Domini High Definition marks a temporary climax in the quartet’s artistic work: “It’s an album about people who know they need to speed up or they’ll get left behind“, Duda summarises the tracks, adding: “About people who sometimes, despite themselves, will stop at nothing to achieve their aims. It’s an album about chaos, constant race, uncertainty, stress, and the struggle to survive.”This permanent inner restlessness, a constant search for the latest thing, is reflected in the band’s complex music. The five songs consciously keep up a high energy level, be it through a pounding groove, a turbulent bass line, cutting keyboard passages or haunting vocals. Anno Domini High Definition is a pulsating hybrid of a range of different stylistic means. Duda: “There’s more rock stuff on the record now. The new album has more balls, you could say, than anything we’ve done so far. But I think we kept all the nice melodies and traits that are characteristic to our music. It’s very energetic. There are longer, more complex compositions, but with more energy, power and ease. It’s been a long time since we had so much fun composing and recording, and I hope the listeners will also be infected by this atmosphere.”Anno Domini High Definition sees Riverside take another step in the evolution of their extremely significant sound, documenting a total focus on the here and now. “We don’t want to be one of these living-in-the-past prog bands,” Duda points out. “We feel that we have something new to say, and lots of moments on this album feature a fresh approach to some things. First of all, our main influence – our lives, or to be more precise, the speed of our lives. That’s why we had to cut an extremely dynamic and pretty short record, which suits the times we live in.”Experts have called Riverside a stylistic mix of Tool, Porcupine Tree and Dream Theater, but Duda reckons that other influences are more dominant on Anno Domini High Definition: “We wanted to reflect the energy of the early 70s and combine it with modern sounds. Now I think there is more of a Rush , Led Zeppelin and Deep Purple sound. But at the end of the day, this record ultimately sounds like Riverside.” 
    $15.00
  • "Getting your head and ears around an Andromeda album can be a challenge. It's not that their music is perplexing, but it is often varied and eclectic. Consider the first two songs on their fifth album, Manifest Tyranny. Preemptive Strike is a short introductory piece of mostly heavy and thrash metal. The following Lies R Us slows the pace offering a melodic, yet heavy in parts, prog piece with a great melodic vocal arrangement. It's quite accessible. Okay then ...Expect more than a little intrigue throughout Manifest Tyranny. Stay Unaware offers an abundance of riffage, but also noticeable synth layers and solo. False Flag, the longest cut here, seems a moderation, like heavier prog rock (also noticeable on Survival of the Richest), but shifts and moves with the clever ease you expect from progressive music. Then there's simply some strange stuff. Chosen by God has a muted ethereal vocal arrangement, lots of riffage and synths, which evokes a lighter atmospheric motif. Then there's the integration of words (speeches) from political leaders. (This occurs throughout the album, often to the point of distraction.)The nuance of progressive rock returns later in Go Back to Sleep. It offers a lighter blend of electric and acoustic guitar, with a later synth solo, and some disturbing lyrics. Of note, this song displays David Fremberg's supreme vocal talents. Allowing some more convention and accessibility, Asylum offers complexity but provides a hard rock edge in the guitar solo. Play Dead and Antidote find Andromeda simply offering an arrangement of, sometimes heavy, but certainly complex and delectable progressive metal.With Manifest Tyranny, Andromeda continues to challenge and entertain. This is what a fan of progressive metal should expect: intrigue and enjoyment, and the need for more than one listen. Fans and critics will wonder if it's equal to, or better, than their critically acclaimed first outing Extension of the Wish (2001). Perhaps this is a question left to the fans or, perhaps, those who are braver than me. Strongly recommended." - Dangerdog.com
    $9.00
  • THIS NORTHERN VIRGINIA BASED BAND is a three-piece at heart, musically rooted in the raw energy and rhythmic interplay of RUSH and KING’S X. Fans of dark, guitar-driven rock bands from ALICE IN CHAINS, DEFTONES to the contemporary metal riffing of LAMB OF GOD and PANTERA, will connect to the heavy core of IRIS DIVINE’s sound. Add to that progressive complexity and moody synths inspired by DREAM THEATER and PORCUPINE TREE, and a liberal dose of memorable hooks and melodies, to understand some elements of IRIS DIVINE’s sound. And yet, the band has a distinct identity, not quite sounding like any of the aforementioned bands, and with an emotional urgency that pulls subtly from alternative and other influences.KARMA SOWN IS A TRIUMPH OF A DEBUT ALBUM, immediate and memorable but revealing layers and depth upon repeated listens."Progressive metal is in a rough period right now. The old guard are either releasing sub-standard albums that only make it more obvious how far they have fallen, or they are drastically uncool with anyone who didn't become a fan when progressive metal was first being created. Progressive today tends to mean djent, a style that has sapped all the life and humanity out of music, turning metal into a math equation of time signatures, and not songs that anyone can actually remember. There was a time when progressive metal remembered the ultimate goal of music; to have listeners enjoy the songs so much they would return to them again and again. Today, progressive metal is mostly the sort of music that could pass for muzak, if you don't turn the volume up too loud.Iris Divine wants to change that. They set out with the mission of writing progressive metal that is intricate and challenging, but still produces the kind of songs that listeners who don't have an advanced degree can love and sing along to. It's a challenge, and it goes against the tide, but it's a desperately needed revolution if progressive metal is going to flourish anytime in the near future.I knew from hearing the pre-release track “A Suicide Aware” that Iris Divide was special, and the full album reinforces the point. “The Everlasting Sea” comes out of the gates with plenty of tricky riffing and unusual rhythms, but they lead into big melodies with strong hooks and vocals. Their progressive playing isn't meant for show, it's a tool used to set a tone that juxtaposes with the more melodic moments. Finding the proper balance between these elements is not easy, and many a band have failed miserably trying to do so, but Iris Divine doesn't. On their debut record, they show a skill some bands have spent their entire careers failing to learn.What I love most about the record is that it can be seen in many different lights. If you like straight-ahead metal, there is plenty of heavy riffing and pounding drumming here to keep you satisfied. If you like progressive music, these songs have twists and turns, and Rush-like keyboards, in enough quantity to match the djent crowd. And if you're a fan of old-school radio rock, the choruses in these songs will be music to your ears. Keeping all three of these in mind at the same time can be tricky, but it's worth the effort.For being a trio, “Karma Sown” is a massive sounding record. The production is flawless, big and clear, without ever sounding too polished. The heavy parts are heavy, the vocals are up front, and you would never believe this was a self-produced record that was crowd-funded. I can put it up against many, many of the big label releases, and it would win the fight.In fact, I can think of a dozen so-called progressive metal bands that should immediately hand over their label contracts to Iris Divine, because it's a crime that a band that is advancing progressive metal in the right direction doesn't have the backing of one of the labels. Not to name names, but this album would be bigger than half of the progressive metal released this year if it had the media push behind it.In case you haven't noticed, what I'm saying is that “Karma Sown” is a fantastic debut, and the future of progressive metal. Iris Divine isn't a Dream Theater clone, and they're not djent. What they have done is integrate all the strains of progressive metal into a singular sound, one that could set the standard moving forward. If every band sounded this good, progressive metal wouldn't need to be underground. “Karma Sown” is the best progressive metal album of the year, bar none." - Bloody Good Horror
    $6.00
  • “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