Expedition Delta ($3Special)

"EXPEDITION DELTA is a project from Srdjan Brankovic, one of the founders of ALOGIA, the biggest selling progmetal band in Serbia. After the huge success of their 2 albums and tours opening for Whitesnake, Apocalyptica, Savatage and Paul Di Anno, Srdjan decided to do a no holds barred progrock/metal album in English, assembling some of the worlds finest players and EXPEDITION DELTA is the result.

Together with Srdjan Brankovic, many famous and great musicians are involved with the \"Expedition Delta\" album. Some of them are Gary Wehrkamp (Shadow Gallery), Andrea De Paoli (Labyrinth), Richard Andersson (Time Requiem), Erik Norlander (Rocket Scientists), Joost van den Broek (Sfter Forever), Sabine Edelsbacher (Edenbridge), Torsten Roehre (Silent Force), Santiago Dobles (Aghora) and many others...

The whole album is sung by Nikola Mijic with the exception of 3 songs that include the appearance of Sabine Edelsbacher, Irina Kapetanovic and Aleksandra Jankovic in a duet with Nikola.

The album was recorded and produced by Srdjan in his Paradox Music studio where he works with many other Serbian bands. The cast of the album includes:

Srdjan Brankovic (Alogia)
Nikola Mijic (Alogia)
Gary Wehrkamp (Shadow Gallery, Amaran's Plight)
Sabine Edelsbacher (Edenbridge)
Erik Norlander (Rocket Scientists, Lana Lane)
Vladimir Djedovic (Alogia)
Richard Andersson (Time Requiem, Space Odyssey)
Andrea De Paoli (Labyrinth)
Joost van den Broek (After Forever)
Santiago Dobles (Aghora)
Alex Argento
Torsten Roehre (Silent Force)
Rene Merkelbach (Ayreon)
Borislav Mitic
Vivien Lalu (Lalu)
Miroslav Brankovic (Alogia) Ivan Vasic (Alogia) Irina Kapetanovic (Irina & Storm) Mikkel Henderson (Evil Masquerade, Circusmind) Alexandra Jankovic

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  • This is where the progressive elements really start to coalesce ie. the 20 minute "The Fountain Of Lamneth".  Remastered edition.
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  • You know this band is like money in the bank. They don't get a lot of hype but they've never made a bad album. They change singers from time to time but they always come up with a great one. They tinker with the formula from time to time just to keep it fresh but you can always expect great harmonies, blistering leads of guitar and keys and melodies that stick in your head for days on end. Wounded Land was one of the first progressive metal albums I ever heard and really drew me into the genre. Critical Mass doesn't disappoint at all.
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  • OK I don't know who thought this was a good idea but someone let Billy Sherwood run wild again.  Your move."From the producer of The Prog Collective comes a new supergroup of unparalleled musical virtuosos who cut loose on this jazz-rock fusion album!Features performances by members of the biggest names in fusion including Mahavishnu Orchestra, Yellowjackets, Brand X, Soft Machine, and Spyro Gyra PLUS Yes, Dream Theater, King Crimson, Tool, Porcupine Tree, Hawkwind and more!"Track Listing:1. Random Acts Of Science - Rick Wakeman (Yes) Jerry Goodman (Mahavishnu Orchestra) Nik Turner (Hawkwind) Jimmy Haslip (Yellowjackets / Alan Holdsworth)2. Stone Cold Infusion - Steve Stevens Jordan Rudess (Dream Theater / Liquid Tension Experiment) Mel Collins (King Crimson) Colin Edwin (Porcupine Tree) Billy Cobham (Mahavishnu Orchestra)3. Molecular Breakdown - Jay Beckenstein (Spyro Gyra) Billy Sheehan (Steve Vai) Gavin Harrison (Porcupine Tree) David Sancious (The E Street Band)4. Particle Accelerations - Larry Coryell Derek Sherinian (Dream Theater / Black Country Communion) Eric Marienthal (Chick Corea Elektric Band) Chester Thompson (Genesis / Brand X)5. At The Edge Of The Middle - Steve Morse (Dixie Dregs) Jim Beard (Mahavishnu Orchestra) Randy Brecker (Blood, Sweat & Tears) Percy Jones (Soft Machine / Brand X)6. Atom Smashing - John Etheridge (Soft Machine) Tony Kaye (Yes) Chad Wackerman (Frank Zappa)7. In The Spirit Of... - Steve Hillage (Gong) Scott Kinsey (Tribal Tech) Theo Travis (Steven Wilson Band) Justin Chancellor (Tool) Asaf Sirkis (The Orient House Ensemble)
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  • "Drop was the first fruit of Porcupine Tree drummer Gavin Harrison's collaboration with singer and extended range bass player 05Ric, and featured contributions from Robert Fripp, Dave Stewart and Gary Sanctuary.Nine carefully crafted songs combined with ground-breaking multi-layered guitars, vocal harmonies and rhythms.This is the 2013 Kscope edition of the duo's astonishing debut."
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  • Second album, released in 1971 features two of the band's signature tunes "Mockingbird" and "Galadriel". After this album Robert John Godfrey left to form The Enid. This CD features the usual Mark Powell lavish treatment - extensive bonus tracks, liner notes and loads of photos.
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  • "Ray Shulman produced this CD of one of the earliest Gentle Giant live gigs at King Alfred's College Winchester. Notably, this album contains the lost track "Peel Off the Paint," which has the same lyrics as Peel The Paint but completely different music. This is the only live recording available to the best of my knowledge with Phil Shulman and Martin Smith. As Phil Shulman comments in the liner notes: ".....For us, this CD provides a real memory jolt - reminding us of songs that we haven't thought about for a long time and brings nostalgia for the early hopes and dreams of a new band, Gentle Giant."
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  • Steve's first studio album in some time arrives as a limited edition import with a bonus CD with his running through live versions of old Genesis tunes and solo material. The new album features Chris Squire and Anthony Phillips (believe it or not). The thing I love about Hackett's recent work is that it still clearly has his imprint on it but its not retro - its prog and contemporary.
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  • After their last performance at Nearfest Apocalypse, Anglagard's lineup went through a bit of an upheaval.  Luckily it didn't materially affect the band's sound.  Anglagard is still Anglagard.  Prog Pa Svenska is a 2CD set that documents the band's three day residence at Club Citta in Tokyo, Japan back in March 2013.  Material is drawn from all three studio albums.  The recording is beautiful and the performances are stellar.  What else do you need to know?  How about this review:"May 14th of this year will see the release of a new Änglagård live album: Prog på Svenska—Live in Japan. Some of you may have been lucky enough to have been following Änglagård from the very beginning, but if you’re anything like me, you came into the game when Änglagård’s small catalog of music was either out of print or near impossible to find without spending a fortune; that is, with the exception of one little disc which somehow was available when snagging a copy of albums like Epilogue seemed to be a Herculean feat. That album was Buried Alive, the live recording of Änglagård’s last show prior to their 1994 breakup. While the liner-notes of Buried Alive reveal a band that was not 100% satisfied, 20 years later with the release of Prog på Svenska—Live in Japan, Änglagård is back and going strong with a new live recording that is rich in dynamic and deep in maturity, a performance that I am confident that they are proud to immortalize for their fans.Prog på Svenska represents the first of three consecutive nights that the masters of dark Swedish prog delivered at Club Città in Japan alongside The Crimson ProjeKCt (featuring the legendary Adrian Belew and Tony Levin). For me personally this is a special album that transports me back to when I witnessed their unbelievable performance only three weeks later at Baja Prog. Among a plethora of canonized acts at the festival (such as Hackett, New Trolls, and Three Friends), Änglagård’s remarkable performance showed that they stand in no one’s shadow. While there’s nothing like being there in person, Prog på Svenska is about as good a live recording and performance as I’ve ever heard on disc. I certainly am jealous of the Japanese fans who got to see them three nights in a row last year.The live-set on this album shows a balanced representation of the old and the new, featuring two tracks from each studio release along with an unreleased intro track which I assume (and hope) will be on Änglagård’s next studio production. So that the anticipation doesn’t kill anyone, I’ll start right off with the new song: ”Introvertus Fugu Part 1.” Perhaps the first thing to know about this track is that it’s our first look into the composition of the new band featuring Linus Kåse and Erik Hammarström alongside Anna, Johan, and Tord. I can happily say that “Introvertus” shows a band that knows how to move forward without abandoning the distinctive identity that they are known for, a fact that strongly hints at a powerful album to come in the future. The opening moments of the song show the band increasingly incorporating elements of modern classical and atonal music through the delicately dark chord changes on the piano before constructing a wave of tension with ambient bass noise, a distinctive guitar motif,  and a descending melody on flute playing against tuned percussion. As the ambient textures continue to swell, a big percussive crash shockingly interjects, setting the stage for an ominous swelling of Mellotron chords, resulting in an eerily delightful sound. The intensity continues to build with a drum roll on snare and cymbals that transition the piece into an aggressive angular instrumental attack featuring howling Minimoog modulation; enter a fiercely dark melody which is doubled or harmonized on most instruments before the band takes the listener into their signature dose of woodsy folkiness. Johan and Linus continue pounding in the rhythm section before the eerie central motif returns to bring “Introvertus” towards its close with the full force of Anna and Linus’ dueling woodwinds, one hanging on the melody while the other produces chaotic squeals before withering off the melody in a very unsettling (but cool) way.After kicking it off with an exciting intro the band takes us back 20 years with “Hostsejd.” The rich dynamics, especially the meticulously controlled Mellotron swells, really shine on this one while some small differences in instrumentation (such as the sax on the first main melody instead of flute) really keep the piece fresh and exciting. Although I was craving the intro on the follow up track, “Längtans Klocka,” the supreme level of interplay between all instruments that starts off the piece is fantastic. Furthermore, the guitar/Mellotron duet at about 6:30 that leads into a memorable theme is quite the highlight. Finally, the circus-y melody towards the end of the song somehow becomes even more diabolic in this slightly stripped down version as Tord’s demented waltzy riff serves as a perfect backdrop for the drunken saxes. Speaking of Tord, it certainly is nice to see him back in the band, and I must add that his guitar playing and sense of emotion is perfect for the band and has improved over the years. This is perhaps most clearly demonstrated on “Jordrök,” a quintessential song in Änglagård’s catalog. The reality of the matter is that despite the fact that the band was quite mature at the time of Hybris‘ release, their capacity to bring out all the nuances in pieces like this shows that they are musicians who have truly refined their craft over the years. “Jordrök” sounds more alive than ever; the Mellotron flute section in the middle, one of the band’s absolute trademark melodies, is to die for, and Linus’ superb use of phrasing and pacing in the piano intro certainly takes this classic piece up several notches.Moving deeper into the performance we see “Sorgmantel,” one of my personal favorites from Viljans Öga. The first thing I noticed about this particular performance is that the intro sounds much more raw due to differences in instrumentation, this version starting out with a guitar and bass call and response. While I absolutely adore the studio version, this new arrangement and performance was also wonderful and brought its own set of advantages to the table. First, the bass/guitar duet at the beginning really exposes the melody and shows you that its not just about fancy instrumentation, it’s a gorgeous melody through and through. Second, the band is not concerned in the least bit with rushing through the performance of this piece; the pacing is delicate, precise, and emotional with plenty of space for ritard and sway as the intro melody gets passed around from guitar to bass and flute and is then countered by the piano, making the fugue-nature of this piece even more evident. The playing is incredibly tight but busting with dynamic throughout as “Sorgmantel” takes its many twists and turns before working its way to a quiet ending; graceful… even breathtaking.To wrap up the night, Änglagård once again goes back to the early 90′s, this time with “Kung Bore” and “Sista Somrar.” Although the former leans more on the folky side of the band, as does much of their first album, the highlight of the piece actually ended up being the mysterious and ambient middle section where the band shows that they have mastered perhaps one of the most difficult aspects of music: playing quietly with vibrant emotion. Between the light swells of guitar, weird effects on bass, a steady organ pattern in the upper register, and a lightly beating drum, this section goes beyond merely doing justice to the original. Finally, the depth and emotion of “Sista Somrar’s” slow, dark intro is, quite frankly, deadly, and goes miles deeper than the original studio recording (which was in and of itself very impressive) as an ominous sax melody flanked by stormy percussion and effects guides us to the unleashing of an uncanny tron female solo voice that will haunt your nightmares for weeks to come.In my opinion, Prog på Svenska—Live in Japan is an essential live album that you don’t want to miss out on. Quite honestly, I am a person who rarely enjoys live albums because oftentimes the performances and production are either significantly worse than the studio recording, or the live version ends up being stripped down to the point where there’s just something missing, or the band simply doesn’t offer an experience which is significant enough to enjoy the live version deeply; in most cases you sort of ‘had to have been there’ to get what’s so great about it. Such is not the case with Änglagård’s latest live documentation. From the performances to the production and the differences in detail from the originals, Prog på Svenska is a stellar capturing of live art through and through. And of course, I might add that if you ever get the chance to see Änglagård perform, take the opportunity; if your significant other isn’t a prog fan, take them anyways. Änglagård’s extreme level of delicacy in phrasing and dynamic is a tough match to beat in progressive music and should hold up even in the face of the snootiest of music connoisseurs." - Progulator
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  • Second album from this Sieges Even offshoot/rebranding. Touchstones is a bit heavier than the debut as Markus Steffens struts his stuff again. Mid-80s Yes is an obvious influence on the band's direction. On some of the material vocalist Arno Menses sounds like a dead ringer for Jon Anderson. The music sits on the fence between the prog rock and metal realms. If you like the post-reformation Sieges Even albums you'll find much to sink your teeth into. Further - if you found the first Subsignal a bit on the light side you'll find this one has a bit more heft and frankly its better for it. Highly recommended.
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  • "Ralf Scheepers has built himself quite a reputation for being one of the finest German Heavy Metal singers. With a career spanning three decades (he debuted with Tyran’ Pace’s “Eye to Eye” album in 1983), Scheepers sung on true Power Metal manifesto releases such as Gamma Ray’s first three albums, before starting Primal Fear in 1997, with Mat Sinner.His voice is high-pitched and tenor-esque and his abilities were often compared to some of the finest Hard Rock and Heavy Metal singers ever (from Rob Halford to Ronnie James Dio and Ian Gillan). Both Helloween and Judas Priest considered him as their possible next lead singer.Over the years Ralf wrote and collected a few tracks that did not fit exactly in the Primal Fear concept. As often happens, he had just been waiting for the right chance to present itself and that happened when himself, his buddy Mat Sinner and Frontiers Records President Serafino Perugino sat together and discussed plans for the future in… 2007!Over three years later and the results are finally here and in Scheepers’ words “I’m really proud of the result!”"
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  • 130 minute DVD packed with great live set as well as all kinds of bonus material. 5.1 Dolby Digital sound is reported to be awesome (I don't have a surround setup so I can't confirm).
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  • "Dawn of a New Era is the third album by the female-fronted French Progressive/Melodic Metal band Venturia, and finds them returning after a couple personnel changes. In 2009, the band parted with singer Mark Ferreira for personal reasons, with their guitarist, Charly Sahona, taking on the role of the lead male vocalist. Then in 2010, Venturia lost former drummer Diego Rapacchietti and replaced him with Frederic Marchal, a long-term friend of the band. In this album, Venturia have also developed their style less towards complicated arrangements and more towards the melodies. There are still elements of the previous albums with the multi-layered vocals, technical playing, and synth-y keyboard sound, and there are still subtle uses of compound time signatures, but they have really toned down on the complicated instrumentals and compound rhythms. For this reason I am sure some will complain that the band is leaning more towards a commercial sound, with others praising them for being more accessible. In any case, I will say that Venturia are not your typical female-fronted metal band. They combine hooky-melodies with technical playing and a progressive background, trading off between female and male vocals as well as full vocal harmonies, technical heavy guitars, and a rich, atmospheric keyboard background." - Sea Of Tranquility
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