Fence The Clear

SKU: 28510
Label:
Inside Out Music
Category:
Progressive Rock
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Second album from Rush influenced band. New edition comes with four bonus tracks.

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  • "Annysia is a Symphonic Power Metal band from Spain, led by lead vocalist, Rose Mack. The obligatory instrumental, The Essence Of A New Born Star is a well written one, that builds up tension in the beginning of the disc much like a movie soundtrack to an epic battle movie. The operatic stylings of Mack can be heard immediately over a harpischord-laden keyboard effect before the rest of the band kicks in. She definitely has a style of her own, and the music behind her is well played. The highest range of her vocals on this song, show her range, though I think an octave lower is more in her power range. The guitar solo on the other hand sounds out of place, but it may be the production of the song,. Nephilim starts out much in the same vein, though the vocals during the verses are a little more subdued and similar to Liv Kristine in Leave's Eyes. The growly/black metal vocals on this particular song don't do much for me here. The brief but arppegio-laden guitar solo is again well played, and a better fit here. Battle of Mystics is the first track I heard from the band, and honestly the vocal gymnastics in the beginning and during parts of the song, show Mack's talent, but they are done a little too much for my taste, though the song itself is very good. Actually musically this is probably my favorite track on the disc Demontia is a track I could not get into, but musically is not a bad song. Fairysins though, features Mack and a soft piano. Her vocals on this song shows her unique tone, and her wheelhouse when it comes to her range. This song is actually quite beautiful. The epic-ness of Valkyrie is not just in its almost nine minute length, but the music as well. Mack commands her range throughout the entire song, and the twin guitar lead melody is well played. I am not sure if I like the lead tone of the guitar that much, its a little fuzzy for my taste, but the musicianship is definitely there. The previously mentioned death/black metal vocals make an appearance here, and again does nothing for me except take away from Mack's solid performance.Again the fuzzy guitar tone comes back on the beginning of Redemption though when it meshes with the symphonic parts it does not sound as bad. Straying from her operatic range for most the song, Mack shows that she can again, subdue her range, even on a much faster song. The ability for her to sing like this, without her sounding like she is singing in a monotone is a compliment to her abilities. Lost Soul is another piano song, showing the sweeping vocals of Mack. The expression “Less is more,” best explains her vocals on this song, and it was definitely the right call. The instrumental of Captain's Song shows her bandmates definitely have talent themselves, and it is a pretty damn good instrumental. Another standout song is the mid paced, Pirates Of The Sea. The male operatic vocals are too low in the mix to be heard clear enough, though they are much better than the “Blackened” ones of earlier. Nivek is next, and is another epic song in its song structure. For the seven minutes it runs, it pretty much hits all the right marks. With headphones on though, Mack's vocals could have been produced a little better,and be heard a little louder. Much like the disc begins, it ends with an instrumental track, an outro.While the imperfections do come to head when you hear the disc as a whole, Annysia's debut is actually a well written, if only inconsistently produced disc. The disc does have its highs, with strong songwriting and Mack's powerhouse vocals. I do believe in some songs, the band is trying to be as epic as possibly when possibly a little more restrain could have been used. Again most of this criticism is personal opinion, and every listener will have their own opinion. As a whole, this is a great start for a new band, who is obviously full of talented musicians. Let us hope for a label to find the band, and for stronger production values next time." - Metal Review
    $13.00
  • A new release from Causa Sui is like money in the bank.  The new Live At Freak Valley is no exception.  The live milieu is where the band really shines.  If you are unfamilar with the band you should know that the band's origins date back to the stoner scene but they evolved into something different - something more psychedelic - more organic.  The quartet features Jakob Skott (drums), Jonas Munk (guitar), Jess Kahr (bass), and Rasmus Rasmussen (keyboards).  The band goes off on looooong instrumental jams.  Munk's guitarwork has a beautiful fluidity that plays off of Rasmussen's keyboards which tend to surge to the forefront like waves on the ocean - or sit back and become a nice supporting backdrop for Munk's lead work.  I love when Munk burst out with a chunk of heavy riffage that recalls their stoner days.  Reminds me of vintage Zeppelin!  Highly recommended.
    $35.00
  • Beautiful sounding symphonic prog from Italy. The music has a very laid back refined quality that touches on folk elements at times. Female vocals (in Italian), flute, keys, electric guitar, bass and drums fill the soundspace in a way that lets the compositions develop and breath. The 31 minute epic "Morgana" features long languid instrumental passages in which the flute weaves around the keyboards and guitar to mesmerizing effect. The music never gets too heavy but there is an ever present ebb and flow that is appealing. Very impressive - these guys need to find a real label.
    $19.00
  • OK WE GOT A HOT ONE HERE!  Latest album from keyboard maestro Lalle Larsson is full-on balls to the wall fusion.  He's hooked up again with Richard Hallebeek, who is one of the great Holdsworth clones out there.  The rest of the band is Stefan Rosqvist (rhythm guitar), Jonas Reingold (bass), and Walle Wahlgren (drums).  Larsson lays down lethal synth leads and swaps back and forth with Hallebeek who matches him with dexterous legato runs.    Time will tell but I think this may be Lalle Larsson's best solo album yet!  Highly recommended.
    $16.00
  • Limited edition hardbound art book featuring the album on 2CDs, another 2 CDs with instrumental versions of the album, a DVD with "making of" and interview footage, plus a 48 page booklet.Arjen Lucassen's long awaited Ayreon project is a total blast.  Like some of the earlier Ayreon albums, it owes as much to prog rock as it does metal.  All the old school heroes like Emerson, Wakeman, Wetton get to strut their stuff showing a young stud like Rudess a thing or two.  As always Lucassen latches on to some of the best vocalists around and this one is no exception.  Highly recommended."You know what the metal world needs more of? Musicals. I'm not saying that ironically either. Sure, we have plenty of prog bands putting out concept albums, but cool as these records many be, the story themselves are not the focus of the album. Ayreon mastermind Arjen Anthony Lucassen has resurrected his grandest of all projects to continue showing these folks how to tell an epic story the right way.With 01011001 the Ayreon story came to an end, or so we thought. Arjen instead decided to focus on projects like Star One, Guilt Machine, and his solo album Lost in the New Real. When he revealed not too long ago that he was working on a new project, it wasn't a surprise to discover it was new Ayreon, but I was still plenty excited.Lucassen said of the newest record, "It's not science fiction, but a human story set in a science context." So no aliens or battling emotions or any of that. So, in an attempt to better understand the story, I contacting him for the lyrics and much to my surprise, he sent them to me saying, "Oh yes, you need the lyrics, definitely." Holy hell, was he right. The story is indeed more grounded than previous records, but there are still layers to this beast.Fans of Ayreon should know what to expect here. The Theory of Everything has seven guest singers and each singer plays a part in the story. They are JB (Grand Magus) as the Teacher, Christina Scabbia (Lacuna Coil) as the Mother, Michael Mills (Toehider) as the Father, Tommy Karevik (Kamelot) as the Prodigy, Marco Hietala (Nightwish) as the Rival, John Wetton (Asia/ex-King Crimson) as the Psychiatrist, and Sara Squadrani (Ancient Bards) as the Girl.Of these singers, the most impressive is the relatively unknown Sara Squadrani. She performs on a large portion of the story and shines every time, especially on "Love and Envy". I was also surprised to be so enamored with the performance of Christina Scabbia. She's always had  a wonderful voice, but her performance in this record might be her finest. Her harmonies with Squadrani stand out particularly on "Mirror of Dreams". This isn't to say only the performances by the female singers are worth mentioning. Tommy Karevik's introduction in "The Prodigy's World" is one of the strongest moments on the album.Every Ayreon album comes an eclectic group of guest musicians. This round primarily consisted of guest keyboardists. Rick Wakeman (ex-Yes) handles a good portion of the record, while Keith Emerson (Emerson, Lake & Palmer) and Jordan Rudess (Dream Theater) both make excellent solo appearances on "Progressive Waves".Having listened to all of Lucassen's albums at least once, I can say The Theory of Everything is the most musically diverse offering he's had a hand in, perhaps with the exception of his solo record. This isn't as heavy as previous Ayreon titles, but it has its driving moments like "Collision" and the Dream Theather-esque "Frequency Modulation." The aforementioned "Love and Envy" is a slower introspective song, while "Diagnosis" is massive and a little cheesy, but so awesome. "Transformation" has a Middle Eastern feel to it, and  "The Eleventh Dimension" sounds like intergalactic renaissance faire music.Often times there are jumps in mood, genre, etc in the middle of a song. This is fairly typical for an Ayreon release; what isn't typical is that technically this record consists of only four songs. These four songs are each at least twenty-one minutes, but they are cut up into forty-two pieces (yes, that's a Hitchhiker's Guide to the Galaxy reference) .This is a fun record. It's a record that does require a time commitment. I'd say listeners should treat it as a proper musical or film in a theater. Try to experience it all in one sitting for the full effect. It's absolutely worth it." - Metal InjectionSTRICT LIMIT OF ONE PER CUSTOMER
    $40.00
  • "The live recording was taken from their critically acclaimed performance at RoSfest USA at the beautiful Majestic Theatre in Gettysburg. Following the success of their award winning second studio album 'Moments', IOEarth present their first live album to the world, showcasing 11 tracks from their ground breaking albums including the sublime 'Cinta Indah' , the explosive 'Home' and the dynamic 'Harmonix'. "
    $7.00
  • "In some ways, Styx was America's answer to Queen. The Chicago quintet never ascended to the ranks of rock-and-roll royalty, as did their English counterparts, nor are they held in as high a regard today. Nevertheless, Styx fulfilled a Midwestern American hunger for high-flown fantasy typified on Pieces of Eight with songs like Dennis DeYoung and James Young's "I'm Okay" and "Lords of the Rings," with their elaborate arrangements, soaring vocal harmonies, and lyrical pretensions. In quite another direction, guitarist Tommy Shaw writes about basic human needs and working-class values in "Blue Collar Man," while his song "Sing for the Day" is a pleasant air, and "Renegade" a hard-charging rocker. Styx may have seemed somewhat schizophrenic on Pieces of Eight but their legions of fans diminished not a whit, making the album the band's second multiplatinum effort in a row, following The Grand Illusion." 
    $5.00
  • "Back in the late eighties and early nineties I was a huge fan of that eras best thrash metal. Bands like Slayer, Testament, Death Angel, and Forbidden drew me in with machine gun double bass drums, lighting fast rhythms, and aggressive vocals. One Machine is the brainchild of guitarist Steve Smyth, best known for his stints in some of metals finest bands including Nevermore, Forbidden, Dragonlord, Vicious Rumours, and Testament, a stellar resume to be certain! For One Machine’s debut album, Smyth has formed a band that is compromised of a who’s who in the world of extreme/underground metal who were carefully selected by Smyth: Mikkel Sandager (Mercenary) on vocals, Jamie Hunt (Biomechanical) sharing guitar duties, rounded out by a powerhouse rhythm section with Tomas “O’Beast” Koefoed (Mnemic) on bass guitar and Michele Sanna on drums (although former drummer Raphael Saini of Italian progressive metallers Chaoswave played on the album). The Distortion Of Lies And The Overdriven Truth was recorded and produced by Steve Smyth. Mixing was handled by guitarist extraordinaire Roy Z (Judas Priest, Bruce Dickinson, Halford), mastered by Alan Douches (Three Inches Of Blood, Firewind, Sepultura) from West West Side Music with artwork created by Niklas Sundin from Cabin Fever Media (Dark Tranquillity, Arch Enemy), complimented with photography from Anthony Dubois (Meshuggah, Mnemic).The songs harken back to the 80′s Bay Area thrash movement of bands like Early Metallica, Testament, Death Angel, Exodus, and Forbidden and melds it with the classic metal style of Painkiller era Judas Priest and the melody of Vicious Rumours. Lead vocalist Sandager sings clean for the majority of the album but can growl out some extreme growl vocals as well as ear piercing screams that would make Rob Halford proud. He also has a vocal similarity to Russ from Forbidden in places (Crossed Over). Unlike a lot of their thrash metal forefathers, the band has a penchant for writing choruses with melodic and catchy hooks (Armchair Warriors). The music is chaotic at times (Killing The Hope Inside) almost to the point of no return, only to transition into a melodic passage that brings things back from the abyss. The guitar solos are as frenzied and speedy as the songs, at times reminding me of classic Slayer. What you have here are ten no nonsense slamming brutally heavy tracks that will make you want to jump in the pit. The title track sets the tone for the album with neck snapping, whiplash inducing headbanging thrash metal. There are some lighter moments such as in Kill The Light Inside and most notably the dark and moody mid-tempo of Last Star Alights, but for the most part, each song on the album takes a turn pummeling the listener with heavy riffs and brutal rhythms (see Evict the Enemy).One Machine is a band with a tremendous upside and possible crossover potential in the mainstream metal market with the right promotional push. Fans of Smyth’s revious work in Testament, Forbidden, and Nevermore will find a lot to love about this band, while fans of more melodic fare might be surprised to find lots of catchy melodies and hook laden choruses to sink their teeth into!" - Lady Obscure
    $15.00
  • "Coming right out of nowhere Love.Might.Kill really made an impact in the summer of 2011 with their Brace For Impact album, which perfectly combined the enthusiasm of a debut with the experience of a long songwriting career. And a look at the lineup soon proved: there are no newcomers here. And it did not really surprise anybody that Love.Might.Kill proved their success with their debut already. One year later now Love.Might.Kill return with their mighty 2nd effort 2 Big 2 Fail showing everybody that the success of the debut was not by purpose. With the addition of keyboarder Sascha Onnen (ex- Mob Rules ) the band is on the verge of breaking right through. Their first tour already has been booked and will accompany the release date in October. The album was again produced by Michael EhrĂ©, being around for years as drummer in bands like Gamma Ray, Firewind, Metalium or with artists like Uli Jon Roth, Matt Gonzo Roehr, Vinnie Moore and Kee Marcello he made his strong impact in the national and international scene. The album was mixed and mastered by Markus Teske at his Bazement-Studios."
    $14.00
  • "Emboldened by the popularity of Inner Mounting Flame among rock audiences, the first Mahavishnu Orchestra set out to further define and refine its blistering jazz-rock direction in its second -- and, no thanks to internal feuding, last -- studio album. Although it has much of the screaming rock energy and sometimes exaggerated competitive frenzy of its predecessor, Birds of Fire is audibly more varied in texture, even more tightly organized, and thankfully more musical in content. A remarkable example of precisely choreographed, high-speed solo trading -- with John McLaughlin, Jerry Goodman, and Jan Hammer all of one mind, supported by Billy Cobham's machine-gun drumming and Rick Laird's dancing bass -- can be heard on the aptly named "One Word," and the title track is a defining moment of the group's nearly atonal fury. The band also takes time out for a brief bit of spaced-out electronic burbling and static called "Sapphire Bullets of Pure Love." Yet the most enticing pieces of music on the record are the gorgeous, almost pastoral opening and closing sections to "Open Country Joy," a relaxed, jocular bit of communal jamming that they ought to have pursued further. This album actually became a major crossover hit, rising to number 15 on the pop album charts, and it remains the key item in the first Mahavishnu Orchestra's slim discography." - Allmusic
    $7.00
  • Finally available is this remastered version of the band's fifth album. This is where the Pink Floyd influences really start to kick in heavy. Essential.
    $13.00
  • Rob Reed is the leader and keyboardist of Magenta - we all knew this.  I think what is less well known is Rob's proficiency on other instruments.  Sanctuary is an instrumental tour-de force in which Rob plays all the instruments himself.  His clear, and unabashed, inspiration for Sanctuary is Mike Oldfield's iconic Tubular Bells album.  The imprint of Oldfield on the composition is undeniable.  Reed wears his influences on his sleeve with no shame.  He's even brought in the Tubular Bells production crew of Tony Newman and Simon Heyworth to handle production and mastering.  Its an epic sounding recording and you'll get to hear it in all its glory - the set comes with a DVD that features the album in both a 5.1 surround as well as 24/96 hi-res stereo mix.  BUY OR DIE!"Multi-instrumentalist, producer and composer Robert Reed (Magenta/Kompendium), announces the release of a unique new album, Sanctuary, on 21st July through Tigermoth Records. Sanctuary is produced, mixed and engineered by Robert Reed, who is joined by legendary T u b u l a r B e l l s producers Tom Newman (as co-producer) and Simon Heyworth, who mastered the album. The album will be released in 3 formats: CD, vinyl and DVD 5.1 surround.Rob Reed was inspired to become a musician and composer at the age of seven after discovering Mike Oldfield’s Tubular Bells. So inspired was he by the album, that he learned to play not just one, but all the instruments featured on the album. Sanctuary is the fruition of a decision that Rob made in January 2013 to utilize his abilities as a multi-instrumentalist and create an album in the style of Tubular Bells; he recalls: “The next four weeks were a blur as the music just came out. It turned out to be the most enjoyable album I’ve made. I wanted to play all the instruments, and for all of them to be real; no synthesized or sampled instruments, just the real thing.”Rob Reed was determined to keep his vision of Sanctuary intact and play all the instruments himself: “I just had a blind confidence that I could play them all. I owned all the guitars, etc in my own studio but had to hire the larger percussion instruments, like timpani’s and tubular bells, so the lead percussionist of the Welsh National Orchestra turned up with a lorry full of the most expensive percussion. For two days he frowned as I made my way through playing these instruments, like a kid in a sweet shop. Whenever I struggled he continued to ask if I wanted him to play them. I replied that I couldn’t, as it would break the pledge of making the album by myself.... Everything is played by hand by myself, except for guest vocalists, Synergy Vocals.”Reed was conscious that he was treading a fine line in preventing Sanctuary becoming a pastiche of Tubular Bells. He continues: “I worked hard to make the melodies stand on their own. I wanted to capture the emotion that Mike Oldfield managed to communicate through his playing that replaces lyrics. I wanted to use voices, but not have lyrics; just vowels combined with nonsensical words. Synergy Vocals were accustomed to this, having worked with Philip Glass and Steve Reich.”Reed secured the collaboration of Tubular Bells producers Tom Newman and Simon Heyworth after seeking their seal of approval. Reed comments: “Simon told me when he heard it, he closed his eyes and was back in the Manor Studios in 1973 and commented on how well it was executed. I contacted Tom to ask if he could offer any advice on the mix or production, and when we finally spoke, he was really complimentary and offered to get involved in the production and mixing; he also had loads of ideas about structure and arrangements. He has been invaluable with his insight and was always there when I was struggling to finish the album. All the timing errors and tuning errors are left in... it was real”.Tom Newman says: “I really enjoyed working on this - I had carte blanche and just enjoyed sculpting the sounds into shape, and placing all the beautifully crafted parts in the right places in the musical landscape . . .”Multi-instrumentalist, producer and composer Robert Reed (Magenta/Kompendium), announces the release of a unique new album, Sanctuary, on 21st July through Tigermoth Records. Sanctuary is produced, mixed and engineered by Robert Reed, who is joined by legendary T u b u l a r B e l l s producers Tom Newman (as co-producer) and Simon Heyworth, who mastered the album. The album will be released in 3 formats: CD, vinyl and DVD 5.1 surround.The result is an astounding piece of emotional instrumental music."
    $17.00
  • New remastered deluxe edition of what is arguably Fates Warning's best album. The standard album is accompanied by a second CD featuring the demos for the album. As yet another bonus you get a DVD with live performances from 1989 and 1990. You also get the promo video for "Through Different Eyes". This digipak set is packed! Highly recommended.
    $16.00
  • "By the start of 1970, young Peruvian musician Gerardo Manuel Rojas already had an impressive body of work with various rock bands: The Doltons (in Ica), Los Doltons (in Lima), Los Shain's and The (St. Thomas) Pepper Smelter; he had recorded to that point five LP's and many 45 rpm records. He was 24 years old. And Gerardo's work would continue with the implementation of a recording studio at the El Virrey label office. The label had hired German engineer Gerhard Nieckau for the installation of a new Neumann 4-channel recording console; they also asked Gerardo to act as Nieckau's partner, and asked him to get musicians to perform the first test runs of the recording set up. The musicians came to the studio to record and rehearse during the hours that the studio was not in use, from ten at night until sunrise. What resulted was a kind of "ghost" band that recorded throughout the night. For this project, Gerardo joined with guitarist "Pico" Ego Aguirre, bassist Jorge "Coco" Pomar (both from Los Shain's) and drummer Freddy "Pure" Sources of the group La Nueva Cosecha (The New Crop). After a month of testing the new studio, (they had already recorded more than 200 hours there), El Virrey suggested that they release an album with some tracks from those sessions. That album, "Apocallypsis," was the first hard rock album recorded in Peru; it was released on vinyl in August 1970. The album includes five original songs, plus versions of tracks by Grand Funk, Liquid Smoke, Jimi Hendrix, and Question Mark and the Mysterians. Before the LP came out, El Virrey released two 45rpm singles that are included on the CD as bonus tracks. This special edition of a South American classic also includes a booklet with some terrific photos and memorabilia + liner notes and lyrics."
    $15.00