Fish Rising (Remaster)

SKU: 094637341520
Label:
Virgin Records
Category:
Progressive Rock
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Remastered first solo album from Gong's brilliant guitarist. A great mix of psychedelic and Canterbury rock. Comes with 2 bonus tracks - a 2006 remix of "Pentagrammaspin" and a 13 minute power trio version of "Aftaglid". Essential!

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  • Stunning second solo effort from Riverside frontman Mariusz Duda. Lunatic Soul explores the quieter, introspective side of the progressive spectrum. Duda plays most of the instruments himself, but he is also helped out by Indukti's Wawrzyniec Dramowic on percussion, and flautist Maciej Szelenbaum. The music has a definite Asian influence with a wonderful melodic flow. Think in terms of Riverside's quieter moments or Opeth's Damnation. It does rock out but not HARD since (once again) there are no electric guitars. This fact doesn't make the album any less intense. Album of the year candidate? Highest recommendation.
    $14.00
  • Mr. Schulze has been having a bit of a renaissance lately.  Sadly the analogue years are long gone but within the context of the music, Shadowlands harkens back to the days of X.  Large scale symphonic electronics in the Berlin School tradition that he helped create.  Thomas Kagermann provides violin and flute as well as voice.  Lisa Gerrad, Chrysta Bell and Julia Messenger add vocals.  For the past few decades his releases have been a bit hit or miss but this one is definitely a winner.
    $18.00
  • Of all the Yes albums that needed a remix this is the one that needed it the most!"Relayer (1974) is the third in a series of remixed and expanded Yes albums.Presented in a mini vinyl replica gatefold card sleeve (with protective inner sleeves) with booklet featuring new sleeve notes by Sid Smith, along with rare photos and archive material, the album has been remixed into stereo and 5.1 Surround Sound from the original studio masters by Steven Wilson and is fully approved by Yes.The blu-ray also contains the original album mix in high-resolution, a complete alternate album running order drawn from demos and studio run-throughs. Additional exclusive Blu-Ray features include extra demo/studio run-throughs, full album instrumental mixes, a full album needle-drop of an original UK A1/B1 vinyl pressing, single edits, live tracks, and needle-drops of the banded tracks from the original US vinyl promo album.Restored artwork approved by Roger Dean, the release of which coincides with the 40th anniversary of the album’s original late 1974 appearance."
    $25.00
  • Reissue of the band's 1988 album now available with three bonus tracks from the Millstream sessions."After being dropped by EMI Records Pendragon (i.e. Nick Barrett) decided to go for an own record label, called Toff records. After a few years this was the first (studio) CD with Clive Nolan and Fudge Smith. This album indicates a slight difference with the earlier albums. Nick Barrett tries to write some shorter, more single orientated songs, but he doesn't forget the long epics ! Therefore this must be one of the most varied Pendragon albums, unfortunately not all the songs do have my interest !KowTow opens with Saved By You, a very simple track, and very poppy ! The Mask, Time For A Change and I Walk The Rope are a little "best of both worlds": very good compositions but a little shorter (4-5 minutes) than the songs on previous albums. An indication that Pendragon goes a little more song-orientated.2.AM starts with a saxophone and is a very sad, melancholic ballad. Next tracksTotal Recall and The Haunting are long, progressive songs which make me think of the "old" classical Pendragon songs. Especially The Haunting is a FANTASTIC song (by far the best on this album); Pendragon at it's best ! Solid Heart is a very nice sing-along song while KowTow is a statement about war in which Nick Barrett proves he can write good lyrics. A great (re)start for Pendragon at this stage of their career. Especially the nice keyboard sound of Clive Nolan and the aggressive and subtile drum sound of Fudge Smith makes it a very good album. But you have to like the song orientated direction Pendragon shows on this album." - DPRP.net 
    $13.00
  • "Most progressive music fans will recognize guitarist John Wesley from his work as touring member with Porcupine Tree over the last several albums. Yet, Wesley also has an extensive solo collection as well, and he expands it with his sixth album, Disconnect.The album is defined by one singular element, Wesley's guitar playing. Disconnect is definitely a guitar driven prog record. His playing evokes the styles of David Gilmour, Alex Lifeson, Steve Wilson, and maybe even some Jeff Beck. (Lifeson guests on Once A Warrior.) Wesley's sound on many songs is generally sharp and high-pitched as with Once A Warrior, sometimes sounding psychedelic as within Disconnect, and then kinetic, yet muted, within Take What You Need.There's a lot of weight to many songs as well, definitely tipping the album towards progressive metal. When a song does appear to be somewhat lighter at the start, like Gets You Everytime or Mary Will, Wesley jumps in with those slashing guitar licks to slice your ears into tiny little pieces, like stir fry vegetables. If there is a drawback to the album at all, it's that the slashing sharpness of the guitar is pervasive and can get more than a little shrill at times. But there are some lighter pieces here, namely Window and more so Satellite, where Wesley dials up some acoustic guitar in the mix.Briefly, the other significant element here is Wesley's vocals. He has a great melodic voice, emotive and passionate at times, and definitely pleasing. With guitar in hand, a strong voice, and creative compositions, John Wesley has delivered another fine album with Disconnect. Easily recommended." - Dangerdog.com
    $10.00
  • Kindly Bent To Free Us is the long awaited third album from Cynic.  It finds the core trio of Paul Masvidal, Sean Reinert, and Sean Malone intact.  Just as Traced In Air was an evolution from Focus, so is Kindly Bent To Free Us a natural sounding progression from Traced In Air.  There is a common underlying sound which is clearly Cynic.  The music still maintains metallic and jazz roots but it serves as a foundation for a sound that owes more to prog rock.  If you are expecting Focus you will be disappointed.  This probably owes more to Porcupine Tree and Riverside as its not quite as technical as in the past, relying more on atmosphere.  But don't get me wrong, there is some unbelievable playing going on.  Once again Sean Malone demonstrates that he is the most underrated bassist in the world.  Highly recommended.
    $11.00
  • Its been almost 4 years since the band's phenomenal debut.  Since that time the duo of Mariusz Boniecki and Marcin Kledzik have expanded into a live gigging quartet.  I'm pleased to say that in terms of their music the band has not lost any momentum.  The same influences are still present - you will hear the imprint of Porcupine Tree and King Crimson.  The title of the album is a bit of a giveaway - this is not uplifting music.  It is filled with noir-ish, melancholy atmosphere.  Emotion filled vocals ride on top of Crafty guitarwork.  The technicality is there but you have to listen for it.  Think of a head on collision between In Absentia and Discipline and then take it one step beyond.  Clearly Pinkroom does it again.  BUY OR DIE!
    $13.00
  • Limited edition import 2CD set with 7 bonus tracks!"When you made the impact that Bigelf did in 2010 with their fourth album ‘Cheat The Gallows’ and the subsequent tour, it’s inevitable that people expected the highly rated band from Los Angeles to hit hard in 2011. But instead we got an astonishing silence. However, all that is about to change with the arrival of ‘Into The Maelstrom’, a new album of melodic prog-doom that eccentric frontman Damon Fox believes will take Bigelf to new heights. “I have been reflecting on the band and pondering what it would take to get us to the next level, I believe we have accomplished this task on the new record.The last three years for Fox have been confusing and difficult, to say the least, as he found the band he’d worked so hard to establish suddenly dissipated. “I’d call our break a spontaneous hiatus. I did genuinely feel that we’d go into 2011 with an album out early in the year, and then we’d build on what we had achieved up until that point. Instead, we came to a standstill. The momentum had vanished, and it halted the band. So, I was forced into an introspective state of hypersleep and had to contemplate my future. I love the other guys in the band as brothers, and I am extremely grateful for they contributed to help get Bigelf this far. I was heartbroken when that line-up came to an end but change nonetheless was upon the band.“Forging ahead, I didn’t feel that I could get it done on my own”, Fox admits. Thankfully, he found a kindred spirit in famed drum god Mike Portnoy, with whom he’d bonded with in 2010 when Bigelf toured with Dream Theater. “We hung out a lot back then, and got very close. Mike and I discussed how similar our situations were with our respective bands going through our ‘Let It Be’ phases. This was around the time when Mike had his dramatic press-laden departure from Dream Theater. I knew Mike loved Bigelf, and he told me not to give up on it and to keep the band going. His encouragement really helped me to carry on through dark times.”"Getting the songs fully realized was something of a laborious experience", Fox explains. “In the past while I had written most of the material, I always had a incredibly gifted band to bounce ideas off of and we would often jam out to fully realize the song . But this time, I had to write, arrange and envision everything on my own. Once I got the selection of songs together, I sent the demos to Portnoy (who had agreed to play on the album). Mike is the busiest man in Prog, so the next time he was in LA, we laid down the drums at Linda Perry's studio, Kung-Fu Gardens where we did ‘Gallows’. I also wrote a song with her for the new album. The rest of the sessions and instrumentation were recorded at my home studio ITM.“I feel this album is going to prove to a lot of MP haters that Portnoy can really lay down a groove and has a serious vibe as a drummer. It’s not just about his chops and his pyrotechnic style, for which he’s known for, especially with Dream Theater. The feel and emotion in his playing on this record is really unique and it’s unlike anything else he’s done before in my opinion” Lovable lefty bassist Duffy Snowhill, who’s been with the band since 2000, is bringing his thundering Viking bass tones to the recording of ‘Into The Maelstrom’. Luis Maldonado is also climbing aboard the Elf vessel for his first trek. “Luis is a close friend who I’ve known for many years. He has his own band, Into The Presence, and works with a lot of established artists as well. Luis is a phenomenal guitarist, he delivered some really blistering leads on the new album. I'm supplied all of the rhythm guitar tracks and managed to squeeze in a few leads as well too. People usually associate me with keyboards – and there are copious amount on the album, to be certain – but originally Bigelf was founded around my guitar riffs, and it was really rewarding to be able to play guitar again from a nucleus standpoint.”‘Into The Maelstrom’ was produced by Fox (who also handles all the vocals), and believes this album proves that Bigelf are now exploring alien musical landscapes. “There’s a fresh aura and energy on there that’s completely different to our previous releases, but it also sounds like Bigelf. I view this album as being very psychedelic cinematic. It has a ‘Mad Max’ post-apocalyptic feel – a futuristic world that’s rather dirty and desolate filled with chaos and despair. The bludgeoning Sabbath guitars and “Karn-Evil” keys are still there, but the modern setting is what makes the record have a creative edge.While ‘Into The Maelstrom’ isn’t a concept album as such, Fox does reveal that there is a theme that links much of his lyricism. “It’s about traveling through time into one’s past and into the future, to experience and examine your pain and fears, in order to move forward in life. A lot of my baggage from the my travels provides the cathartic inspiration. Deep, personal feelings like the tragic death of my best friend and former Bigelf guitarist A.H.M. Butler-Jones. And my fears of mankind eventually destroying itself a la, ‘Planet Of The Apes’. I suppose the opening song, ‘Incredible Time Machine’, sums it all up.”Fox is clearly inspired and reinvigorated by the new focus Bigelf have made here. For him it’s not just about how the album sounds, but also the process involved in getting there. “Making the record has been a certain kind of journey. A few years ago I had to completely let go of Bigelf, which was painful but it came back with force and vision. As such, the music began to shape from a different perspective and I have been able to see an alternative way of accomplishing my goals. To me, ‘Into The Maelstrom’ is a genesis, a bridge between the band and a larger audience. Strap yourselves in ladies and gentlemen, you're in for a wild ride.”"
    $15.00
  • "ALLEN/LANDE (or ALLEN-LANDE) is a Melodic Hard Rock/Heavy Metal super group / band project formed in 2005 by guitarist Magnus Karlsson (PRIMAL FEAR, STARBREAKER) with two highly acclaimed metal vocalists - vocalist Russell Allen (SYMPHONY X) and former MASTERPLAN vocalist Jørn Lande. The band released such albums: "The Battle" (2005), "The Revenge" (2007), "The Showdown" (2010) and "The Great Divide" on 17th October 2014.Opening track “Come Dream With Me” takes listeners on the journey through the Melodic Rock & Metal world where you can find stronger melodic guitars with wonderful vocals, clear rhythmic section, catchy chorus with an impressive guitar solo which makes goose-flesh, and little PRIMAL FEAR echoes. Powerful drums and mega energetic guitar riffs in “Down from the Mountain” are truly kick-ass with amazing vocals in climate of BLACK SABBATH, AXEL RUDI PELL and memorable refrain in high style. All tracks have similar sounds to GAMMA RAY and TIMO TOLKKI songs. The energetic atmosphere of “Dream About Tomorrow” is caused by heavier riffs, SCORPIONS echoes, great solo, and keys in Power Metal style.My favourite song on the album is “Lady of Winter”, which has everything that is the best in Hard Rock and Metal music – so gentle piano opening, then heavy riffs, clear drums, fabulous memorable high chorus, and perfect worked guitars full of melody. Stunning track with rockin sounds, mid-tempo, perfect bass, slower climate, and totally in the style of JORN. Stronger riffs with gentle keys and massive JORN vocals in pathetic melodic refrain in track “Solid Ground” is perfect, also with a massive and brilliant guitar solo!The band proves that they are on high-class level in powerful “In the Hands of Time” where keys and melodic guitars have STRATOVARIUS echoes. The energetic “Reaching for the Stars” with gentle keys in the background with memorable refrain and massive sounding “Hymn to the Fallen” with mixing Heavy Metal sounds together with rockin style.Also I like very much the ballad titled track “The Great Divide” with beautiful strong voices of singers, calmer guitars, keyboards, and passionate guitar work and chorus in high style with choir in amazing slower tempo – what a wonderful sound! Another ballad “Bittersweet” has a slower rate, clear drums, piano, and brilliant singing together with climatic stronger high riffs. Sounds total perfect!ALLEN/LANDE, again, proved that they are Kings of Rock and Metal. They connect different kinds of sounds – Hard Rock, Heavy Metal with doses of melody. The band creates music with passion. Every track is a masterpiece and in each sound the experience of musicians is hear able. ALLEN/LANDE is simply a fantastic band, and their fresh CD “The Great Divide” is more than highly recommended to every lover of Melodic strong sound!" - Metal Temple
    $16.00
  • The release of 2012's critically acclaimed Trouble With Machines ushered in an exciting era for Chicago-based Progressive Rock band District 97. In 2013, the band toured both Europe and the US with legendary bassist and vocalist John Wetton (King Crimson/UK/Asia), which was documented on 2014's live release, One More Red Night: Live in Chicago. 2013 also saw the band nominated for a Limelight Award by Prog Magazine. Rather than rest on their laurels, District 97 took to the studio in 2014 to record the new material they'd been honing at home and on the road. The resulting album, In Vaults, continues and accelerates the upward trajectory of great songwriting and incredible musicianship that's been evident since the band's 2010 debut, Hybrid Child. One listen perfectly illustrates why John Wetton says, “I've said it before, and I maintain that D97 is the best young progressive band around right now. Gifted players, great material, and a brilliant, charismatic singer in Leslie Hunt."In addition to its evocative and powerful songwriting and performances, In Vaults features the immaculate mixing of Rich Mouser (Spock's Beard, Transatlantic), mastering by Grammy winning engineer Bob Katz and the stunning imagery of Björn Gooßes of Killustraitions. 
    $13.00
  • Double live CD recorded on the 2010 US tour in support of The Incident.  The set includes a complete live performance of "The Incident" recorded in Chicago as well as additional material recorded at the Royal Albert Hall in London.
    $7.00
  • Third album from this excellent Norwegian band.  Arabs In Aspic is yet another prog band influenced by the sounds of the 70s.  Lots of similarities to Black Bonzo.  Vintage keyboard sounds and nice heavy-ish guitar leads.  Vocalist Rune Sundby of the 70s Norwegian band Ruphus guests.  That band would be a pretty good comparison but you can definitely hear undercurrents of Uriah Heep and Deep Purple but there is more going on here. On the longer, jammier tracks the music takes on the psychedelic feel of Echoes period Pink Floyd.  Beautifully done.  Highly recommended.
    $24.00
  • 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
  • Glass Hammer get all existential on us...Perilous is the new band's new concept album about a man dealing with grand scale issues like mortality.  A bit of a downer but like all Glass Hammer projects there is a ray of sunshine at the end.  Glass Hammer is fronted by Jon Davison who was plucked away by the remaining members of Yes for current tours and cruises.  He remains a member of GH as well.  Naturally with the voice of a Jon Anderson sound alike, the music bears remarkable similarity to Yes.  Some of Fred Schendel's piano work reminds a bit of Going For The One.  When Fred is hammering away on the organ the music takes on a Kansas quality.  So essentially not much has changed.  Glass Hammer's sound has pretty much evolved into a Yes/Kansas hybrid over the past decade and there it remains.
    $13.00