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SKU: VMCD036
Label:
Vinyl Magic
Category:
Progressive Rock
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Superb jazzy progressive rarity from Italy. Highly recommended.

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  • By now everyone knows that Cherry Five was the precursor to Goblin before they signed with Cinevox.  Original drummer Carlo Bordini (of Rustichelli - Bordini fame) and vocalist Tony Tartarini have formed a new version of the band.  Bordini and Tartarini have enlisted Taproban keyboardist Gianluca De Rossi and rounded out the lineup with Ludovico Piccinini (guitar) and Pino Sallusti (bass).So the obvious question is - how is it?  Its a two part answer.  First off its 40 years since the first Cherry Red album was recorded.  This sounds nothing at all like Cherry Red or Goblin.  Tartarini sings in Italian and the music doesn't have the Yes vibe that the original lineup had.  But the second part is actually good news.  The music is a three part conceptual work with epic length tracks.  This fits right into the RPI ("Rock Progressivo Italiano" for those that don't know) vein.  Like his work with the terribly underrated Taproban, De Rossi is the focal point of the band's sound.  Piccinini's guitar tone is a bit modern sounding for the vibe they are trying for but its got a dark energy that fits in well with the keys.  This one's going to be a grower and an easy recommendation.
    $16.00
  • 1976's Straosfear clearly defined the band's heavily sequenced sound.  It was highly melodic - all the experimentalism of the early 70s was gone.  Dark and a bit intimidating, its one of their best.New edition remastered from the original master tapes.  Includes two bonus tracks.
    $13.00
  • The Custodian is a new British post-progressive rock band formed by Richard Thomson, vocalist for cinematic death metal band Xerath.  Unlike Xerath, The Custodian is an outlet for the more melodic, rock oriented writing from Thomson.While there are moments in the album that harken back to old school bands like Genesis and Yes, the music of The Custodian is contemporary in sound.  Necessary Wasted Time is an album full of dynamics - light and dark shadings balancing acoustic vs electric, heavy vs pastoral.  While atmospherics and tension are a strong component of the album, the band demonstrates their adept musicianship offering up long instrumental passages to complement the emotion filled vocals.  When needed the band unleashes some complex electric runs.The Custodian's debut should deeply resonate with fans of Steven Wilson, Riverside, Pineapple Thief, and Anathema.Necessary Wasted Time was mixed by noted engineer Jacob Hansen and give the full audiophile mastering treatment from Bob Katz. 
    $5.00
  • MY BROTHER THE WIND is an improvisational cosmic rock collective consisting of members of widely known Swedish acts Makajodama, Magnolia, Animal Daydream and most notably Anekdoten, one of the more widely recognized names in the 1990s prog rock revival.Recorded live in the studio with no overdubs during a single day in January 2013, Once There Was A Time When Time And Space Were One captures the collective's progressive soundscape qualities with incredible analogue studio production. The band utilized 6 and 12 string acoustic and electric guitars, Mellotron, flute, bass, drums, congas and more to complete the task. Expect 45 minutes of the band's most succinct material to date, recorded deep in the snowy, forested, Swedish wilderness.In 2013, MBTW expanded into an even wider fanbase, having been invited to play the mighty Roadburn Festival in Tilburg, Holland, as well as at Duna Jam in Sardinia.  At the invitation of Opeth’s Mikael Okerfeldt, guitarist Nicklas Barker returned to Roadburn to perform an improv set with Dungen guitarist Reine Fiske.Those who frequent the works of Popol Vuh, Amon Duul, Sun Ra, Träd, Gräs Och Stenar, Albert Ayler, Ash Ra Tempel, Gong, Pink Floyd and other visionary, psychedelic rock artists are advised to investigate this act. "Lush and instrumental for its duration, My Brother the Wind‘s third full-length, Once There was a Time When Time and Space were One (released by Free Electric Sound/Laser’s Edge), rolls out of the speakers much easier than its title rolls off the tongue, though both title and the work itself satisfy rhythmically. The Swedish four-piece — they now seem to be a bass-less trio with Nicklas Barker (Anekdoten) and Mathias Danielsson (Makajodama) on electric/acoustic 12-strong guitar and Daniel Fridlund Brandt on drums, but Ronny Eriksson plays bass on the album — reportedly recorded live to two-inch tape on a vintage machine, and the passion they put in bleeds readily into the nine-song/45-minute outing, fleshed with liberal splashes of Mellotron courtesy of Barker to play up a ’70s prog feel in a piece like the 12-minute “Garden of Delights.” That’s hardly the only point at which those sensibilities emerge, but even more than that, the primary vibe here is one of gorgeous heavy psych exploration, the band adventuring and feeling their way through the material as they go.On peaceful moments like the title-track, which arrives as the penultimate movement before “Epilogue” leads the way back to reality — accordingly, “Prologue” brings us in at the start — that exploration is positively serene, the 12-string complemented by spacious electric tones spreading out across vast reaches, but Once There was a Time When Time and Space were One offers more than drone and psychedelic experiments. Subtly pushed forward by Brandt‘s drums, pieces like “Into the Cosmic Halo” and even “Epilogue” enact classic space rock thrust, and even “Song of Innocence Part 1,” the first part of the journey after the backward atmospherics of “Prologue” introduce, has some cosmic feel amid its echoing solos. Its subsequent complement, “Song of Innocence Part 2,” swells to life on an even more active roll, waves of amp noise up front while drums and bass groove out behind, waiting for the guitars to catch up, which they do in a suitably glorious payoff, relatively brief but masterfully engaging, setting a momentum that continues well into “Garden of Delights,” a focal point for more than its length.Because the songs flow so well one to the next, some directly bleeding, others giving a brief pause, and because later cuts like “Thomas Mera Gartz” — named in honor of the drummer for ’70s Swedish proggers Träd, Gräs och Stenar — and the title-track have a quieter take, it’s tempting to read some narrative into the shifts of Once There was a Time When Time and Space were One, but with the material not being premeditated, I’m not sure that’s the intention so much as a signal it’s well arranged. In any case, the album offers an immersive, resonant listen, with tonal richness to spare and the presence of mind to keep a sense of motion even in its stillest parts and a balance of organic elements — Danielsson‘s recorder and Brandt‘s percussion on “Misty Mountainside,” the 12-string, etc. — amid a wash of effects and swirling psychedelia. This attention to sonic detail makes Once There was a Time When Time and Space were One more than just a collection of jams, and adds further purpose to the already worthy cause of My Brother the Wind‘s thoughtful musings, wandering and not at all lost." - The Obelisk
    $13.00
  • Vly began as strangers sending 1's and 0's across the Atlantic Ocean. British-based guitarist Karl Demata had a vague idea and a few demos, when a friend put him in touch with New York singer / artist Keith Gladysz. Keith began working on the demos, adding a more melodic, dream-like and decidedly indie sensibility. "It was a new way to work", says Gladysz. "The music and collaborative art I've made always started with people I knew, and creating naturally came out of that understanding. That's not the case with Vly. We managed to make an album without ever meeting. There was no gauge or reference point except for the music. It was a total shot in the dark".The sound of Vly shooting in the dark hits elements of progressive rock, classic rock, folk, early-Floydian psychedelia, intimate pop melodies, massive walls of epic guitar riffage, post-classical, post-rock and electronic music. And it's the diverse background of the members that lead to the breadth of their sound.The progressive sentiment of Italian keyboardist Elisa Montaldo quickly attracted the ear of Demata. "The first time I heard Elisa play" says Karl "I knew we had to be in a band. Her innate melodic approach and instinctual understanding and knowledge of 'anything prog' is simply remarkable"."Karl asked me to join the project at the very beginning" Elisa picks up: "My idea of prog is somehow more vintage, more typical 70's Italian style. After various experiments on arrangements and sounds, I went to Karl's studio to record most of the keyboards, where we found the right balance".Connecting with strangers, and expanding circles of mutual friends became the pattern for Vly. Karl next recruited experienced bass player Chris Heilmann who worked together previously in Crippled Black Phoenix. Chris provided a solid backbone with a more classic rock attitude.Demata doesn't hold back when talking about Sweden-based musician Mattias Olsson. "He is simply a genius. And he's never predictable as a drummer. Mattias also contributed some vintage keys and odd analog noises, which have a definitive effect on the bands sound. A common friend described him as a 'lateral thinker', and I can't think of a better way to describe him."Vly makes good on the futuristic dreams of the late 1990's, when promises of international recording sessions via the Internet excited incredulous musicians. Now that it's a reality (thanks to Dropbox and Skype), the method may be less glamorously sci-fi than one had hoped; still, they get the job done."I always disliked the cliches about music as a universal language, and more recently about the Internet bringing people together", explains Keith. "I'm even more uncomfortable with those sentiments now, since Vly proved them true".Vly's debut album, I / (Time) is available on the Laser's Edge imprint September 18, 2015. It's engineered and produced by Karl Demata, with additional production by Keith Gladysz and Mattias Olsen, and audiophile mastering by Bob Katz.VLY is:Keith Gladysz (Diet Kong, Typical Reptiles) - Vocals.Karl Demata (ex-Crippled Black Phoenix, Karl Demata Band) - Guitars, synths, programming.Elisa Montaldo (Il Tempio Delle Clessidre) - keyboards and synths.Chris Heilmann (ex-Crippled Black Phoenix, Bernie Torme', Shark Island) – Bass.Mattias Olsson (ex-Änglagård. White Willow, Necromonkey) - Drums & keyboard 
    $5.00
  • ""In 1963, Miles Davis was at a transitional point in his career, without a regular group and wondering what his future musical direction would be. At the time he recorded the music heard on this CD, he was in the process of forming a new band, as can be seen from the personnel: tenor saxophonist George Coleman, Victor Feldman (who turned down the job) and Herbie Hancock on pianos, bassist Ron Carter, and Frank Butler and Tony Williams on drums. Recorded at two separate sessions, this set is highlighted by the classic "Seven Steps to Heaven," "Joshua," and slow passionate versions of "Basin Street Blues" and "Baby Won't You Please Come Home." The 20-bit remastered version issued by Sony's Legacy imprint in 2005 includes two rather startling bonus tracks from the original sessions that were not included on the LP or previous CD releases; they are the beautiful "So Near, So Far," and "Summer Night."" - All Music Guide" - All Music Guide
    $7.50
  • Withem is an up and coming Norwegian progressive metal band, inspired by the likes of Symphony X, Pagan’s Mind, Dream Theater and Circus Maximus.The band started to take shape in 2011 when Øyvind Voldmo Larsen (guitars) and Ketil Ronold (keyboards) met the gifted drummer Frank Nordeng Røe. Soon they were joined by the vocal talents of Ole Aleksander Wagenius and bass duties were taken care of by the special guest Andreas Blomqvist from Seventh Wonder.Withem’s debut offers varied sonic landscapes for the listener to explore, ranging from guilty-pleasure choruses permeated with memorable vocal hooks, to symphonic epic themes.  The unique vocal range of Ole Aleksander Wagenius gives the band a distinctive touch to tackle the overcrowded progressive metal scene.The passion and dedication put into the album is emphasized by the countless hours spent in studio perfecting each individual performance and making sure that the end result is a world class blend of progressive, symphonic and power metal.The Point Of You was mastered by Markus Teske (Vanden Plas, Saga, Spock's Beard)
    $6.00
  • Debut album from this Italian crossover band.  Secret Tales is not traditional rock progressivo italiano style of music.  This blends together symphonic rock, medieval and Celtic folk, and maybe even some subtle touches of metal around the edges (but barely).  This is a Black Widow Records release so expect an overlay of dark subtext.  Female vocals are in Italian and fit the ominous music perfectly.  There is an otherworldly ominous quality to the whole affair.  Its a concept piece and it would definitely help if you spoke Italian but the music by itself has a dark beauty."Secret tales of an enchanting journey that takes place over time in a kingdom disappeared from who knows how long ...Kings, queens, princes and princesses, fairies, witches and magical and grotesque creatures rotate with their stories in a fabulous location, where the figure of the demiurge-Unicorn overhangs and protects everything and everyone, from the monstrous Faust to the sweet Elf. Emotions without boundaries, to other infinite universes ... The charm and enchantment of soft and dreamy music, full of fabulous side dishes and lyrically supported by parts sung in Italian, English and French by Princess Tiziana Radis: the debut album of the Secret Tales is an imaginary sound that turns his gaze to the ancient traditions of Celtic folk-medieval, alternating dark atmosphere and refined symphonic progressive melodies… A work of great emotional impact !"
    $16.00
  • Hyperdrive marks a new era for Knight Area.  The long running Dutch progressive rock band had previously released four studio albums and toured Europe and USA extensively, performing at all major prog rock festivals.  1n 2012 the band welcomed guitarist Mark Bogert as well as legendary bassist Peter Vink (Q65, Finch, Ayreon) into the fold. With these newcomers onboard, Knight Area introduced a heavier element and fuller sound to their repertoire.  All the classic symphonic rock traits of their previous albums are still clearly evident but the songs on Hyperdrive are more immediate and concise.The band invited noted prog guitarist Arjen Lucassen (Ayreon, Star One) to participate as a special guest on one track.  Joost van den Broek, who is known for his production work with Epica, Mayan, and After Forever, mixed the album.   Rounding out the package is startling artwork by Gustavo Sazes.
    $6.00
  • Vital live session from the original lineup. Essential psychedelic hardness.
    $20.00
  • Its been quite a long time since we've heard from Magic Pie.  They went through lots of trials and tribulations getting this album finished but now its finally arrived.  If you are not familiar with this band here's the deal: Magic Pie are a Norwegian band with a retro 70s sound.  The music is a bit of a high wire act balancing the neo-prog sounds of The Flower Kings with the heavier elements of classic Uriah Heep.  They also seem to be the darlings of Rosfest having played there multiple times."It's hard to believe it's been 10 years since these proggers from Norway released their promising debut "Motions of Desire". At that time, their music struck me as an enthusiastic combination of classic prog and classic hard rock. (Think Deep Purple for the hard rock side of that equation.) At their best, they offered memorable passages and pieces that sounded like they very well could have been long lost recordings from many years ago. At their worst, they sometimes fell short of filling the big shoes of the legendary bands whose music they strove to emulate. That's actually not bad for a debut album from a new prog band. I found much to like and looked forward to hearing from them again in the future.Checking back in on them a decade later, I must say that I am very impressed with how they have developed and matured. No longer do I get the feeling that certain sections of songs are direct homages to any particular band from any one particular decade of prog's illustrious history. Their influences, while still very present and valid, are now more varied, including a greater percentage of modern reference points. More importantly, their influences are just that--merely influences rather than templates or even primary reference points.The sound quality on "King for a Day" is superb thanks in large part to the enlistment of sonic genius Rich Mouser (whose resume includes similar work for prominent contemporaries like Spock's Beard, Transatlantic and Dream Theater).Keyboardist Erling Hananger is an excellent addition to Magic Pie's recipe. His keyboard parts are expressive, dynamic and integral to the music. When appropriate, his leads seamlessly blend, harmonize, and work synergistically with electric guitar.The lyrics have a melodramatic and somewhat tragic flair this time around, but this is prog so you should be accustomed to the musical ride including a few tragic tales from time to time by now, right?OK ' so it's time for the "magic" question... A decade after their debut album, how has my impression of Magic Pie changed?On "King for a Day", I now hear a band which has found "its own voice", one that resonates confidently in the space somewhere between classic arena rock of yesteryear (on prog-steroids of course) and modern melodic prog of the 21st Century (like Spock's Beard and The Flower Kings). Add a few dashes of modern prog-metal to taste and you, my friend, have baked up a very nice confection indeed... MAGIC PIE!If you love modern prog anthems with big harmonies and 'sing along' choruses, give "King for a Day" a listen! I'm glad I did!" - ProgArchives
    $14.00
  • One of the great Italian symphonic prog albums of the 70s. Recommended to fans of Banco and PFM. New jewel case edition from Vinyl Magic.
    $15.00
  • Previously unreleased live show from November 4, 1972. This is the post Uli Trepte lineup with his replacement Bruno Schaab on bass. The band jams out three mega-long versions of "Oxymoron", "Baby Cake Walk" and "Ooga Booga"."After Uli Trepte had left the band, Guru Guru had one of their first gigs with Bruno Schaab on bass in the assembly hall of the Germania-Heim in Wiesbaden on November 4th, 1972. They played in front of about 200 to 300 people. The whole concert was recorded expertly and in stereo, with the consent of the band and the promoter, Robert Huth, by Muck Krieger, sharing a flat with Xhol (Caravan), a band they were friends with and which had just broken up. The equipment used – an Uher tape recorder CR 124 and Revox microphones – were then state-of-the-art technology. Here you will hear three overlength versions of Guru Guru tracks in a perfect sound quality. They could thus freely display and develop their play without having to keep to the limited playing time of an LP side. The CD was drawn directly from the master tapes."
    $20.00
  • New reissue of a beautiful album that was originally released in 2000 and has been out of print for many years.Friendship marks the long awaited reunion of Manuel Gottsching and Klaus Schulze.  While there have been off and on collaborations over the years this is the first full length album they have done under the Ash Ra Tempel moniker since Join Inn.  The album consists of three epic length tracks that showcases what they do best - Schulze's lush synthesizer beds and rhythms juxtaposed by Gottschings liquid guitar lines.  Highly recommended.
    $18.00