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  • Riverside's latest takes a bit of a swerve from their traditional sound.  Parts of the album bears the imprint of Mariusz Duda's solo work - its more laid back, more refined.  Other aspects of the album carry on with the sound that Riverside has developed over recent albums - chunky organ, trippy keyboard soloing and interstellar guitarwork.  This one is a grower.  At first listen it might not hit you but the more you scrape away at it the more you realize its dug deeper under your skin."For the past decade or so, Polish progressive rock/metal quartet Riverside set itself apart from their stylstiic brethren by offering distinguishing tones, mesmerizing atmospheres, and most importantly, remarkable songwriting. Sure, the band also infuses much of its music with the intricacy genre enthusiasts expect, but their melancholic, yet beautiful and earnest melodies and lyrics (credited mostly to singer/songwriter/bassist Mariusz Duda) have always come first. Perhaps nowhere in its discography is this more apparent than on their newest opus, Love, Fear and the Time Machine.Although it features a few complex arrangements, the record is by far Riverside’s most straightforward and accessible collection to date, showcasing a proclivity for upfront compositions like never before. While this may disappoint fans who adore the group’s more tangential, frantic instrumentation, rest assured that the album’s stunning emotionality and breathtaking arrangements more than make up for it. Without a doubt, Love, Fear and the Time Machine features some of the most gorgeous, tragic, and ultimately inspiring pieces Riverside have ever recorded, making it another exceptional entry in an invaluable catalog.According to Duda, the effort is a return to the softer, more ambient nature of Riverside’s debut, 2004’s Out of Myself. In fact, the foursome intentionally composed it “to combine the ‘70s and the ‘80s…[the songs] have never been so concise and to the point before.” Because of this new approach, the disc actually evokes Duda’s other project, Lunatic Soul, in subtle but substantial ways at times. Like almost all of Riverside’s previous works, Love, Fear and the Time Machine is also a conceptual record; specifically, it “talk[s] about transformation. About making an important, perhaps life-changing decision everyone has to make at some point in their lives…on the one hand, we’re excited by the change…[but] on the other, we fear the unknown.” Ultimately, the lesson to be learned from it is that “if we sometimes get lost in life, it is to go through something and be found again on the other side, to be reborn as someone better and more valuable.”Fittingly, then, the sequence starts with “Lost (Why Should I Be Frightened by a Hat?)”, which is arguably its best track. Duda begins by reciting a philosophical recollection over a delicate ether of keyboards and bass and guitar notes. Afterward, he launches into a catchy and charming chorus: “Come follow me / We’ll go down / Where the river flows / One day / Just you and I will find a bridge / To another land”. Duda layers his voices too, making it even more gripping, and in-between his passages, guitarist Piotr Grudziński issues his signature soaring accompaniment as the composition evolves. Drummer Piotr Kozieradzki keeps things steady throughout, while keyboardist Michał Łapaj gets the spotlight during the final seconds. Ultimately, “Lost” exemplifies the magnificent succinctness that makes Love, Fear and the Time Machine distinctive in the Riverside canon.Later on, “#Addicted” truly feels like a progressive rock take on the Cure in several ways, such as its dominant bass lines, starry guitar lines, and wistful singing which finds Duda channeling a silky falsetto he’s never really attempted before. There’s also a brief acoustic guitar arpeggio at the end that’s very enjoyable. Lyrically, it serves as a commentary on how social media can transform people into egocentric users who base their self-worth on their digital populiarty. In this way, both its lyrics and music find Riverside stretching slightly beyond its comfort zone, but the result is undeniably, well, addictive.“Caterpillar and the Barbed Wire” feels more traditional, with Duda’s sorrowful confessions and counterpoints perfectly complemented by sharp guitar riffs, aching solos, enveloping percussion, and a moving layer of synthesized splendor. Honestly, it’s like a heartbreaking and somewhat more colorful missing track from Shine of New Generation Slaves, whereas “Saturate Me” contains the sleek yet eccentric tones and virtuosic yet blunt balance that made up the best moments on Rapid Eye Movement. Of course, its sad ponderings, such as “Am I Invisible? / Or alive? / I don’t want to feel like I’m no one anymore”, are archetypal Riverside sentiments, and the interlocking musical patterns (especially near the end) are equally touching.The most commercial segment on Love, Fear and the Time Machine is surely “Discard Your Fear”; however, despite that typically negative connotation, the song’s approachability doesn’t get in the way of its worth. Rather, it’s uplifting message and relatively simple and familiar construction could earn Riverside an entirely new camp of fans. It’s actually quite cathartic, as is the dreamy and tasteful “Toward the Blue Horizon”, which begins and ends as a luscious ode (with lovely piano chords) while transforming into a progressive metal workout in the middle.Both of the record’s final two pieces—“Time Travellers” and “Found (The Unexpected Flaw of Searching)”—are wonderful. The former is an exquisite acoustic ballad about past possibilities and the unforeseen future. Its winding melodies and spaciousness are the standout features, as the rest of the band lets Duda’s voice lead the way, resulting in a simple but commanding experience. In contrast, the latter is more elaborate, impactful, and conclusive, with a strong sense of closure and acceptance, as the speaker realizes the importance of his or her experiences, uncertainties, and decisions. The music builds with great pacing, adding more beautiful layers as the chorus (“It’s a lovely life / You have gone so far / Don’t give it up / Oh, it’s a lovely life / Gotta go with what you think is right”) repeats with sleek harmonies. By the end, listeners are left in awe, reevaluating their own sense of purpose and optimism.Love, Fear and the Time Machine is likely the most polarizing record Riverside has made, as it could be considered both the band’s strongest and weakest full-length effort. Fans hoping for virtuosic jams and unexpected sounds won’t really find them here, while fans looking for more of Riverside’s token elegant instrumentation, affective melodies, and poetic, rich singing will be satisfied beyond measure. Either way, Love, Fear and the Time Machine definitely finds its creators reaching for new, if marginally different, heights, which is commendable in and of itself. Roughly ten years on, Riverside remains as special as ever, and Love, Fear and the Time Machine is, in several ways, its truest work of art." - Pop Matters
    $14.00
  • Debut solo album from Wobbler’s Lars Fredrik Frøislie! Fitting perfectly into the 70s prog-rock tradition where the keyboardist makes a solo album between the band albums, this is music Frøislie has been doing, mostly alone, during the pandemic. Had it not been for the pandemic, much of the material would probably have ended up on a new Wobbler album - but then run through the Wobbler grinder and with English lyrics. In other words, this is unpeeled and raw, as spontaneous as possible without going through too many rounds of processing. Trying to preserve the impulsive - much of what you hear is improvised, and one-takes (preferably with playing errors and piano strings that break and the like). Trying to preserve the human aspect to a large extent, avoiding click tracks, auto-tune, MIDI or too much technology. Expect lots of old analogue keyboards such as cembalo, Mellotron, MiniMoog, Yamaha CP70 and Hammond organ. Four tunes; Four stories. The first song "Rytter av dommedag" is themed around Ragnarok, when King Rakne awakens in his large burial mound outside Romerike and, together with the old gods, creates real mischief. The second song “Et sted under himmelhvelvet” is dreamy, possibly set in a Renaissance garden near Florence or Arcadia. But in principle it can be anywhere where it feels good to be. It is partly about travelling to a place and feeling that you have been there before - only to find out that you had ancestors who lived there long ago. The third song "Jærtegn" opens in a frenzy, with a horse and cart speeding through the forest. The wagon overturns at the same time as there is a solar eclipse, and the riders become eternal wanderers in the dark forest, only visible to us now and then like the northern lights, as they vainly stretch their arms towards the sun in the hope of finding their way home. The final song “Naturens Katedral” is a depiction of the Norwegian mountains in winter where the cold is bitter, and blizzards and avalanches abound. It is also a search for bygone times when life was more basic out in the wilderness.
    $15.00
  • Redemption is one of the leading progressive metal bands in the world today.  Formed in Los Angeles, California in 2000 by guitarist / keyboardist / songwriter Nicolas van Dyk, the band features legendary progressive metal vocalist Ray Alder of Fates Warning, as well as guitarist Bernie Versailles (Agent Steel), and the phenomenal rhythm section of Chris Quirarte (drums) and Sean Andrews (bass).Redemption’s combination of heaviness not usually found in progressive metal, irresistible melodies and emotional urgency has created a unique and resonant voice for this band that sets them apart from the many clones in the genre, and which has gained them the attention of fans, critics and musicians.Through the band’s first three studios CDs (2002s self-titled first release, 2005’s The Fullness of Time, and 2007’s The Origins of Ruin), Redemption gained a loyal fanbase and garnered rave reviews worldwide from critics, who describe Redemption’s music as“one of the best progressive metal acts to emerge in the past decade” – DPRP“magical aura and incredible songwriting” – BLABBERMOUTH“it's powerful, catchy, enslaving, technical; it's the whole bunch” – LORDS OF METAL“the new star on the US prog-metal sky” – SQUEALER ROCKSAfter touring in support of Dream Theater and documenting at headlining show at tour’s end entitled Frozen in the Moment, the band returned to the studio to release 2009’s Snowfall on Judgment Day and 2011’s This Mortal Coil.Performing in support of that record, in 2012 Redemption co-headlined the world-famous ProgPower Festival in Atlanta, where the band recorded a unique show featuring nearly 80 minutes of material and staged with complementary visuals that drive home the compelling emotional impact of this band.   That performance is now being released as a CD/DVD set with additional bonus material through Sensory Records, the band’s original label.  From fan favorites such as the never-before-performed Parker’s Eyes to the crushing emotional weight of Stronger than Death, Redemption’s performance captured the special ability of its music to deeply connect with fans.  In the words of one concert-goer, Redemption’s show “was definitely the most exhausting, personal and emotional musical experience I’ve ever had.” 
    $17.00
  • "English neo-progressive rock spear-header IQ has been furthering the genre in the 21th century with much acclaim. Sound-wise the band hasn't changed much since ' The Seventh House', but on this album the band has finally revolutionized their composition style, arrangements and production. The symphonic layering by Neil Durant has this adult feel, reminding me of 'Tilt' era Scott Walker or 'Blackstar' era Bowie ' yet drenched in a Bladerunner like delicate sci-fi universe. Somehow this album sounds like a collaboration of the band IQ and... well a new 'force' that can look beyond its songs, its verses, its solo's and its refrains. Because of this 'force' the band has also given new meaning to the prog epic. On 'Resistance' a prog epic isn't just a multi- song. Don't take me wrong ' I really like a track like 'The Narrow Margin' ' but on this album the longer tracks really make sense from a songwriting point of view. Bare with me. Like a in a small song, where a bridge can add to strengthening the final refrain ' IQ manages to intelligently intervene and keep the song growing towards that final refrain. Furthermore, the first cd, which is 'the album', flows like a continues experience. Almost like a movie, including some modern cinematic sound-effects. What also becomes apparent after a few spins is the absence of leaning on catchy refrains, which gives the music a modern feel ' at times almost hinting at modern classical music. Peter Nicholl's voice doesn't allow for much variation, but because of the distinctive atmospheres of the songs his performances do tick the box every time. This material doesn't need catchy line A or B, it needs a performer. The rhythm section of the band has found a perfect balance between fusion styled sophistication and adding to the effectiveness of the material. Guitar player Mike Holmes somehow comes off as a bit left behind in the old IQ with his Marillion/Floyd styled guitar solo's. On acoustic guitar his contributions strike me as more imminent ' like on 'Perfect Space'. If the band ever aims to top this album in the future ' which would prove extremely difficult I guess - the electric guitar will need to contribute in more diverse ways. Now about that second disc, which I will describe in a bit more detail because most reviewers will probably focus on the first disc. If that were an album; the 22 minute 'The Great Spirit Way' alone would suffice for an indispensable purchase. Personally, I think this song is placed right after the rather dark and soundtrack-like first disc because it matches best stylistically. 'Fire and Security' is a more traditional IQ piece ' albeit a bit bleak - with a balled type opening, some darker passages and a melancholy ending section with some strong lead guitars. On 'Perfect Space' the band drives its jazz/fusion influences to the max, which will perhaps turn of some ' but I like it. The second epic, the 20 minute 'Fallout' is a bit more relaxing, abstract and dreamy. In its second halve the band experiments beautifully with sophisticated chord progressions, which also allows for Holmes' most interesting guitar solo. Conclusion. Without a doubt this will become the progressive album of 2019 and I hope it will inspire a lot of other neo-progressive bands to elaborate and expand on their Marillion/Genesis/Floyd roots and take the music to a next level of artistry. This album will probably outshine the nostalgic likings of many of its listeners, but it may also attract listeners that have previously written off the neo-prog genre. " - ProgArchives
    $15.00
  • "Progressive rock and boy-band pop seem like natural enemies at first. The former's fascination with ornate, elongated passages of finger-exhausting musicianship is in almost every way the opposite of the latter's emphasis on catchiness first; it's hard to imagine turn-of-the-millennium hits like "Bye Bye Bye" with extended guitar and keyboard solos. Yet ever since A Doorway to Summer, their 2005 debut, Moon Safari has put to rest the notion that progressive-minded songwriters can't make pop that's as hook-driven as it is ostentatious. Grandiloquent epics like "Other Half of the Sky," from the 2008 double album Blomljud, weave together widescreen arrangements with the band's signature five-part vocal harmony, a feature unmatched by few groups in any genre, anywhere. It's easy to isolate the audience with solipsistic soloing and obtuse orchestrations, but from day one Moon Safari has made prog that—assuming the layperson were more amenable to songs that run upwards of thirty minutes—could lead them to something like a pop crossover hit.But while the union of hook-heavy vocal interplay and '70's prog stylistics gives Moon Safari an unmistakable, unique sound, it also handicapped them in a significant way for their first two LPs. The group's accessibility on A Doorway to Summer and Blomljud, along with its technical prowess, is unassailable, but the high-fructose sweetness of its style leads to a diabetic rush when stretched out onto songs that span ten to thirty minutes. For example, "Other Half of the Sky," the titanic thirty minute showstopper off of Blomljud, has so many memorable hooks that by the time it's run its time out, it's hard to remember all of them. The classic problem of "too many voices leads to a noisy room" was the defining problem of Moon Safari's otherwise enjoyable sound for some time. All that changed, however, in 2010 with the release of Lover's End.It is no exaggeration—even as the decade remains young—to say that Lover's End is one of the finest progressive rock records of the '00's. Hell, it's not even crazy to say that it's one of the finest pop albums of the '00s; anyone, even those turned off by prog's eccentricities, can find something to love on this mellifluous collection of songs. From the a cappella charm of "Southern Belle" to the hook-loaded "New York City Summergirl," Lover's End is chock full of goodness from beginning to end. What explains its genius is that in contrast to A Doorway to Summer and Blomljud, the songs are given exactly the amount of space they need, and not a second more. Some songwriters may feel hamstrung by the verse/chorus structure, but it's a perfect fit for Moon Safari's joyous approach to music.With their newest studio outing, Himlabacken, Vol. 1, Moon Safari continue the refining of their sound, and while this isn't the breakthrough that Lover's End was, it nonetheless attests to the brilliance of this group. Whereas the latter was bound by a loose concept (love and heartbreak), Himlabacken Vol. 1 is less a lyrics album than its predecessor. The cost of this is that the music is less distinct in its cohesiveness, but there are no shortage of catchy passages and amped-up solos. "Mega Moon" comes off as a tribute to musical theatre, with "The Very Model of A Modern Major General" vocal delivery interweaving with Queen-esque bombast to an impressive effect. "Too Young to Say Goodbye" sees and matches the polyharmonic beauty of "Lover's End (Part One)." By sticking to concise song formats—the longest cut here runs nine and a half minutes—Moon Safari ensures that things never run out of steam, an essential quality to any good progressive rock band.If nothing else, Himlabacken, Vol. 1 proves that there's one thing Moon Safari can't be accused of: being unaware of themselves. Grand finale "Sugar Band" is as much a statement of identity as it is a slice of epic pop: "Sweet and saccharine are we," they declare, followed by "syrup's the blood in our veins." (Less successful is the clumsy Katy Perry innuendo of, "suck our big candy canes," which is thematically consistent but tonally off.) Both "Sugar Band" and "Little Man," one of the few Moon Safari songs to feature a solo vocal, are emblematic of the mushiness that might turn some prog fans away from their music. The latter, while obviously a touching document of a father's love for his son, does feel a bit out of place in how deeply personal it is; part of the strength of this group's sonic is the universality of its pop appeal, and the intimacy behind "My Little Man" makes listening to it an almost voyeuristic experience. "Mega Moon" and "Sugar Band" are better at capturing the convivial spirit of the band that's accessible to all.As with past outings, even those drawn to vocal harmonies might find it hard to stomach all of the sweetness of Himlabacken, Vol. 1. But what ultimately makes this LP successful is its unpretentious commitment to fun. Moon Safari are a rare collective that prove daunting musical chops aren't anathema to accessibility, and with Himlabacken, Vol. 1 they've made a recording that, while not the magnum opus that Lover's End was, is as true a capturing of their ethos as there could ever be. Sating a sweet tooth brings to mind the phrase "guilty pleasure," but there's no guilt involved with music as first-class as this. Who knew being in a boy band could sound so classy? " - Sea Of Tranquility
    $14.00
  • “This smells strongly of British Progressive rock, some Quintessence, some Deep Purple (with flute instead of vocals). The organ and flute, and gung-ho attitude, remind me a bit of both Focus and Out of Focus…” – Daniel Dellamorte, music historian and author of the book Swedish Death Metal"In April 2018 Agusa embarked on a short tour in Italy. The first stop was at Stazione Birra in Rome where the show was recorded by the resident sound technician Alex Di Nunzio. The full gig – without any overdubs – will now be released on a double vinyl and CD by Kommun2 Records. The songs on "Ekstasis - Live in Rome" contain much of the playfulness and improvisational bravado that fans have come to expect from these Swedish rockers. This is the sequel to the live album "Katarsis", but twice as long and with previously unheard renditions of some of the tracks performed exclusively for these Italian gigs. The "Ekstasis" cover features a simple, pencil-drawn picture of the “flower woman” that has become synonymous with Agusa in 2018. I was made by Swedish artist Robin Gnista and was originally sketched out to reflect the complex, yet raw approach of the music. This is the first Agusa album featuring the organ playing of Jeppe Juul and it was mixed by bass player Tobias Petterson together with sound technician Emil Isaksson. This may very well be looked back upon as the most ambitious release from K2."
    $15.00
  • “Eras - Vinyl Collection Part IV” is the final Devin Townsend vinyl box sets. The box contains the albums; The box contains the albums: “Ziltoid The Omniscient” (Gatefold 2LP + etching on side 4) “Z² - Dark Matters” (Gatefold 2LP) “Ziltoid Live At The Royal Albert Hall” (Gatefold 2LP + etching on side 4) “The Retinal Circus” (Gatefold 3LP) All on 180 gram vinyl plus LP booklet with liner notes and comments by Devin Townsend, all wrapped up in a sturdy 2-piece box set, worldwide limited to only 2000 copies “Ziltoid Live At The Royal Albert Hall” and “The Retinal Circus” have so far never been released on vinyl before.Ziltoid The OmniscientSide AZTO By Your Command Ziltoidia Attaxx!!!2 Solar Winds Side BHyperdrive N9 Planet Smasher Omnisdimensional Creator Color Your World Side CThe Greys Tall Latte Don't Know Why Travelling Salesman Another Road Side DEtchingZ² - Dark MattersSide AZ² From Sleep Awake Ziltoidian Empire Side BWar Princess Deathray Side CMarch Of The Poozers Wandering Eye Earth Side DZiltoid Goes Home Through The Wormhole Dimension Z Ziltoid Live At The Royal Albert HallSide AZ² From Sleep Awake - Live Ziltoidian Empire - Live War Princess - Live Side BDeathray - Live March of the Poozers - Live Wandering Eye - Live Earth - Live Side CZiltoid Goes Home - Live Through The Wormhole - Live Dimension Z - Live Side DEtchingThe Retinal CircusSide AEffervescent!/True North - Live at The Roundhouse, October 27th 2012 Lucky Animals - Live at The Roundhouse, October 27th 2012 Planet of the Apes - Live at The Roundhouse, October 27th 20122 Side BTruth - Live at The Roundhouse, October 27th 2012 War - Live at The Roundhouse, October 27th 2012 Soul Driven - Live at The Roundhouse, October 27th 2012 Planet Smasher - Live at The Roundhouse, October 27th 2012 Baby Song - Live at The Roundhouse, October 27th 2012 Side CVampolka - Live at The Roundhouse, October 27th 2012 Vampira - Live at The Roundhouse, October 27th 2012 Addicted! - Live at The Roundhouse, October 27th 2012 Colour Your World - Live at The Roundhouse, October 27th 2012 The Greys - Live at The Roundhouse, October 27th 2012 Side DHyperdrive - Live at The Roundhouse, October 27th 2012 Ih-Ah! - Live at The Roundhouse, October 27th 2012 Where We Belong - Live at The Roundhouse, October 27th 2012 Detox - Live at The Roundhouse, October 27th 2012 Side EBend it Like Bender! - Live at The Roundhouse, October 27th 2012 Life - Live at The Roundhouse, October 27th 2012 Kingdom - Live at The Roundhouse, October 27th 2012 Juular - Live at The Roundhouse, October 27th 2012 Side FLove? - Live at The Roundhouse, October 27th 2012 Colonial Boy - Live at The Roundhouse, October 27th 2012 Grace - Live at The Roundhouse, October 27th 2012 Little Pig - Live at The Roundhouse, October 27th 2012  
    $138.00
  • "If there is one band who has captured the sound of the golden age of Progressive Rock (1969 – 1975) without sounding regressive or copycat, it is the Norwegian band Wobbler. The band has always had an energetic and youthful approach to the classic prog era, and has managed to blow new life into the genre. Wobbler´s fifth offering is an exciting blend of carefully planned and jammed material that encompasses everything the band has done up to now. Dwellers of the Deep consists of four distinctive pieces and is a broad looking glass into Wobbler´s creative whims and playful exuberance. The album showcases the band´s mastery of dynamics and flow, with passages and themes veering from the scenic and serene to the downright rocking. On the final track, Wobbler is in full blast, with a 19 minutes suite taking the listener through aspects of the darker sides of Wobbler´s sound. The lyrical themes on the album deals with human emotion, and the ongoing struggle between juxtaposed forces within the psyche. An introspective voyage among the realms of memories, feelings and instincts, where the light is brighter, and the dark is darker. The concepts of wonder, longing and desperation permeates the histories told, and the currents from the deep are ever present. The production is open, detailed, warm and punchy, making the soundscape put together by the now seasoned sound alchemist Lars Fredrik Frøislie to an aural feast. New musical directions further the quintet’s burgeoning aural idiosyncrasies and solidify the band stature as one of the most exciting and interesting bands on the global music scene, independent of genre."TRACK LISTING:1. By the Banks2. Five Rooms3. Naiad Dreams4. Merry Macabre
    $15.00
  • Mixing rock, hard rock and progressive rock with heavy metal and power metal influences, Brazil's Daydream XI is a band with no self-imposed boundaries.Formed in 2008 the group have played with bands like Angra, Symphony X and the former Iron Maiden vocalist, Paul Di'Anno. In 2014 Daydream XI was invited by legendary drummer Mike Portnoy to perform on the 1st edition of Progressive Nation at Sea with bands like Transatlantic, Devin Townsend, Pain Of Salvation, Animals As Leaders, Anathema, Jon Anderson, King's X and many other leading names in progressive music.The band's debut album was produced by Jens Bogren, head of the world-class Fascination Street studio, in Orëbro, Sweden, released on September 27th, 2014, via POWER PROG. It has received many great reviews all over the globe, placing the band as one of the most promising names in Progressive Metal in South America.In their sophomore release, The Circus Of The Tattered And Torn, the band embraces the progressive side of their music in a dark concept album. The concept is a metaphor to express that we are drawn to each other more by our weaknesses and our flaws than our strengths and virtues. It’s portrayed through a journey, where Phillip, the Circus master, takes his new apprentice, Circe, across the various acts of this Circus. Each song represents a feeling or aspect of human life, channeled by the storyline of each character.On September 8th, 2017, Daydream XI will be opening the third night of ProgPower USA in Atlanta.
    $6.00
  • "Birth evolved from Astra, whose two albums for Rise Above Records - 2009’s ‘The Weirding’ and 2012’s ‘The Black Chord’ - had already reinvented classic sonic textures and mind-melds in lucid and intoxicating style. Conor Reilly and Brian Ellis nonetheless found themselves seeking out new life and new civilisations. Initially this led to a collaboration with Psicomagia’s Trevor Mast and Paul Marrone, although later Marrone (while he does play on ‘Born’) was replaced by Thomas DiBenedetto (of Sacri Monte, Joy and Monarch) as sparks began to fly in earnest. The result has been a debut which combines a questing spirit with a dystopian take on the here and now. Musically, whilst traces can be discerned of the dark and magisterial King Crimson of ‘Red’ herein, as well as the yearning cadences of early Yes and the delirious contortions of Van Der Graaf Generator, a whole host of influences made their presence felt in these mournful cadences, joyful solo passages and kinetic freakouts, from '70s mainstays like Aphrodites Child, Premiata Formeria Marconi and Area to the primitive folk of Robbie Basho and the symphonic soundtrack work of Osanna. Yet far from the trappings of retro chic and fashion-aligned classicism, these five celestial serenades stake their claim in a different headspace to most other exponents of the form. Certainly, it’s true that many of the audial shapes manifesting themselves here - the exploratory jazz-rock diversions, Mellotron and Hammond-abetted textures and the rich melancholia of the song-writing - may recall moments from progressive rock’s past and the listener may be forgiven for losing themselves in a gatefold-sleeved reverie. Nonetheless, this is a band which was thrown into life via the constrictions and temporal shifts of a global pandemic, as well as one which has largely set about chronicling a reality in which the surrounding world appears to be hurrying its own demise. Alchemical forces have done their considerable work with ‘Born’, in creating an uplifting album for the ages, 42 minutes in which past, present and future are blurred; an album haunted by earthly concerns even whilst its sonics aim for the stars."
    $16.00
  • 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
  • After an exceptionally long year full of personal change and near manic levels of creative activity, Canadian musician Devin Townsend releases his follow up to 2019’s acclaimed ‘Empath’ album. Assembled from a barrage of material written during the pandemic ‘Lightwork’ represents a new level, and has ended up being one of the most accessible, yet ambitious releases of his storied career. A project that has been on Devin’s mind since he was a teen, (and flirted with throughout his career) is a more melodic and direct album with a great producer to help guide the work. Enter Garth Richardson: A Vancouver based producer with a long resume and a friend of Devin’s for many years. And the goal? To provide something beautiful, cathartic, powerful and clear. A sense of optimism and power through what can be commonly known as a ‘depressing period’. It’s about strength, love, acceptance, fear, and overcoming together. Guests on the record include friends and stalwarts from his past (Anneke Van Giersbergen, Ché Aimee Dorval, Morgan Agren, Mike Keneally, Steve Vai, Elektra Women’s Choir) as well as some newer friends and faces (Darby Todd, Diego Tejeida, Nathan Navarro, Federico Paulovich, Jonas Hellborg), and also, in a rather hard to believe turn of events, legend producer and guitar player Nile Rodger plays on the track ‘HoneyBunch’.
    $9.00
  • Often things happen in an adjacent musical universe that we are not aware of but perhaps we should be more attentive to.  Such is the case with my general interest in the jam band scene.  While I can appreciate the musical prowess of many of these bands the foundation of their music doesn't really interest me all that much.  For example I never got Phish.  Great players but their music flatlined for me.  On the other hand Umphrey's McGee is a very interesting band that resides in the jam band world.  You can tell that progressive rock is a part of their musical DNA.  Such is the case with a band that reached out to us called Squeaky Feet.  I had never heard of this Denver, Colorado based group but it appeared that they were rising stars in that scene but referred to themselves as a progressive rock band.  So perhaps a bit skeptical I gave their studio debut "Cause For Alarm" a listen and I was absolutely blown away and I think you will be too.  The vocal tracks do remind me a bit of Umphrey's McGee - a subtle pop layer sitting on a bedrock of intense virtuosity and intricacy.  As soon as the vocals stop these guys go off into a world of pure prog - blazing dual guitar, flute and sax, keys - over a rock solid rhythmic bed.  These are Berklee grads - they're not fooling around.  These kats can play!  Vocal tracks pop up here and there but the overall musical weight of the album tends to skew in the instrumental direction.  The album is filled with long tracks - each one having a great sense of soft/loud dynamics.  As I mentioned the vocal passages give way to long instrumental stretches where these guys go off.This one came in too late for me to stick it in my Top 10 list for 2023 (lots of competition this year) but if I could I would - it would sit very high up on the top half.  Do I need to say it???  I will anyway...BUY OR DIE!!"Squeaky Feet was conceived within the walls of Berklee College of Music. Its members relocated to Denver in 2018, and their hunger for greatness manifested into what the band is today. Comprised of Colin Shore (guitar/vocals), Greg King (guitar), Jimmy Finnegan (bass/vocals), Brian Keller (keyboards/sax/flute/vocals), and Kevin D'Angelo (drums), Squeaky Feet is poised for success.Their debut album, Cause For Alarm, is scheduled for release on November 17, 2023. It promises to be an electrifying testament to Squeaky Feet's exceptional musicianship, genre-blending prowess, and their innovative approach to progressive rock. The astute listener may hear the influence of King Crimson, Dream Theater, Frank Zappa, Steely Dan, and Snarky Puppy, particularly of guitar player Mark Lettieri, who serendipitously came to play on the album’s lead single."
    $15.00
  • Ten years since the band first formed, 2017 will see Haken’s first two albums, ‘Aquarius’ & ‘Visions’, reissued through InsideOutMusic after being unavailable for a lengthy period of time. Remastered by the renowned Jens Bogren (Devin Townsend Project, Between The Buried & Me), who worked with the band on their last two studio albums ‘Affinity’ & ‘The Mountain’, this reissue sees the albums brought up to the sonic quality of their most recent output.Originally released back in 2010, the band’s debut album ‘Aquarius’ capitalised on 3 years of work from the band which saw them staking their claim as one of the most exciting new progressive metal bands, playing with the likes of King’s X, Riverside & Bigelf. A 72-minute concept record that touched on themes of global warming, this album has long held a place in their fans’ hearts & the lengthy 17-minute closing track ‘Celestial Elixir’ remains in their set lists now.Arriving just a year on from their debut, ‘Visions’ cemented the bands reputation as one of the most solid progressive metal bands of recent years, bringing them to the US on tour for the very first time in 2011. Another detailed concept album conjured in part from a dream that vocalist Ross Jennings experienced, ‘Visions’ captured the imaginations of both fans and critics alike. Haken have also announced that they will be revisiting the album in full, live at Prog Power USA in September 2017. 
    $14.00