Lifeline (2CD)

SKU: 0506732
Label:
Inside Out Music
Category:
Progressive Rock
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No subtleties here. This is pure bible thumpin' prog done up as only Mr. Morse can. The core trio remains Neal Morse, Mike Portnoy and Randy George although there are some guest appearances such as Carl Groves on backing vocals.

This is the 2CD limited edition.  Long out of print we were able to score some copies.  It comes with a bonus disc of cover tunes.

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  • Remastered edition with one bonus track."A telling thing about Robert Plant at his peak is how he would sneak on-stage with Rockpile and sing Elvis songs, or how Swan Song signed Dave Edmunds when his retro-rock was about the furthest thing from the monolithic Zeppelin of Physical Graffiti. Plant always harbored deep, abiding love for early rock & roll, a fact that was often obscured by his restlessness, too, a side that he indulged on his first two post-Zep solo albums -- glistening, modern albums with a heavier debt to Robert Fripp than Little Richard. Two albums in, he switched tactics for the EP detour The Honeydrippers, Vol. 1, an unabashedly retro-rock project that hauled out five golden oldies from the pre-Beatles era and served them up authentically, or at least as authentic nostalgia. There is a certain sense of pastiche here, particularly in how "Sea of Love" is drenched in oceans of strings, far more than on the Phil Phillips original, which manages to evoke the era of lily white pop covers in a way that no straightforward cover could, but that's part of the charm of the record. Some may find this kind of pastiche a bit distancing, even campy, but there's a genuine warmth in Plant's performance, and his ad-hoc group of Honeydrippers -- including Jeff Beck and Jimmy Page in uncredited cameos -- have a great time running through these handful of oldies, particularly "Rockin' at Midnight." It may not be much more than a lark, but it's truly fun, even if it might have been slightly more fun making it than it is listening to it." - Allmusic Guide
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  • "Two years ago, a virtually unknown Russian band released a debut with chamber classical orchestration, gorgeous multi-layered vocals, and the occasional modern rock touch. Very few initially noticed it, but eventually by word of mouth, it became an unexpected favorite 2012 album in progressive rock, despite the scarcity of progressive rock elements. Listeners there mainly rated on songwriting and enjoyment.Now, we have a second iamthemorning album, expanding on the elements from the first album. A confident, mature album that will likely bring rave reviews all over the place given the band is not as obscure as in 2012.The music is once again heavily influenced by classical music. Vocals and piano continue creating the foundation of the music, with orchestral instrument, drums, and modern rock sounds adding layers whenever needed. Even the modern rock sounds are used in a very classical, 'iamthemorning' way.The added complexity of the music was a risk. After all, the debut's instantly rewarding melodies and its safe, if brilliant, songwriting approach made it very difficult for many listener to honestly hate such an album. Now, we're dealing with complexity levels more to the tune of classical music and progressive rock. This is now easily categorized as progressive rock, with less direct melodies, knotty musical ideas, occasionally long songs, more in-depth instrumentation and lyricism. The risk is that I enjoyed the first listen less than the first listen of the debut. However, I cannot decide which album I prefer now. I feel like this one has a few minor flaws based on the risk-taking approach, compared to the near-perfection pop of the debut. However, there are even more 'WOW!' moments here in my opinion, some of the very best musical passages I perceive to come across.Flaws? I seem to only gripe about the slow development of their last full song, the samples in 'Howler' and the beginning of 'K.O.S' with a repetitive, awkward drum beat and one-chord guitar riff. Luckily, the latter two songs are overall highly interesting and dynamic songs otherwise, which is why I said the flaws are not severe as they involve a small fraction of two songs.Strengths? It's hard to name them all. The intermissions remain impressive. The first one has such a captivating atmosphere, I can't imagine anyone being hard-pressed to say 'nah' and stop playing the album. The fourth intermission (titled XII) almost reaches song-like status in length, starting with classical violin and continuing with mesmerizing piano. The last intermission is almost transcendental in a spiritual sense.And then you have the songs and they are so, so good. All those subtle melodies and exciting instrumentation in 'Howler', the beautiful 'To Human Misery' with a very captivating main melody yet also with a lot of subtle instrumentation. I should try not to overuse the phrase 'subtle complexity', but I think that word really describes this album. Subtle complexity is what makes this album work so well: you latch on into some obvious melodies on first listen, but then all those little details won't make you lose interest. Every instrument plays melodies, sometimes simultaneously.'Romance' and '5/4' sound a bit like more intricate version of Tori Amos music. They are whimsical, enchanting yet quite complex in instrumentation. Those little details like the muted violin melodies and brief 'shredding' electric guitar that somehow sounds mellow. The '5/4' song is mostly in 6/4 actually, but when it shifts to a 5/4 meter playing a carnival-like atmosphere, it's pure genius, even if it sounds like a horrible idea at first listen. It's an odd choice for a single. I thought it would be 'The Simple Story' which is more instantly recognizable with its melodies and the great piano line near the end. 'Crowded Corridors' is possibly their most accomplished composition to date and also their longest by far at nearly 9 minutes. It begins relatively subdued with their typical instrumentation and vocalizations, if more haunting than usual. Something else going for it is the more 'epic', dramatic moments that work incredibly well. It'd be interesting if they revisit this approach to songwriting in later albums. A particular highlight, besides the obvious piano solo in the latter half, is a slow melody at minute 3 being revisited at the very end at a faster pace.By the way, most of these songs deviate from a typical song structure to help make it more impactful and dynamic. The song 'Gerda' starts very soft and delicate but later sounds very empowering and grand: it's yet another great song. 'Os Lunatum' starts as an outstanding piano + vocal duet, both at their very best, especially during the song's main hook. Guitars later become dominant on the song's instrumental section. The song concludes with a full band sound, the progression from the very beginning being very natural.'K O S' may be marginally a less enjoyable song here because of that first minute which sounds repetitive and lacks what I like about the band. The rest is an interesting experiment as they veer towards a progressive rock / alternative rock sound without fully losing their trademark vocals, pianos, and subtle way to adding melodic layers. I love the way it ends, reprising the intro in such a way that almost redeems it. The 'Reprise of Light no Light' is another lesser favorite, developing in a slow fashion that sometimes tests my patience. I do love that it, along with the last intermission, ends with peaceful, abstract noise.In the end, they have accomplished a very difficult feat, given the high standard the set themselves with their debut. This second album is very intelligent music as well as very deep, emotional music. It touches me. In the end, despite the occasional flaw, it's a masterpiece and I anticipate it being consistently among my favorite pieces of music regardless of genre alongside their debut." - ProgArchives
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  • "The Aristocrats by any measure the hottest new band in instrumental rock/fusion today rewrote their own rules for their third studio album, Tres Caballeros. After two fairly raw trio albums, guitarist Guthrie Govan (Steven Wilson, Asia/GPS), bassist Bryan Beller (Joe Satriani, Dethklok) and drummer Marco Minnemann (Steven Wilson, Joe Satriani) set up camp at legendary Sunset Sound studios in Hollywood, CA, where Led Zeppelin, The Rolling Stones and Van Halen all recorded landmark albums. The result: Nine new compositions of greater sonic depth and breadth than ever before, with unique textures and lush layering augmenting the band s preternatural ability to improvise at the highest levels possible. But it s all still tempered with a steadfast refusal to take themselves too seriously, and The Aristocrats are still having more fun than a fusion band has any right to have. We ve learned a lot since we started this band four years, three studio albums, two live DVDs and about a billion notes ago! and I think our latest offering reflects this in all kinds of ways, says guitarist Guthrie Govan. The decision to road-test our new material in front of a live audience before commencing the recording process; the choice to record in a studio which had some thoroughly inspiring rock'n'roll "mojo"; our sudden urge to become more bold and experimental with overdubs rather than feeling any pressure to record exclusively in a strict trio format... all of this has had some kind of positive effect on the way the new record came out. Plus, I think the material on this album is some of the most interesting stuff we ve ever written for each other, so... here s hoping our noble listeners will like the finished product as much as we do! Deluxe Edition Bonus DVD Features 30min documentary w/exclusive individual interviews, studio & live footage Bonus audio (outtakes/demos) & group interview"
    $19.00
  • 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.
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  • "The rise of Greek power metaller, Firewind, has give the world two new metal heroes. They are Bob Katsionis (keyboards) and Gus G. Both are skillful musicians, now world class respected. Bob released his solo album in 2012, but only in March 2014 that Gus G finally catch up with a release his long waited solo album. Gus G's solo album titled as I Am the Fire, he is well backed by world class musicians and singers. As Gus G was previously active in Ozzy Osbourne team, the styles of heavy metal and hard rock in this solo album is not surprising, a bit step further away from his main band of Firewind, which is a power metal band.Let's see the two most interesting tracks by observing the guess list. Vengeance is back by Megadeth's David Ellefson. This is instrumental track for sure, the riffs are heavy, fast double pedal drum and of course Gus' shred + David's bass attack was more than cool enough. The second instrumental is fall to "Billy Sheehan's track". Terrified is yet another ultra fast shreds with a title that reminds us to Scarified by Racer X. Both instrumental tracks is enough to made guitars fans demand an exclusive instrumental guitar album from Gus!On the vocalized songs, they are all excellence. Mat Levén is acting as host singer, he tackled four tracks. From the opener My Will Be Done, a straight forward modern rock tunes, then Blame It On Me, a happier glam metal one. On the later are Eyes Wide Open, this is kind of late '80s hair metal scenes feel. The last from Mat is End Of The Line, acoustic ballad in the style of wild wild west. Mat Levén was once Firewind singer also.I Am The Fire is a collaboration with Devour The Day / Blake Allison. The riffs quickly brings us to modern nu-metal feels, this concurred with the style of singing, the song's structures, and utilizing of choruses, which is in the spirit of alternative metal. Long Way Down on the other hand is the only female guess track with Alexia Rodiguez. Alexia is from the band Eyes Set To Kill. The song can be categorizing as a heavier version Evanescenes style. Jacob Bunton from Lynam / Adler fame contributed in Just Can't Let Go. This is yet again in alternative / US modern metal feel. Michael Starr from Steel Panther trusted with Redemption, a track that focused on wild glam metal form, fit the image of Steel Panther. Veteran singer Jeff Scott Soto is in the spiritful AOR track of Summer Days. Finally there at least an European feel in Dreamkeeper, where Evergrey singer Tom S. Englund delivered it epic-ly!What a great packed of quality materials in one album. Of all tracks not only Gus G able to fit the styles of his song to the respected guess, he also seem like outdone the guess' each band. For example in Tom Englund's track, we can feel Evergrey's music in it. There are enough punches on each song, added more  replay value to the album. Interestingly, Gus G decided to not gives any clue about his music from Firewind. A good choices, meaning his creativity in the area of power metal will still dedicated to the main band. I Am the Fire is a great album with fresh ideas stretching  from modern metal to oldies glam metal. A must have." - Metal Harem
    $12.00