Live - From Chaos To Eternity (2CD)

"Keyboard player and mastermind behind Rhapsody of Fire Alex Staropoli says of Live from Chaos to Eternity, "We wanted to deliver a live album that can actually be called a LIVE album. Not one single part was re-recorded in studio as most of bands do. Personally I am always looking for perfection but in the case of this live album I truly believe it had to sound live and maintain both live playing and feeling at 100%." One thing Rhapsody of Fire don't provide is an authentic live sound. Do they carry a massive choir around with them at all times? Does Christopher Lee turn up and deliver his lines on cue? How genuine are the orchestral sections?

It may seem that I'm riffing on Rhapsody (of Fire) but I'm not, I love them (admittedly their earlier stuff before the of Fire suffix mainly but that's not important now but let's get real shall we?) Rhapsody of Fire aren't the most stripped back group in the world. That said, this is a marked improvement on the Live in Canada release – it's got more songs on it for a start! Rhapsody have some of the greatest songs in the power metal canon - "Unholy Warcry", "Land of Immortals" and of course the utterly brilliant "The Village Of Dwarves" (betcha thought "Emerald Sword" would be next!) Yep, they're massively OTT and in many ways total Marmite (love 'em or hate 'em) but if you would like a place to begin to investigate their work here is as good a place as any to start." - Sea Of Tranquility

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    $11.00
  • Second album from this Swiss band draws very heavily from the Katatonia musical gene pool.  Melancholy metal that actually has a groove.  Some of the proggier bits remind of Tool.   
    $13.00
  • "A concept album following the life cycle of a human being, childhood to citizen adult, the lyrics (and music) are replete with references to all of the odd destructive and self-destructive patterns our 'civilized' race has attached itself to. Brainchild of Athenian Nikitas Kissonas, Methexis' music is never predictable and always unexpected. Begin with The Enid's Joe Payne's amazing and enigmatic voice. (Please excuse my previous error in that I mistakenly thought it was Nikitas singing.) It seems that Joe can sound like anyone he chooses. Then focus on Nikitas' eclectic and stunningly diverse guitar soundings and stylings. Then try to pinpoint his influences, the styles he is drawing from in order to make his eminently creative and original songs. It is nearly impossible. This is music that draws from so many diverse and unusual styles and ideas. This is music that tests the capabilities, the combinations and permutations, that are possible within the realms of human expression using sound and music.1. "Chapter IV - Ruins" (4:49) starts the album with 'the end'! The fourth and final suite in the album's song-cycle, entitled "ruins," is what Nikitas chooses to begin his album with. I love it! It is an atmospheric 'post-apocalyptic' song much in the vein of Mariuz Duda's LUNATIC SOUL or even Norway's ULVER.2. "Chapter 1 - Exterior - Remember, Fear's a Relic" (6:11) opens with the energetic force of a great blues-based jazz-rock song--complete with Hammond organ, sassy horn section, and bluesy GINO VANELLI-like vocal. A surprise as this was quite unexpected but I have to admit: it is quite refreshing and enjoyable. The falsetto chorus is also quite unusual, but then, everything Nikitas creates is quite unusual and unexpected. Quite fun. (9/10)3. "Chapter 1 - Exterior - The Windows' Cracking Sound" (1:46) (9/10) is another unusual song for its surprising mix/engineering: the entire time a heavily treated electric guitar is slowly strumming the accompaniment to Joe Paynes' delicate, untreated voice, a drummer is jamming away at a very fast pace in the background. Once, at the end, the drums are brought up to front and center before being faded back to deep background for the horn opening of the next song, 4. "Chapter I - Exterior - Who Can It Be" (6:34) is a song performed by a horn ensemble with occasional whispered vocal and mid-song classical guitar interlude (including a brief slightly angular/diminished replication of Beethoven's "Ode to joy"). The post-guitar interlude shifts into PETER HAMMILL territory with some odd jazz instrumentation for accompaniment and the PH vocal. When thing amp back up--first via return of the horns and then full TOBY DRIVER-like band to spacey end. So odd! So outstanding! (10/10)5. "Chapter I - Exterior - The Origin of Blame" (3:27) starts out as a piano-accompanied cabaret-like vocal much in the MATTHEW PARMENTER style. The cacophonous 'chorus' is equally 'out there'--but so creative and idiosyncratic! This is such an amazing mind that can successfully weave such odd and unusual sounds and styles into the flow of this, a concept album. I call it genius! (10/10)6. "Chapter I - Exterior - Prey's Prayer" (6:07) is an instrumental support/setup for an amazing guitar solo. The guitar play reminds me of JEFF BECK, ROY BUCHANAN, HIRAM BULLOCK, or RAY GOMEZ! Great horn support. This is not a song to be missed! Guitar this sublime is too seldom recorded! (10/10)7. "Chapter II - Interior - Sunlight" (8:20) opens with some more adventurous guitar sounds before shifting into a sensitive acoustic guitar supported ballad--not unlike the recent work of JOHANNES LULEY including the voice (though on this song Joe's voice is more similar to that of RITUAL lead vocalist, Patrik Lundström). Quite unusual song structure and sound combinations. So like our enigmatic chameleon Nikiitas! Excellent song. The final section sounds like recent ECHOLYN before the solo voice closes in Peter Hammill fashion! (10/10)8. "Chapter II - Interior - The Relic" (8:28) opens with a minute of purposefully picked chords on acoustic guitar which are eventually joined by Joe Payne's equally composed yet emotional vocal. By the end of the second minute piano and then full band have joined in to support a multi-voiced chorus. In the instrumental fifth minute the music builds in layers and intensity before crescendoing and crashing into silence with a brilliantly placed audible sigh to restore the gentle yet plaintive sounds and structures of the opening. Piano and violin--and later cello--perform some nice soli to accompany the synth orchestral sounds. Nice Post Rock song. (9/10)9. "Chapter - Suiciety" (6:40) opens with a fast-paced, hard-driving PORCUPINE TREE-like sound of drums, odd spacey synth sounds and ominous keyboard bass chords until 1:37 when the drumming cuts the pace in half while the pile of ominous incidentals and washes mounts higher and higher. Then at 2:20 everything drops away to leave the slowly picked notes of a solo classical guitar. Cymbol play accompanies the addition of orchestral participation (I especially like the horns sections' contributions). This is then followed by a creative section in which the drummer creatively fills orchestra-supported 'space' with his cymbol and kit play. A return to full force in the ominous chord progressions crescendoes and decays while Joe Payne's treated voice alone fills the album's sad finale. (9/10)This is an awesome album of eclectic music! Being a concept album with songs integrated to express this elevates it a notch above Methexis' previous 2011 effort, The Fall of Bliss (which I also love). A brilliant masterpiece of modern progressive rock music--one that gets me so excited to come back to it and hear it again. Special shout out to Linus KÃ¥se and Nikos Zades, the keyboard player and sound design/D&B programmer, respectively. Amazing contributions! And Walle! Awesome play on the batterie! Check this one out, people!5 stars, definitely essential: a masterpiece of progressive rock music." - ProgArchives
    $15.00
  • Nicely done third album from this Spanish band. The main man behind Kotebel is keyboardist Carlos Plaza but he frequently defers to guitarist Cesar Garcia Forero. The female vocals of Carlonia Prieto has a light ethereal quality which joins with the flute of Omar Acosta to create a balance or counterpoint to the fiery keyboard/guitar interplay. A nice mixture of classical, traditional prog and Spanish influences. This 71 minute effort is a real class affair.
    $15.00
  • The Diablo Swing Orchestra dates back to 1501 in Sweden, where history tells the tale of an orchestra that played like no other, with music so seductive and divine that the ensemble overwhelmed audiences all over the country. Their performances rapidly earned a reputation of being feral and vigorous and gained the orchestra a devoted crowd of followers. Their concerts attracted more people than High Mass in church and as a result the orchestra was accused of being treacherous and in league with the devil. The members were accused of being everything from heretics to the spawn of Satan. “The Devil’s Orchestra” was the epithet used by the church in it's attempt to halt the orchestra’s success. However, this eventually became a catchphrase that spread throughout the crowd, and before long it was the popular name of the orchestra. With the accusation of heresy a bounty was put on the orchestra, and as the hostilities from the church grew stronger the orchestra finally felt the need to flee. But they decided that if they were to disappear they should go out in style, by giving one last concert. Before doing so they all signed a pact saying that their descendants were given the task of reuniting the orchestra in 500 years, and that they should continue the orchestra’s work of spreading thought-provoking music. Six envelopes were sealed and given to trustees of the orchestra to pass on to family members. The final concert was a great success. Thousands of people came to see it, and the massive sing-along of the crowd made the performance the most talked about in history. Eventually, the armed guards arrested the orchestra. They were subsequently sentenced to death by hanging. Stockholm 2003. By mere accident two of the original orchestra descendants met in a music shop and began to discuss music. It later turned out that they both had received a strange letter from some ancient relative containing instructions on how to reunite The Devil’s Orchestra. By searching through archives and records they managed to track down the other ancestors. Daniel's sensibility for words and melodies made him the main composer. Annlouice's angelic yet powerful operatic voice gave a bombastic feeling to the music. Andreas swinging and energetic drumming provided the orchestra with a deep and solid foundation. And together with Andy's powerful finger style playing and funk-oriented slapping they made sure the songs had a steady groove. Pontus electronic and experimental influences proved useful as the orchestra wanted a contemporary sound. Johannes's emotive cello-playing, theoretical knowledge and stunning technique completed the orchestra. With reference to the old catchphrase they took the name Diablo Swing Orchestra and are determined to honor the legacy of their ancestors. Since the release of their debut “The Butcher’s Ballroom” in 2006/2007 the orchestra has gained a loyal fan base of their own. People have embraced their sound with open arms and they have been perceived as a fresh breath of air in a genre getting more and more stale and formulaic. The album was also well received among critics earning many rave reviews recognizing the new ideas the band brought to the scene. DSO’s sophomore effort titled “Sing-Along Songs for the damned & Delirious” proves that they are no one hit wonder but are here to stay. The new record set to be released in September 2009 is a smörgåsbord of different levels of musical insanity building on the foundation laid down on “The Butcher’s Ballroom”. Touring will begin in September starting with Progpower USA and will continue in Europe later in the fall.
    $13.00
  • Great debut from this new Italian quintet.  Pure retro prog that channels the spirit of early 70s British prog.  The band's sound is dominated by organ and heavily spiced up with guitar and flute leads.  Hugh Banton or Tony Banks' roadie must have helped set up Paolo Tognazzi's organ because it seems like its ripped right out of 1971.  Vocals are in English and while Andrea Calzoni's accent creeps in now and then he aquits himself quite well - he's got a bit of an Ian Anderson thing going on.  Nice long instrumental breaks with keys playing off the flute and guitar.  Definitely a VDGG - Osanna - PFM - Orme vibe, but keep in mind the early versions of these bands.  1971 vs 1975.  This is the good stuff.  The REALLY good stuff.The LP version comes with a gorgeous gimmix die cut gatefold cover.  I've been in this crazy business for almost 25 years (2013 is year 25).  The Italian labels always come up with the best and most innovative packaging.  They seem to cherish the way things used to be done - when album artwork was more than just something to hold the disc.  They treat the cover like a piece of artwork and ultimately the collector is rewarded with pride of ownership.
    $29.00
  • 2LP orange vinyl edition in a gatefold sleeve and one bonus live track.You know this band is like money in the bank. They don't get a lot of hype but they've never made a bad album. They change singers from time to time but they always come up with a great one. They tinker with the formula from time to time just to keep it fresh but you can always expect great harmonies, blistering leads of guitar and keys and melodies that stick in your head for days on end. Wounded Land was one of the first progressive metal albums I ever heard and really drew me into the genre. Critical Mass doesn't disappoint at all.
    $30.00
  • A deluxe 2CD edition of the classic No-Man album – now remastered and on Kscope with bonus disc, featuring mini album, b-sides and rarities including four previously unreleased tracks. No Man is Tim Bowness and Steven Wilson (Porcupine Tree).Since releasing their first single in 1990, No-Man has produced a unique body of work that has developed from the band's proto trip-hop/ambient origins into something beyond easy categorisation.After receiving ecstatic press reviews, indie top 20 hits and high profile contracts (with One Little Indian and Sony) in the early 1990s, the band has continued to evolve and has developed a loyal Worldwide cult following.Redefining itself with a constantly changing musical palette, No-Man has most recently released material through celebrated post- progressive label Kscope, who have now released a deluxe edition of one of the band’s most sought-after albums.Wild Opera, No-Man's third album, originally released in 1996, is regarded as the most inventive and unpredictable album in the band's catalogue.Rapidly shifting from distorted grooves to sinister, jazz-inflected trip-hop and from choked rock riffs to more traditional ballad fare,Wild Opera represented a thrilling departure for the band and has since become seen as a classic one-of-a-kind statement of uncompromising creative intent.Long out of print, the original CD is now a highly- collectable rarity, with copies changing hands for over £100 on Ebay.Kscope’s remastered 2CD reissue additionally includes all of the Dry Cleaning Ray mini-album, alongside b-sides and exclusive rarities from the era, including four previously unreleased tracks.The digi-book package features an essay from Richard Smith, the director of Mixtaped, the recent documentary about the band, and new artwork from long-time No-Man collaborator, Carl Glover.CD1 - WILD OPERA1 RADIANT CITY2 PRETTY GENIUS3 INFANT PHENOMENON4 SINISTER JAZZ5 HOUSEWIVES HOOKED ON HEROIN6 LIBERTINE LIBRETTO7 TASTE MY DREAM8 DRY CLEANING RAY9 SHEEPLOOP10 MY RIVAL TREVOR11 TIME TRAVEL IN TEXAS12 MY REVENGE ON SEATTLECD2 - DRY CLEANING RAY1 DRY CLEANING RAY (REMIX EDIT)2 SWEETSIDE SILVER NIGHT3 JACK THE SAX4 DIET MOTHERS5 URBAN DISCO6 PUNISHED FOR BEING BORN7 KIGHTLINGER8 EVELYN (THE SONG OF SLURS)9 SICKNOTEBONUS TRACKS10 HIT THE CEILING11 WHERE I'M CALLING FROM12 HOUSEWIVES HOOKED ON HEROIN (ALTERNATE VERSION)13 MY RIVAL TREVOR (ALTERNATE VERSION)14 TIME TRAVEL IN TEXAS (RADIO SESSION)15 PRETTY GENIUS (RADIO SESSION) 
    $13.00
  • Believe it or not this is where it all began for me. After coming home from school one day I saw Rick Wakeman on the Mike Douglas show. He was this odd looking guy with long blonde hair and a flowing cape to match. He had an arsenal of keyboards making strange sounds...it was "The Battle". That appearance led me down to Sam Goody's to buy my first prog album - Journey To The Centre Of The Earth. Sure it's pompous, overblown, whatever. I still have fond memories of it and love Wakeman's elaborate keyboard work and the band's integration with the orchestra. A personal classic.
    $5.00
  • The madcap French jazz metal trio return with their sixth album.  Morglbl consists of guitarist Christope Godin, bassist Ivan Rougny, and drummer  Aurelian Ouzoulias.  The band has toured extensively around the world – USA, Europe, Russia and even China!  They have shared the stage with Liquid Tension Experiment, Bumblefoot, and Umphrey’s McGee among others.These three virtuosos are also well endorsed clinicians and have developed a following individually but when they come together the fireworks really start.  Tea Time For Punks doesn’t deviate from the tried and true Morglbl formula.  Take equal parts fusion and crushing metal power chords, then inject a healthy dose of tongue in cheek humor and you’ve got the perfect Morglbl album. The band is often described as Primus meets Steve Vai and Allan Holdsworth, with flavors of Frank Zappa! 
    $13.00
  • In 1974, Jethro Tull announced plans for WarChild, a multi-faceted project that was to encompass a feature-length film, a soundtrack album, as well a new album from the band. In October of that year, Tull released a 10-song album that would climb to #2 in the U.S. and the top 15 in the U.K., but the film and accompanying soundtrack were shelved. To commemorate the 40-year anniversary of this ambitious experiment, Parlophone revisits WarChild.WARCHILD: THE 40TH ANNIVERSARY THEATRE EDITION will be available as a limited edition 2-CD/2-DVD set on November 25 2014.Highlights from the set include:- Original album and bonus tracks (three previously unreleased), remixed in 5.1 surround and stereo by Steven Wilson.- 10 orchestral pieces (nine previously unreleased) written for the film s soundtrack, 4 of which are remixed in 5.1 surround and stereo by Steven Wilson.- Flat transfers of the original LP mix at 96/24, and the quadrophonic version (with 2 bonus tracks) in 4.0.- The Third Hoorah promo footage, and footage from a January 1974 photo session/press conference where the WarChild project was announced.- An 80-page booklet featuring an extensive history of the project, a film script synopsis, track-by-track annotations by Ian Anderson, plus rare and unseen photographs.
    $45.00
  • The band's second album, originally released on Brain in 1973, is another stone cold killer. You have to love this - a disc filled with long jamming tracks of frenetic sax, guitar and organ soloing. The 14 minute "Trash Man" picks up speed as it moves through the track and totally blasts off with undercurrents of Santana-esque percussion driving it along. Monster stuff long over due. Now it comes to us with great sound, a 12 minute unreleased bonus track, liner notes, etc. Highly recommended. Essential listening.
    $21.00
  • Smoking hot live album recorded on the Electric Rendezvous tour. Jan Hammer and Philippe Saisse on keyboards? It's ill...
    $11.00