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  • "2020 saw the English rock band Arena celebrate their 25th Anniversary of the band’s first critically acclaimed studio album. “The Theory of molecular inheritance” was due for release in 2020 but because of delays/ pandemic / and tour postponements the album is finally here with the now rearranged 27 date European tour being undertaken in September/October 2022. Renowned Artist David Wyatt has illustrated books by JRR Tolkien, Terry Pratchett along with other Arena albums in the past and now he’s has now rejoined Arena to design the Artwork for "The Theory Of Molecular Inheritance".The band also welcome a new vocalist; Damian Wilson is an English musician, songwriter and vocalist who has appeared on over 70 separate album releases. Damian is mostly known in the progressive metal genre, as the lead singer of Headspace and Threshold. He also sang and toured with bands and projects such as for Star One, Ayreon, Praying Mantis and with Rick Wakeman's English Rock Ensemble. As a solo artist he has released 5 solo albums."TRACKLIST1. Time Capsule2. The Equation (The Science of Magic)3. Twenty-One Grams4. Confession5. The Heiligenstadt Legacy6. Field of Sinners7. Pure of Heart8. Under the Microscope9. Integration10. Part of You11. Life Goes On
    $24.00
  • Previously only available as limited self-released fanclub/tour-edition, “Lost’n’Found - Live in Tilburg” re-visits an outstanding performance at one of the biggest shows during RIVERSIDE’s European tour in 2015 for their acclaimed “Love, Fear and the Time Machine” album and also documents the group’s last tour with original guitarist and founding member Piotr Grudzinski († 2016, R.I.P.).“Lost’n’Found - Live in Tilburg” is now made available widely as limited Mediabook 2CD+DVD (The concert is coming on DVD for the first time ever!), as Gatefold 3LP on 180g. vinyl with the full concert on two CD’s as bonus and as Digital Album.RIVERSIDE’s Mariusz Duda checked in with the following comment:“We're really pleased to tell you that our live release “Lost’n’Found - Live in Tilburg” with a concert from the "Love, Fear and the Time Machine Tour 2015" recorded at the fantastic 013 venue in Tilburg, The Netherlands, will be officially released later this year via InsideOutMusic.The tour promoting "Love, Fear and the Time Machine" was groundbreaking, exceptional, and, as it turned out later, also the last one with Piotr Grudziński. We played, among others, a special version of "The Same River" and a 20-minute version of "Escalator Shrine".The reissue of this recording we had previously sold exclusively during our shows in very limited edition, is enhanced by artwork from Travis Smith, extended booklet layouts and...a DVD with the concert, for the first time.”
    $21.00
  • "“Mirror your World through my Touch…Set me Free, oh Set me Free”These words, from the song Colours on Magenta’s new We Are Legend album, are about Vincent Van Gogh, but they could also describe the feelings engendered by this imaginative and impressive release from the premier Welsh Progressive Rock band. We Are Legend underlines Magenta’s outstanding musical credentials, but they have far more than just great technique, imbuing their songs with melodies to stir the soul and stories to fascinate the mind.In a recent interview with Peter Jones on his Progzilla Radio show, Tales from the Tiger Moth, Magenta main-man Rob Reed revealed that he wanted this Magenta album to be “different”. Since their last album, The Twenty Seven Club in 2013, Magenta have overcome some issues, including illness, but Reed revealed that he had struggled in writing a new Magenta album after the peaks he felt they had achieved. As a result he channelled himself into his own excellent Mike Oldfield inspired solo Sanctuary projects and helping Christina Booth complete her fine emotional solo album The Light. The results of this break have clearly refreshed Reed as We Are Legend projects Magenta into a new trajectory, fizzing with energy and creativity.Magenta have never made compromises in their music, ever since Rob Reed decided to stop trying to pursue mainstream success and produce exactly what he wanted to – a truly epic and distinctly ‘uncool’ double debut album Revolutions in 2001 shamelessly referencing his 1970s Prog heroes, Genesis and Yes in particular. Magenta went on to develop their own distinctive sound built around the trademark triad of the pyrotechnics of Chris Fry on electric guitars, Christina Booth’s pure, luminescent vocals and Rob Reed’s mastery of the Piano, Hammond and Moog. However, when considering the new album Reed initially felt restricted by that template and felt he did not want to re-tread old ground. Therefore, he decided to channel what he felt was ‘negativity and angst’ about the direction of the next album, similar to his frustrations prior to Revolutions, and decided to “make a record for me – I will use whatever I want on it”, leading to an album which includes distinctly ‘un-Magenta’ elements such as drum loops, sequencers, dashes of dance music rhythms and heavy guitars as Reed and the band stretch their boundaries. But long-term Magenta fans should have no fear, they are still recognisably Magenta, but noticeably reinvigorated with energy, sounds and an edge, showing a band that does not compromise and wants to move on in terms of its expression and imagination.In a break from previous albums, there is no overall ‘concept’ around this release. Magenta have chosen to present three distinct songs with separate narratives and atmospheres, but there is a cohesive feel to the whole album. In a throw back to vinyl days there is one epic ‘side long’ track and two shorter songs (both in the region of ten minutes) echoing the layout of classic Yes albums Close to the Edge and Relayer, but let’s be clear, Magenta are no ‘Prog by numbers’ clones and have produced a remarkable and vibrant progressive rock album.The epic opening track, Trojan, starts atmospherically with synths which then explode with squealing guitars over a juggernaut of bass and drums, immediately evoking a sense of science fiction. Steve Reed, lyricist and Rob’s older brother, has shared that the theme of this piece was initially suggested by the opening few minutes of the music alone, presented to him by Rob, the musical ideas helping to inspire Steve’s lyrics towards a peculiar yet interesting sci-fi story. In short, huge robots emerge from the sea and initially appear to be benign, but ultimately act as ‘Trojan horses’ to take over the world for a long forgotten and banished human species that took to living beneath the seas and have now returned to reclaim the Earth!If you think that’s bonkers then wait until you’ve heard the music which sounds like some sort of spectacular soundtrack for a Japanese Manga or Studio Ghibli cartoon. This is pulsating music. sweeping across the narrative in a range of distinct parts. Rob Reed revealed that he was influenced by Marillion’s Misplaced Childhood suite, which has the reputation for being epic in length, but is a series of linked songs. Similarly in structure but not in style, Trojan is a series of song sections over 26 minutes ‘sewn together’ (as Reed puts it), although you can hardly see the joins, such is the skill of Reed and the band.Following the opening cinematic section, Chris Fry kicks in with a heavy guitar riff and Christina Booth, over shimmering dance inflected keyboards, chants the early panic of those on land confronted with the slow, emphatic progress of these strange new conquering robots. The atmosphere changes to the gentler perspective of a little girl in Japan who thinks of the robot as a ‘Tin Man’, with imagery akin to Ted Hughes’ Iron Giant. Booth shows great vocal versatility as she switches from the softer vision of the small girl to more dramatic parts of the narrative as the story develops. The music flows descriptively – you can visualise the slow, inexorable march of the robots as Magenta interweave sinuous dance inflected keyboards, reminiscent of Faithless, with passages of fluid, dreamy blues tinged guitar at some points. Pastoral guitars underpin a peaceful passage with Booth’s soft vocals before distorted guitar breaks in, possibly to indicate that the ‘paradise’ of ease brought by the robots will be ultimately destroyed.I hope you’re keeping up!!!Don’t worry, Magenta’s imaginative music carries you along and you may not always understand (or even care!) exactly what is happening as you dive into the rich multi-layered elements that make up the epic sound and story. Steve Reed has always sought to look at subjects from unorthodox and differing perspectives, such as the ‘glutton for punishment’ angle of the classic Gluttony from Seven. Similarly, in Trojan he seemingly shifts from the fate of the land civilisation to the perspective of the long exiled species of undersea dwellers held within the Trojan Robots, looking forward to hopefully reclaiming their world. A beautiful acoustic guitar led section of hope emerges with Christina singing beautifully;“The light it fades, When you all will sleepWith love to share, Anger drifts awayAs the hurting stops, With the time to findPaths to tread in this world…I see the need inside your soulThe love that’s in your heart.”Such poetic and touching lines perfectly match the emotive music as Fry’s languid guitar flows along before ascending into a brief transcendent solo, characteristic of his more restrained performance throughout the album. It’s remarkable that amidst this science fiction complexity they can skilfully insert a song of such delicacy and feeling, underlining that for Magenta the priority is always melody and emotion, not the sterility of mere technique without feeling. Jonathan ‘Jiffy’ Griffiths shows his versatile and subtle percussive skills alongside Fry’s eerie, expressive guitar as the piece sinisterly shifts towards the treachery of the robots as they turn against the land dwellers. The whole composition comes full circle as the dramatic robotic fanfare from the intro re-emerges with soaring guitars over pulsing synths and as one civilisation falls another rises from within the Trojan robots with hope:“At the break of day, As the silence roarsAnd the dust it falls, Open up the doorsWhen we’re stepping out, Walk into the light, Man’s re-birth.”Both musically and through the narrative, the opening track is quite a ride! Definitely a piece that, like most great tracks, pays repeated listenings with a strange story that reveals itself more over time.Legend is another imagined narrative song with a post-apocalyptic sci-fi feel, partly inspired by the films Omega Man and I am Legend, and the intro certainly sounds cinematic as weird sounds throb and pulse before a crunching combination of drums, bass and guitar puts us firmly in the stark post-apocalyptic setting. Dan Nelson, long time live bassist, has now fully joined the band and with new member Griffiths’ fine rhythmic work on drums they underpin this album with precision and power, particularly on the leviathan that is Legend. Christina Booth sings powerfully as this driving song describes the fate of one of the last men on Earth, before Reed’s synths and Fry’s weird distorted guitars intertwine in a nightmare musical depiction of the vampiric state into which humanity descends. A strange but captivating song, it concludes almost elegiacally with the last human trying to hang on to the final vestiges of his humanity as the vampires hunt down the weak and vulnerable, even amongst themselves. Perhaps it’s a comment on the self-consuming and self-destructive nature of much of our society… or just a dramatic but depressing story about zombies and vampires!! Who knows, but the journey is compelling.Colours is another remarkable song about the tortured and tragic soul of an artist. It starts with a beguiling musical box intro before erupting into an intense passage with staccato and textured sounds underlying Booth’s manic vocals. The evocative and multi-layered music conveys images of the artist, on the edge of sanity, passionately and frantically applying his paint to the canvas. Apparently Rob Reed presented the music to lyricist Steve by simply saying “It’s about Van Gogh”, but he had no words, making it remarkable that Rob was able to so fully evoke the musical images of a complex and tortured individual obsessively daubing paint onto canvas to try and express his innermost thoughts and feelings. Flute-like melodies move through to subtle blues inflected guitar, a short fluid Hammond Organ passage followed by a soaring guitar vignette by Fry, with Nelson in fine form, constantly changing the colours of Magenta’s musical palette. Van Gogh perceived everything in swirling vibrant colours, mirrored by the music as the impetus picks up with insistent synthesiser, orchestral keyboards and driving guitars, Steve Reed adding one of his best lyrics to reflect the power of the music and convey the artist’s sad decline in a maelstrom of creativity which he cannot sustain. The music and lyrics combine so well in this remarkable offering, building darkly to an intense finale with Rob Reed excelling, culminating in intensely sung and chilling lines:“Save me, love me, Gun in your hand and I’m waiting to dieSky bright, sun shineField like the sea, I’m wanting the endDarkness, silence, Near to the end TheoPlease set me free, set me free.”The ending is rather enigmatic, but there is a suggestion that Van Gogh’s brother Theo shoots him to put an end to his suffering in an act of mercy. Whether fact or not, it is certainly an evocative and emotive song which displays the combined talents of Magenta. A real showcase for the band, particularly Booth, as the song builds to its dramatic ending, it has already become rather a live favourite, no wonder as it combines the music and lyrics so well.In We are Legend Magenta have created one of the best albums of their career by daring to stretch and express themselves with great integrity and dazzling imagination. This will be regarded as one of THE progressive rock albums of 2017 – Magenta have definitely added to their own ‘Legend’." - The Progressive Aspect
    $14.00
  • Cynthesis is a new band that reunites three of the original members of Zero Hour (Jasun and Troy Tipton, and Erik Rosvold) along with Enchant drummer Sean Flanagan.ReEvolution is the middle part of a dystopian trilogy begun with 2011’s DeEvolution. The central character, a shaman, is sent out to gather more slaves. He comes across a tribe and senses a light within them that triggers a distant memory of his past.  He realizes this is the original tribe he was taken from.  He brings them back to the city and encounters what was done to the population and sets them free.While Cynthesis maintains much of the Zero Hour tech metal influence, it also demonstrates the more melodic and atmospheric side of Jasun Tipton’s songwriting.  ReEvolution will appeal to fans of both progressive rock and metal.
    $13.00
  • “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
  • All Traps On Earth is the solo project created by Anglagard bassist Johan Brand.  He's enlisted former Anglagard keyboardist Thomas Johnson and current drummer Erik Hammarström.  In addition Johan's daughter contributes vocals.  There are a number of guests on board including guitarist Phil Mercy.Musically speaking the apple doesn't fall far from the tree.  You can hear a direct musical connection to Anglagard.  There is so much going on in the compositions and arrangements that your head will be spinning for days.  Its a very intense listening experience and essential for any fan of Anglagard or 70s progressive rock in general.  BUY OR DIE!"Take a modern progressive rock fan and let him listen to the first notes of "A Drop of Light", debut album from a new project called All Traps on Earth: we have no doubt that it will take him a few seconds only to recall a name that has become a legend of Scandinavian symphonic prog: Änglagård!As a matter of fact, All Traps on Earth is the name chosen by Änglagård's founding member and bassist Johan Brand for this project of his, involving keyboard player Thomas Johnson and drummer / percussionist Erik Hammarström from the same 'source band'. They are joined by Johan's talented daughter, Miranda Brand on vocals, as well as a plethora of guests from the Swedish scene.Almost five years of painstaking work and an obsessive care and attention even for the smallest details have led to the creation of an exceptional work that starts Änglagård's music, amplifies its complexity and epicness, and enriches its sonic spectrum thanks to the presence of five other musicians on guitar and wind instruments. As for instrumentation, improvisation, dynamics, rhythmic shifts and atmosphere, All Traps on Earth have put no limits, releasing a monumental record, destined to leave a mark not only for the current year 2018, but also in the future to come.Fans of King Crimson, Goblin, Magma, the Canterbury scene and even of Ennio Morricone, whose sounds are frequently recalled during the record, will enjoy this album for sure, but we have no doubt that any prog-lover will appreciate this unexpected, fantastic album."
    $17.00
  • Ultimately, progress will not be stopped. Pain of Salvation have been firmly at the forefront of the progressive rock and metal scenes for nearly three decades now. Led by mercurial multi-instrumentalist Daniel Gildenlöw, the Swedish band have consistently demonstrated a sincere passion for moving their own extraordinary music forward, while always remaining lyrically enlightened and ferociously intelligent. As a result, the band’s return in 2020 could hardly be better timed.Since selecting the Pain of Salvation banner back in 1991, Gildenlöw’s crew have arguably been the definitive prog band of the modern era. From elaborate and pointedly metallic early classics like The Perfect Element, Part I (2000) and Remedy Lane (2002) to the obtuse wizardry of Be (2004) and the genre-blurring mischief of Scarsick (2006), Pain of Salvation’s all-encompassing musical vision has delivered some of contemporary prog’s most brave, bold and startling moments. Perennially restless, the band switched to a more retrogressive style for Road Salt One (2010) and Road Salt Two (2011), conjuring a precocious blend of ‘70s blues rock and proto-metal with Gildenlöw’s unerringly inventive instincts.Also one of modern rock’s most revered and acclaimed live acts, Pain of Salvation reached a new peak of efficacy on 2017’s In The Passing Light Of Day, an intricate but soulful concept piece that focused on notions of mortality and joy. Both a technically dazzling metal band and a freewheeling prog ensemble, Pain of Salvation have earned their formidable reputation by simply being their brilliant, creatively fearless selves.Fast forward to 2020 and the world is in a state of disarray. But music’s power to uplift and unite has never been in doubt, and the new Pain of Salvation album PANTHER is guaranteed to provide prog fans with a much-needed dose of sumptuous musical substance. Since the release of In The Passing Light Of Day, the band have deftly weathered the departure of guitarist Ragnar Zolberg, discovering a newfound enthusiasm for what happens next in the process.“We did In The Passing Light Of Day and that ended with the departure of Ragnar from the band,” Gildenlöw recalls. “In the past, 10 or 20 years ago, that would probably have made me doubt the future of the band and all of that. I went through that a lot in the past with members leaving or things not turning out in a good way! It’s always difficult and it’s always something that makes you sad, when your little band family is disrupted, but I never came to the point where I doubted where to go or what to do. The other band members were pushing us on to continue, so I just kept writing music.”The result of that sustained surge of creativity is PANTHER, the eleventh Pain of Salvation album and a very obvious landmark release in a career full of them. PANTHER is a concept piece that delves into the conflicts and contradictions between so-called normal people and those who are wired entirely differently.“I guess a lot of the songs that came out dealt with not being part of the norm of society,” Gildenlöw says. “Because we live in a time where we’re more aware of people not fitting the norm and we’re doing everything we can as a society to acknowledge all of these individuals, but at the same time, they’re more disowned than ever, more medicated than ever. The album is painting pictures of a world, I guess. If this was a movie it would be scenes from a city. It’s set in one city, and it’s populated by dogs and the panthers, the so-called normal people and the spectrum people. That’s the setting for the entire album.”As with all Pain of Salvation records, PANTHER will demand multiple listens before it reveals all of its secrets, both musical and narrative. But one things is certain: Gildenlöw’s ability to create a unique and fascinating musical and lyrical world has only grown in recent times. Both traditional and radical, PANTHER is the epitome of a modern prog concept album.With such a deep and varied catalogue, Pain of Salvation – completed by guitarist Johan Hallgren, keyboardist Daniel ‘D2’ Karlsson, bassist Gustaf Hielm and drummer Léo Margarit - have taught their fans to expect the unexpected at all times. Although instantly recognisable as music from the wild mind of Daniel Gildenlöw, PANTHER once again refines and redefines the Swedes’ sound, with echoes of the past vastly outnumbered by vivid, new textures, tones and sonic sleight-of-hand.“For this album, I started off looking for sounds. I always feel I need to move and change and find new ground for myself. Maybe it’s not intentional, but looking back I see that I chose a different starting point every time, or a different methodology, which makes everything else unfold in a different way. It’s a way of making sure that I’m not repeating myself.”Meticulously pieced together by Gildenlöw in Eskilstuna and The Cabin, and mixed together with Daniel Bergstrand (Meshuggah, In Flames, Devin Townsend) at Studio 33 in Stockholm as well as mastered by Thor Legvold / Sonovo (Tambours de Bronx, Purified in Blood, Susanne Sundfør, Gazpacho) in Los Angeles, PANTHER ended up becoming a very intense and personal labour of love for Pain of Salvation’s leader.“It’s been somewhat of a lonely process, but I was finding sounds that I felt were communicating something, and then built something around that,” says Gildenlöw. “It started off a chain of events that led to PANTHER. Just like we did with the last album, you have a song and you find a new sound that you like, and then you start pulling the other songs into that world, step by step. So there’s a lot of odd sounds and a lot of trying to think anew, particularly from my point of view. I don’t have to try to make it sound like Pain of Salvation – the sound is basically what I do when I write music.”Old school PoS fans need not panic, however. Panther still features plenty of guitars and recognisable prog rock and metal tropes: It’s just that Daniel Gildenlöw can’t help but do things differently, every time he hits the studio.Yet another groundbreaking monolith to progress, passion and the joy of music itself, and with artwork consisting of fantastic illustrations made by André Meister, PANTHER is destined to be one of 2020’s most significant releases. Sprung from the maverick mind of prog’s most ingenious contributor, it’s a triumph for artistic imagination and an exhilarating new chapter in the life of a truly great band.“I don’t think that an album can change the world in any way, but I think that every small drop in the ocean can make a difference,” Gildenlöw concludes. “Hopefully people will look around at life as it surrounds us and they’ll realise that this is something we choose. We don’t have to have things as we have them right now. Then I hope, as always when it comes to our albums, people will take time to absorb it all. Our albums work best when they have a little time to sink under the skin. Hopefully with our track record, people know what’s coming!”"
    $19.00
  • The artbook contains 2CDs with the album plus an instrumental mix.  The Blu-Ray contains the album in a 5.1 surround mix plus a 37 minute documentary.  Also included is extended artwork and liner notes."Two-time GRAMMY-nominated and millions-selling progressive music titans Dream Theater announce the forthcoming worldwide release of their 15th studio album, A View From The Top Of The World on October 22nd. A View From The Top OF The World is Dream Theater at its musical finest expanding on the sound they helped create while maintaining the elements that have garnered them devoted fans around the globe. The 7-song album also marks the second studio album with InsideOutMusic / Sony Music.The artwork was created by long-time cover collaborator Hugh Syme (Rush, Iron Maiden, Stone Sour). A View From The Top Of The World was produced by John Petrucci, engineered and additional production by James “Jimmy T” Meslin and mixed/mastered by Andy Sneap.Dream Theater – comprised of James LaBrie, John Petrucci, Jordan Rudess, John Myung and Mike Mangini – was in the middle of a sold-out world tour in support of their last release Distance Over Time and the 20th anniversary of Scenes From A Memory when a Global Pandemic brought the world to a stop. The musicians found themselves at home with LaBrie in Canada and the rest of the group in the States. As fate would have it, they’d just finished construction on DTHQ (Dream Theater Headquarters) —a combination live recording studio, rehearsal space, control room, equipment storage, and creative hive. With LaBrie in Canada, he initially wrote with the band via ZOOM on a monitor in DTHQ. In March 2021, he flew down to New York, quarantined, and recorded his vocals face-to-face with Petrucci. The album ultimately threaded together lean and uncompromising hooks with tried-and-true technical proficiency.“We just love to play our instruments,” observes Petrucci. “That never goes away. I love to be creative, write, and exercise that part of my mind. We’ve been able to do this for a long time, and we don’t take it for granted. Whenever we get together, we know we can’t disappoint ourselves or our fans, so we manage to try even harder.”“We approach every album like it’s our first,” adds LaBrie. “It’s been such a great ride, but we’re not going to stop.”"
    $45.00
  • Clear Dawn is the second album from this incendiary fusion ensemble.  Aurora Clara is the multi-national band led by guitarist Raul Mannola.  Once again the great Jerry Goodman guests on violin on the opening track.  If you are a fan of the 70s great fusion bands - Mahavishnu Orchestra, Nova, Return To Forever et al you need to hear this guys.  BUY OR DIE!!"CLEAR DAWN is the second album of the Madrid-based international Jazz-Fusionband AURORA CLARA. A work full of colours, fascinating rhythms, vertiginous unison lines, and inspired improvisations in the framework of elaborated and original compositions. The acoustic 12-string guitar mixed with flute, violin, and an electric Funk/Jazz rhythm section creates a very unique soundscape."“It is, however, my great pleasure to report that Aurora Clara’s second album, Clear Dawn, eclipses its first brilliant release, Transformation “ (Walter Kolosky, Music journalist and podcast host specialized in Jazz-Rock)Raul Mannola - guitarsFlamenco guitarist with 30 years of professional experience and over 10 solo albums, with roots in Blues and Jazz. Born in Buenos Aires, Argentina to Finnish parents. One of the most outstanding musicians when it comes to merging Flamenco with Jazz and Rock. The first to play Flamenco on the 12-string guitar.Juan Carlos Aracil - fluteFlutist from Alicante, Spain. Specialist in Flamenco and Flamenco-Jazz with an exceptional talent in improvisation. He has an impeccable sense of rhythm, developed over years of work with the virtuoso Flamenco dancer Juan Ramírez.Denis Bilanin - keyboardsHailing from Rumania, is a keyboardist with a very heavy groove, and a sound reminiscent of the 1980’s, but at the same time very atmospheric. He plays and produces many different styles, like Funk, Afrobeat, R&B, World Music, and Mainstream.Jorge Barrero - bassA Colombian musician, resident in Madrid for the last two years, he specialises in different Latin and African American music styles, such as Andean music, Colombian folk, Rock, Funk, Jazz etc. A brilliant virtuoso player, who encompasses all the modern techniques.Marco Anderson - drumsDrummer and multi-instrumentalist born inYorkshire, England. Musician with more than 40 years of professional career playing almost every musical style imaginable. Was drummer with The Groundhogs, seminal UK progressive blues band, and has featured in live performance and recordings with Steve Vai (Saurang Orchestra) and Carl Orr (Billy Cobham), amongst many others.Boris Momtchilov - drumsBorn in Bulgaria, resident in Spain for four decades, this drummer started to play in rock bands in Madrid, evolving towards alternative and progressive rock styles. He is Influenced by Balcanic folklore and the fusion of cultures.Collaborations:Jerry Goodman – violin (1) Zeke Olmo – congas (4, 7)
    $11.00
  • ‘Arise’ gives the impression that the creative skills of Steve Babb have gone into overdrive, is there a better storyteller in modern progressive music?” - Progradar.comGlass Hammer shoots for the stars with the new concept album, “ARISE.” Set against the backdrop of deep space exploration, ARISE follows the extraordinary journey of an android dispatched by overzealous scientists to uncover the galaxy’s hidden wonders. The album’s lyrics, liner notes, and artwork convey a tale of cosmic dread and wonder that doesn’t begin with a big bang, but, according to Glass Hammer mastermind Steve Babb, “...definitely ends with one.”He’s joined by singer Hannah Pryor and guitarist Reese Boyd for Glass Hammer’s twenty-first studio album. “ARISE is my progressive-rock spin on space rock,” says Babb. “I’m still flirting with doom metal on a couple of songs, as we did on the last two albums, but there’s also psych-rock and even 80’s influence going on in the music. Even so, it’s very much a prog-rock album, just one that touches on other styles.”Babb goes on to make a bold claim. “We’ve always been big on finales,” he says. “But the final track on ARISE is like nothing we’ve done before. It’s an epic-length instrumental prog-rock jam meant to leave our fan’s jaws on the floor!”
    $13.00
  • THIS NORTHERN VIRGINIA BASED BAND is a three-piece at heart, musically rooted in the raw energy and rhythmic interplay of RUSH and KING’S X. Fans of dark, guitar-driven rock bands from ALICE IN CHAINS, DEFTONES to the contemporary metal riffing of LAMB OF GOD and PANTERA, will connect to the heavy core of IRIS DIVINE’s sound. Add to that progressive complexity and moody synths inspired by DREAM THEATER and PORCUPINE TREE, and a liberal dose of memorable hooks and melodies, to understand some elements of IRIS DIVINE’s sound. And yet, the band has a distinct identity, not quite sounding like any of the aforementioned bands, and with an emotional urgency that pulls subtly from alternative and other influences.KARMA SOWN IS A TRIUMPH OF A DEBUT ALBUM, immediate and memorable but revealing layers and depth upon repeated listens."Progressive metal is in a rough period right now. The old guard are either releasing sub-standard albums that only make it more obvious how far they have fallen, or they are drastically uncool with anyone who didn't become a fan when progressive metal was first being created. Progressive today tends to mean djent, a style that has sapped all the life and humanity out of music, turning metal into a math equation of time signatures, and not songs that anyone can actually remember. There was a time when progressive metal remembered the ultimate goal of music; to have listeners enjoy the songs so much they would return to them again and again. Today, progressive metal is mostly the sort of music that could pass for muzak, if you don't turn the volume up too loud.Iris Divine wants to change that. They set out with the mission of writing progressive metal that is intricate and challenging, but still produces the kind of songs that listeners who don't have an advanced degree can love and sing along to. It's a challenge, and it goes against the tide, but it's a desperately needed revolution if progressive metal is going to flourish anytime in the near future.I knew from hearing the pre-release track “A Suicide Aware” that Iris Divide was special, and the full album reinforces the point. “The Everlasting Sea” comes out of the gates with plenty of tricky riffing and unusual rhythms, but they lead into big melodies with strong hooks and vocals. Their progressive playing isn't meant for show, it's a tool used to set a tone that juxtaposes with the more melodic moments. Finding the proper balance between these elements is not easy, and many a band have failed miserably trying to do so, but Iris Divine doesn't. On their debut record, they show a skill some bands have spent their entire careers failing to learn.What I love most about the record is that it can be seen in many different lights. If you like straight-ahead metal, there is plenty of heavy riffing and pounding drumming here to keep you satisfied. If you like progressive music, these songs have twists and turns, and Rush-like keyboards, in enough quantity to match the djent crowd. And if you're a fan of old-school radio rock, the choruses in these songs will be music to your ears. Keeping all three of these in mind at the same time can be tricky, but it's worth the effort.For being a trio, “Karma Sown” is a massive sounding record. The production is flawless, big and clear, without ever sounding too polished. The heavy parts are heavy, the vocals are up front, and you would never believe this was a self-produced record that was crowd-funded. I can put it up against many, many of the big label releases, and it would win the fight.In fact, I can think of a dozen so-called progressive metal bands that should immediately hand over their label contracts to Iris Divine, because it's a crime that a band that is advancing progressive metal in the right direction doesn't have the backing of one of the labels. Not to name names, but this album would be bigger than half of the progressive metal released this year if it had the media push behind it.In case you haven't noticed, what I'm saying is that “Karma Sown” is a fantastic debut, and the future of progressive metal. Iris Divine isn't a Dream Theater clone, and they're not djent. What they have done is integrate all the strains of progressive metal into a singular sound, one that could set the standard moving forward. If every band sounded this good, progressive metal wouldn't need to be underground. “Karma Sown” is the best progressive metal album of the year, bar none." - Bloody Good Horror
    $6.00
  • I can't remember a buzz on a band's debut since Circus Maximus.  Perhaps due to the album being released in Japan a year ago and its unavailability elsewhere, maybe because they are lined up to play ProgPowerUSA.  Whatever the reason the album finally gets a wide debut and it was worth the wait.  Damnation Angels is a British symphonic metal band fronted by a Norwegian singer.  He goes by the name PelleK and was a contestant on Norway's version of X Factor.  The band's stock in trade is epic sounding metal that pays a huge debt to Kamelot.  The instrumental passages take on the grandeur and scope of Nightwish.  PelleK does a sold job out front - he's obviously listened to a Khan quite a bit.  Highly recommended.
    $14.00
  • Formed in Oslo in 1992/93, WHITE WILLOW has built a reputation over the years as a diverse, subtle, progressively-focused group, their albums always critically acclaimed and revered as influential. They were a part of the original revival of progressive rock in Scandinavia that also included Änglagård, Anekdoten, and Landberk, and original Änglagård drummer Mattias Olsson is the drummer of WHITE WILLOW. Fusing influences from 1970s prog rock and folk rock, hard rock, electronica, and even some pop influences, with each album they explore new territories. A common thread throughout all the albums though, is the use of female vocals and the employment of huge arsenals of vintage keyboards and synthesizers, notably Mellotrons, Chamberlins, Moogs, Solinas, Prophets, and more. Among the bands/artists admired by WHITE WILLOW are Genesis, Blue Öyster Cult, King Crimson, Fairport Convention, Nick Drake, Joni Mitchell and Norwegian bands ranging from Høst to Darkthrone.WHITE WILLOW’s first album since 2011’s well-received Terminal Twilight sees the outfit exploring some of the most “progressive” territory the band has ever ventured into, with several lengthy tracks and more instrumental passages than they are usually known for. Musically the album builds upon the foundation of its predecessor, with a modern approach to production. Future Hopes also features a heavy use of synthesizers, including the unique textures of the famed Blade Runner synth, the Yamaha CS80.The Future Hopes lineup, which as always is a loose constellation of musicians with multi-instrumentalists Jacob Holm-Lupo and Mattias Olsson at the core, sees the return of several WHITE WILLOW stalwarts, including flautist Ketil Einarsen (Jaga Jazzist, Motorpsycho), keyboardist Lars Fredrik Frøislie (Wobbler, Tusmørke), and bassist Ellen Andrea Wang (Pixel, Manu Katché Quartet). The singer is however a new arrival. Venke Knutson is best known in her native Norway for a string of Top 10 hits and is well established as a solo pop artist. She came into Holm-Lupo’s orbit as a guest singer with his other project, The Opium Cartel. Guesting on several tracks and putting a clear stamp on the album is Norway’s trailblazing guitar hero Hedvig Mollestad, known from her own Hedvig Mollestad Trio. Holm-Lupo felt the material needed a soloist who could both navigate the tricky, almost jazz-influenced chord and time changes on the album while at the same time retaining a rock edge, and Hedvig fit the bill perfectly.Future Hopes was mixed by highly respected Norwegian Grammy-nominated engineer Christian Engfelt, known for his work on the Elephant9/Reine Fiske album, Atlantis, and the Todd Rundgren/Lindstrøm collaboration, Runddans. The record was mastered by Grammy Award-winning audiophile legend Bob Katz, and completed with a specially commissioned painting by Roger Dean. The CD and digital versions of the album also feature two bonus tracks, including an original tune, “Damnation Valley,” as well as WHITE WILLOW‘s unusual cover of The Scorpions’ classic dirge, “Animal Magnetism,” re-interpreted as a Tangerine Dream-like electronic piece while still retaining the heaviness of the original. The star on the track is New York-based clarinetist David Krakauer, knows as the world’s foremost klezmer clarinetist, with countless credits to his name both with his own projects, in jazz constellations, with many of the world’s best philharmonic orchestras and with soundtrack music. Krakauer is a recipient of many prestigious nominations and awards, from DownBeat to the Grammys.
    $14.00
  • "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