Timeless

SKU: ECM1047
Label:
ECM Records
Category:
Fusion
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Classic mid-70s fusion album from ECM. Timeless features the trio of guitarist John Abercrombie, Jan Hammer on keyboards, and Jack DeJohnette on drums. This is non-stop firepower that will satisfy any Mahavishnu Orchestra fan. Jan Hammer goes off his nut on Mini-Moog and Hammond organ. Essential.

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  • Interesting new concept from this visionary prog band from NY. 3 revisits and reinterprets some of their oldest material - some of which only appeared on bootlegs.
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  • "Jon Lord, the long-time Deep Purple keyboardist, always wanted a studio recording of his famed Concerto For Group and Orchestra. Only recently did he publicly make this wish a reality. In what turned out to be his swan song, he recorded Concerto For Group and Orchestra .Lord assembled guest musicians such as Iron Maiden's Bruce Dickinson, Joe Bonamassa and Steve Morse in the Abbey Road Studios, to work with his trusted partner, director Paul Mann, on the 2012 version of the legendary concert."Over these last years since leaving Deep Purple, I've played it over 30 times with different orchestras and conductors all over the world, and, of course, in 2000 I did it well over 30 times with Purple on the Concerto tour, so I've been honing the piece live on stage, and I ve had the opportunity to change things in the score that weren t sounding quite right. It is therefore a marvelous and exciting prospect to have the definitive recording of the definitive version of the score." (Jon Lord May 2011)On July 16, 2012, Jon Lord passed away in London at 71 years old. This album is a joyful testament of a great musician and fantastic man."His dignity and graciousness touched us all. His music was an inspiration and took us to places beyond our imagination... A truly great man. We humbly express our eternal love and great respect." Tribute from Deep Purple upon the passing of Jon Lord."
    $11.00
  • Since the release of 2013’s In Crescendo, Kingcrow toured North America in support of Pain Of Salvation, and headlined a European tour.  Kingcrow kept busy in 2014, touring Europe with Fates Warning and at the same time crafting the material that would become Eidos.“Eidos” is a new conceptual album about choices, consequences, dealing with regret and disillusion. Their earlier album Phlegethon dealt with childhood and In Crescendo about the end of youth.  Eidos can be considered the third part of a trilogy about the path of life. Musically it sees the band exploring new territories and pushing the extremes of its complex soundscape with a darker atmosphere and a more progressive attitude.Describing the band today is quite a difficult task, but one could state that the influence of such artists as Porcupine Tree, Riverside, Opeth, Anathema, Radiohead , King Crimson and Massive Attack are all present in the music of Kingcrow.With each release Kingcrow has taken a step further away from their original roots as a classic metal band and is now one of the most personal and exciting bands that Italy has to offer.
    $13.00
  • New 24 bit remastered 2 cd edition of the debut from After Forever. This comes with a 28 page booklet, tons of non-album and unreleased demos, rarities, and session tracks.
    $20.00
  • "Coming on the heels of the commercially and artistically successful Pump, the fitfully entertaining Get a Grip pales against its predecessor's musical diversity. But it's not for lack of trying. In fact, Aerosmith try too hard, making a stab at social commentary ("Livin' on the Edge") while keeping adolescent fans in their corner with their trademark raunch-rock ("Get a Grip" and "Eat the Rich"), as well as having radio-ready hit ballads ("Cryin'," "Amazing," and "Crazy"). The problem is, it's a studied performance -- it sounds like what an Aerosmith album should sound like. Most of the album sounds good; it's just that there isn't much beneath the surface." - Allmusic Guide
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  • Adrenaline Mob is a new hard rock/metal band assembled by Russell Allen (Symphony X), Mike Portnoy (ex-Dream Theater), Mike Orlando, and John Moyer (ex-Disturbed).This style of music is a bit of departure for Allen and Portnoy. Adrenaline Mob seems to take its direction from their bassist who was a member of Disturbed. The music fits in the Disturbed/Godsmack vein. Allen's vocals are much more aggressive sounding than in Symphony X reminding a bit of Rob Zombie. Guitarist Mike Orlando plays with hyper-kinetic abandon. Mr. Portnoy...is Mr. Portnoy. What would you expect? This band is definitely going to be controversial with the Symphony X and Dream Theater crowd because it sounds so extremely different from those bands. Your move.
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  • Tenth studio album from the reconstituted verison of Focus led by Thijs van Leer.  Returning is original drummer Pierre van der Linden.  Bobby Jacobs handles bass and Menno Gootjes lead guitar.  X doesn't break any new ground.  This sounds just like classic Focus - van Leer concentrates on flute and Hammond organ and vocals.  Pure prog with strong jazzy overtones in places.  Neat cover art and logo courtesy of Roger Dean.  Highly recommended.
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  • Glass Hammer get all existential on us...Perilous is the new band's new concept album about a man dealing with grand scale issues like mortality.  A bit of a downer but like all Glass Hammer projects there is a ray of sunshine at the end.  Glass Hammer is fronted by Jon Davison who was plucked away by the remaining members of Yes for current tours and cruises.  He remains a member of GH as well.  Naturally with the voice of a Jon Anderson sound alike, the music bears remarkable similarity to Yes.  Some of Fred Schendel's piano work reminds a bit of Going For The One.  When Fred is hammering away on the organ the music takes on a Kansas quality.  So essentially not much has changed.  Glass Hammer's sound has pretty much evolved into a Yes/Kansas hybrid over the past decade and there it remains.
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  • MY BROTHER THE WIND is an improvisational cosmic rock collective consisting of members of widely known Swedish acts Makajodama, Magnolia, Animal Daydream and most notably Anekdoten, one of the more widely recognized names in the 1990s prog rock revival.Recorded live in the studio with no overdubs during a single day in January 2013, Once There Was A Time When Time And Space Were One captures the collective's progressive soundscape qualities with incredible analogue studio production. The band utilized 6 and 12 string acoustic and electric guitars, Mellotron, flute, bass, drums, congas and more to complete the task. Expect 45 minutes of the band's most succinct material to date, recorded deep in the snowy, forested, Swedish wilderness.In 2013, MBTW expanded into an even wider fanbase, having been invited to play the mighty Roadburn Festival in Tilburg, Holland, as well as at Duna Jam in Sardinia.  At the invitation of Opeth’s Mikael Okerfeldt, guitarist Nicklas Barker returned to Roadburn to perform an improv set with Dungen guitarist Reine Fiske.Those who frequent the works of Popol Vuh, Amon Duul, Sun Ra, Träd, Gräs Och Stenar, Albert Ayler, Ash Ra Tempel, Gong, Pink Floyd and other visionary, psychedelic rock artists are advised to investigate this act. "Lush and instrumental for its duration, My Brother the Wind‘s third full-length, Once There was a Time When Time and Space were One (released by Free Electric Sound/Laser’s Edge), rolls out of the speakers much easier than its title rolls off the tongue, though both title and the work itself satisfy rhythmically. The Swedish four-piece — they now seem to be a bass-less trio with Nicklas Barker (Anekdoten) and Mathias Danielsson (Makajodama) on electric/acoustic 12-strong guitar and Daniel Fridlund Brandt on drums, but Ronny Eriksson plays bass on the album — reportedly recorded live to two-inch tape on a vintage machine, and the passion they put in bleeds readily into the nine-song/45-minute outing, fleshed with liberal splashes of Mellotron courtesy of Barker to play up a ’70s prog feel in a piece like the 12-minute “Garden of Delights.” That’s hardly the only point at which those sensibilities emerge, but even more than that, the primary vibe here is one of gorgeous heavy psych exploration, the band adventuring and feeling their way through the material as they go.On peaceful moments like the title-track, which arrives as the penultimate movement before “Epilogue” leads the way back to reality — accordingly, “Prologue” brings us in at the start — that exploration is positively serene, the 12-string complemented by spacious electric tones spreading out across vast reaches, but Once There was a Time When Time and Space were One offers more than drone and psychedelic experiments. Subtly pushed forward by Brandt‘s drums, pieces like “Into the Cosmic Halo” and even “Epilogue” enact classic space rock thrust, and even “Song of Innocence Part 1,” the first part of the journey after the backward atmospherics of “Prologue” introduce, has some cosmic feel amid its echoing solos. Its subsequent complement, “Song of Innocence Part 2,” swells to life on an even more active roll, waves of amp noise up front while drums and bass groove out behind, waiting for the guitars to catch up, which they do in a suitably glorious payoff, relatively brief but masterfully engaging, setting a momentum that continues well into “Garden of Delights,” a focal point for more than its length.Because the songs flow so well one to the next, some directly bleeding, others giving a brief pause, and because later cuts like “Thomas Mera Gartz” — named in honor of the drummer for ’70s Swedish proggers Träd, Gräs och Stenar — and the title-track have a quieter take, it’s tempting to read some narrative into the shifts of Once There was a Time When Time and Space were One, but with the material not being premeditated, I’m not sure that’s the intention so much as a signal it’s well arranged. In any case, the album offers an immersive, resonant listen, with tonal richness to spare and the presence of mind to keep a sense of motion even in its stillest parts and a balance of organic elements — Danielsson‘s recorder and Brandt‘s percussion on “Misty Mountainside,” the 12-string, etc. — amid a wash of effects and swirling psychedelia. This attention to sonic detail makes Once There was a Time When Time and Space were One more than just a collection of jams, and adds further purpose to the already worthy cause of My Brother the Wind‘s thoughtful musings, wandering and not at all lost." - The Obelisk
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  • Limited edition import 2CD set with 7 bonus tracks!"When you made the impact that Bigelf did in 2010 with their fourth album ‘Cheat The Gallows’ and the subsequent tour, it’s inevitable that people expected the highly rated band from Los Angeles to hit hard in 2011. But instead we got an astonishing silence. However, all that is about to change with the arrival of ‘Into The Maelstrom’, a new album of melodic prog-doom that eccentric frontman Damon Fox believes will take Bigelf to new heights. “I have been reflecting on the band and pondering what it would take to get us to the next level, I believe we have accomplished this task on the new record.The last three years for Fox have been confusing and difficult, to say the least, as he found the band he’d worked so hard to establish suddenly dissipated. “I’d call our break a spontaneous hiatus. I did genuinely feel that we’d go into 2011 with an album out early in the year, and then we’d build on what we had achieved up until that point. Instead, we came to a standstill. The momentum had vanished, and it halted the band. So, I was forced into an introspective state of hypersleep and had to contemplate my future. I love the other guys in the band as brothers, and I am extremely grateful for they contributed to help get Bigelf this far. I was heartbroken when that line-up came to an end but change nonetheless was upon the band.“Forging ahead, I didn’t feel that I could get it done on my own”, Fox admits. Thankfully, he found a kindred spirit in famed drum god Mike Portnoy, with whom he’d bonded with in 2010 when Bigelf toured with Dream Theater. “We hung out a lot back then, and got very close. Mike and I discussed how similar our situations were with our respective bands going through our ‘Let It Be’ phases. This was around the time when Mike had his dramatic press-laden departure from Dream Theater. I knew Mike loved Bigelf, and he told me not to give up on it and to keep the band going. His encouragement really helped me to carry on through dark times.”"Getting the songs fully realized was something of a laborious experience", Fox explains. “In the past while I had written most of the material, I always had a incredibly gifted band to bounce ideas off of and we would often jam out to fully realize the song . But this time, I had to write, arrange and envision everything on my own. Once I got the selection of songs together, I sent the demos to Portnoy (who had agreed to play on the album). Mike is the busiest man in Prog, so the next time he was in LA, we laid down the drums at Linda Perry's studio, Kung-Fu Gardens where we did ‘Gallows’. I also wrote a song with her for the new album. The rest of the sessions and instrumentation were recorded at my home studio ITM.“I feel this album is going to prove to a lot of MP haters that Portnoy can really lay down a groove and has a serious vibe as a drummer. It’s not just about his chops and his pyrotechnic style, for which he’s known for, especially with Dream Theater. The feel and emotion in his playing on this record is really unique and it’s unlike anything else he’s done before in my opinion” Lovable lefty bassist Duffy Snowhill, who’s been with the band since 2000, is bringing his thundering Viking bass tones to the recording of ‘Into The Maelstrom’. Luis Maldonado is also climbing aboard the Elf vessel for his first trek. “Luis is a close friend who I’ve known for many years. He has his own band, Into The Presence, and works with a lot of established artists as well. Luis is a phenomenal guitarist, he delivered some really blistering leads on the new album. I'm supplied all of the rhythm guitar tracks and managed to squeeze in a few leads as well too. People usually associate me with keyboards – and there are copious amount on the album, to be certain – but originally Bigelf was founded around my guitar riffs, and it was really rewarding to be able to play guitar again from a nucleus standpoint.”‘Into The Maelstrom’ was produced by Fox (who also handles all the vocals), and believes this album proves that Bigelf are now exploring alien musical landscapes. “There’s a fresh aura and energy on there that’s completely different to our previous releases, but it also sounds like Bigelf. I view this album as being very psychedelic cinematic. It has a ‘Mad Max’ post-apocalyptic feel – a futuristic world that’s rather dirty and desolate filled with chaos and despair. The bludgeoning Sabbath guitars and “Karn-Evil” keys are still there, but the modern setting is what makes the record have a creative edge.While ‘Into The Maelstrom’ isn’t a concept album as such, Fox does reveal that there is a theme that links much of his lyricism. “It’s about traveling through time into one’s past and into the future, to experience and examine your pain and fears, in order to move forward in life. A lot of my baggage from the my travels provides the cathartic inspiration. Deep, personal feelings like the tragic death of my best friend and former Bigelf guitarist A.H.M. Butler-Jones. And my fears of mankind eventually destroying itself a la, ‘Planet Of The Apes’. I suppose the opening song, ‘Incredible Time Machine’, sums it all up.”Fox is clearly inspired and reinvigorated by the new focus Bigelf have made here. For him it’s not just about how the album sounds, but also the process involved in getting there. “Making the record has been a certain kind of journey. A few years ago I had to completely let go of Bigelf, which was painful but it came back with force and vision. As such, the music began to shape from a different perspective and I have been able to see an alternative way of accomplishing my goals. To me, ‘Into The Maelstrom’ is a genesis, a bridge between the band and a larger audience. Strap yourselves in ladies and gentlemen, you're in for a wild ride.”"
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  • "Insurgentes is the new documentary film about Steven Wilson (Porcupine Tree) directed by Lasse Hoile. Porcupine Tree are currently enjoying massive success across the world with their latest album, The Incident. Insurgentes is a musical road movie that follows the making of his solo record of the same name, and is a portrait of an increasingly rare artist who works with music and media out of love and not for fame and fortune, persisting in making art on his own terms in a world where 'throw away' mentality is increasingly becoming the norm. The film features footage of Wilson with other artists and friends including Mikael Akerfeldt from Opeth, Jonas Renkse from Katatonia, the Israeli superstar Aviv Geffen, and the legendary producer Trevor Horn."
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  • "Rock in a Hard Place is the sound of Aerosmith at their most "out of it." Not to say it's a horrible album by any means -- in fact, there are more than a few pleasant surprises -- but without the guitar team of Joe Perry and Brad Whitford, it didn't possess the magical chemistry of their '70s classics. Jimmy Crespo and Rick Dufay filled in for the departed duo, and it turned out to be the group's most studio-enhanced and experimental record up to this point. To keep up with the then-current musical climate, vocoders and synthesizers can be subtly detected, as heard on the space-age "Prelude to Joanie" and in the beginning to the otherwise tough rocker "Lightning Strikes," which served as the album's lone single/video. "Jailbait," "Bitch's Brew," "Bolivian Ragamuffin," and the title track showed the band could still rock out despite their three-year layoff between albums, a cover of "Cry Me a River" showed their gentle side, while the psychedelicized "Joanie's Butterfly" was the album's surprise highlight. But it didn't take an expert to know that Aerosmith was not the same after the loss of the aforementioned members. And so did the band, who welcomed Perry and Whitford back into its ranks two years after Rock in a Hard Place." - Allmusic Guide
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  • Latest release from Crippled Black Phoenix is marketed as an EP but at 45 minutes in length its anything but.  Longtime vocalist Joe Volk is gone, replaced by John E. Vistic.  The core sound is intact, an expansive, cinematic blend of post rock and early 70s Pink Floyd.  The 12 minute tune "How We Rock" sounds like an instrumental soundtrack piece Floyd would have recorded for a Sergio Leone film.  As far as I'm concerned these guys can do no wrong.
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