Trespass ($5 Special)

SKU: MCAD-1653
Label:
MCA Records
Category:
Progressive Rock
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This is the original US CD pressing on MCA Records.  

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  • "InsideOutMusic present three albums by US prog metal act REDEMPTION as one attractively priced limited 3CD box set. Featuring the mighty Ray Alder (Fates Warning) on vocals, "The Origins Of Ruin", "Snowfall On Judgement Day" and "This Mortal Coil" are perfect examples of high class progressive metal fusing heaviness and epic melodies."
    $18.00
  • Import hardbound "mediabook" edition with the Iron Man bonus track.So here's my personal confession...after Neal left I felt that Spock's Beard lost their way.  Nick is a fine vocalist but there was something quirky about Neal's writing that had a reverential old school quality that I found lacking.  The albums didn't grab me.  Nick left and Ted Leonard took over on vocals.  Whether it was Enchant or Thought Chamber, he's always stood out and he fits Spock's Beard quite well.  The new drummer Jimmy Keegan slipped into the blend with no dificulty.  The result is (to my mind) a resurgence from this band.  Ryo Okumoto always puts on a show - in particular his heavy reliance on Hammond organ reminds me quite a bit of Steve Walsh.  In fact the sound of the whole album has a Kansas vibe. Coincidentally David Ragsdale guests on one track.  I'm not sure I can remember the last time I said this about a Spock's Beard album - Highly recommended."Very few bands are so recognizable that you know who you are listening to within 2 seconds.  That is all it takes at the beginning of the first track on The Oblivion Particle to know you are listening to Spock’s Beard.  There is no slow buildup or keyboard swells, just straight BAMM!, here we go.  And if the opening notes don’t get you, the organ 5 seconds in will.  The band’s 12th studio album, this one the second with singer Ted Leonard and drummer Jimmy Keegan, is a culmination of years of perfecting a sound and identity, one that not even 2 major lineup changes could fracture. With this new album, Spock’s Beard up their game again and show that this lineup is here to stay.If there was a track that defined what Spock’s Beard are, it might be the opening track, “Tides of Time.”  There are certain checklist items that mark their sound and they are all in this track.  The organ, the harmonies, the acoustic breakdown, the rocking middle and the epic ending.  Each member finds their moments to shine on this one and it provides a jaw-dropping sound overload that could leave one satisfied at that moment; only there is another 60 minutes to go.The album zigs and zags through a few more experimental moments, mixing in some surprises with more traditional Prog elements.  The album’s second track and first single is “Minion”, is a perfect example.  The opening a cappella harmonies provide the sort of memorable chorus and harmonies we’ve come to expect from the group.  While, the following distorted keyboard section is also standard Spock’s Beard.  But the verse and middle of the song is much darker and takes us on a surprising journey.The most unique song the album is the brilliantly titled “Bennett Built a Time Machine”, which the album’s cover is based on.  Drummer Jimmy Keegan takes lead on the vocals here and sounds incredible.  His voice actually fits the track better than Leonard’s probably would have.  The song is one of the album highlights and helps keep the record from sounding redundant.  It is almost a pop song most of the way through until turning on the jets and shifting into Prog mode.There are some heavier moments such as “Hell’s Not Enough” and “Get Out While You Can”. “The Center Line”, however, might be the most similar to something you might have found on their group’s previous album “Brief Nocturnes…”  The track opens with an expansive piano recital piece, before turning into a combo Prog-Western bounce with acoustic guitars carrying the groove. Ted’s voice lifts the choruses flawlessly and creates an almost cinematic soundscape.Even with all of these great moments, it is the album’s closing track that is the best song on the album.  “Disappear” might be one of the best songs the band has recorded since Neal left the group.  “We could disappear, you and me, we could be, anyplace else not here” sings Ted in the chorus as he wonders what might be if we left with no one knowing what happened.  The song is really the closest thing to a ballad on the album, but it doesn’t stay that way for long.  2 minutes in, the song stirs into a frenzy just before a brief cameo by Kansas’ David Ragsdale, appearing with his violin.  Of course, the big epic orchestral ending takes us home as Alan Morse provides the finishing touches with his unique finger picking soloing excellence.Spock’s Beard are Prog rock’s most reliable unit.  They have yet to disappoint and always provide comfort to their faithful fans with music that is both inspiring and breathtaking.  And while The Oblivion Particle shows a harder edged Spock’s Beard, it also displays a group that shows no signs of slowing down and is ready to take on all comers." - The Prog Report 
    $18.00
  • Deluxe CD/DVD digipak.  The DVD features a "making of" documentary and lots of other stuff."Opening up the autumn season in grand fashion, a deluge of fantastic releases are upon us and spearheading that charge is veteran progressive black/Viking metal titans Enslaved and their newest and likely earthiest opus RIITIIR. Continuing along the long and illustrious progressive path the band first started drifting toward with 2000’s Mardraum: Beyond The Within. But if 2010’s Axioma Ethica Odini was a return of punishing metal authority, RIITIIR is an exercise in extremes and bombast – everything here is enormous in scale and execution. The songs themselves (most shooting well beyond the eight minute mark) each featuring a myriad of movements and cascading motifs, everything the Enslaved fan loves about the band here and in grand style!Glacial sheets of guitar are par the course for RIITIIR, the opening salvo of “Thoughts Like Hammers” steamrolling right out of the gate, near equal play of harsh and clean vocals coming into play with time, threatening and soothing in equal measure. These peaks and valleys return in epic fashion on “Veilburner,” trade-offs and synchrony of the two ends being used to tremendous effect, the cleans in particular used better here than on any release since Herbrand Larsen joined the group in 2004. This clean expression comes through in grand fashion on 11 minute closer “Forsaken,” a decidedly low key but super effective end to the journeys the album takes.It isn’t all clean wailing and atmospheric pomp however, the band lovingly riffing out with rediscovered metallic bravado with “Roots of the Mountain” and “Storm of Memories.” Though the harsh cliffs at the outset are soon met with clean voiced and mellotron-drenched ridgetops, eventually the listener is firmly kicked back into the abyss, this time accompanied by some fantastic and ongoing solos. It’s fascinating to see the rediscovered metallic vigor that came to life on the last release mixed so fervently with the band’s ever-growing melodic sense and expressive voice. These two aspects of the band, combined with their increasingly complex compositional sense, make for an exhausting and enthralling journey.All that being said, what’s featured on RIITIIR won’t come as a surprise to anyone who’s listened to the band for even the past couple years, let alone the last decade – the album is simply another notch along the belt of progression by degrees. The compositions are bigger, more ornate, bristling with finer features and bombast. It’s the band’s thickest release in a long line of releases guitar Ivar Bjørnson has joked are ‘all two weeks long’. With each of those releases however the joy lay in divining the details over repeat listens, unearthing the secrets between the out layers. That remains the case here, RIITIIR another fantastic from a band that burst past the 20-year mark and is showing zero signs of aging. " - Blistering.com
    $15.00
  • Denmark's Behind the Curtain create their own avant garde vision of metal for the next millenium. 'Til Birth Do Us Part is a concept album filled with dynamic contrasts of crushing guitar riffs, symphonic keyboards, and original vocals. Although complex in nature, Behind the Curtain's music is often subtle and filled with powerful emotions.WE ARE CLOSING OUT OUR INVENTORY OF BEHIND THE CURTAIN "TIL BIRTH DO US PART". PLEASE NOTE ONCE OUR COPIES ARE SOLD WE WILL NOT BE REPRESSING IT.
    $4.00
  • Rare UK progressive folk songstress with a bewitching voice. Features 5 unreleased tracks.
    $15.00
  • 2nd concept album is subtlely more straight ahead than their debut but is still light years beyond most bands in terms of originality and complexity. Compared by some to Faith No More.
    $15.00
  • Swedish Hammerfall offshoot features pure epic fantasy power metal in the tradition of Dio, Iron Maiden, et al.
    $7.00
  • "Gäa was one of the more obscure German underground bands from the 70s.  They recorded one album for the Kerston label.  According to legend, after the album was released, many copies were destroyed due to poor sales.  Of course this has driven the price of an original copy into the stratosphere.The five piece had a sound a bit similar to early Eloy.  Lots of organ, some flute, but more importantly some of the most wicked Hendrix influenced leads you will hear.  Whip it all together with production that sounds like it was recorded in a massive echo chamber and you've got a winner.  A stone cold killer." - ProgArchives
    $18.00
  • Uptempo power metal from Italy.  Evershine don't retry to reinvent the wheel.  Their stock in trade is melodic (catchy) metal with a touch of speed.  Some nice symphonic elements are present as well.  Somehow the Italian metal scene is able to turn up a slew of excellent singers.  Evershine has a good one in Marco Coppotelli.  He reminds me a little bit of Andre Matos.  In fact some of the music reminds me of Angra with also some touches of Helloween.  I'm a prog guy and I think its pretty decent.  I'm sure power metal fans will burst a vein over this.
    $15.00
  • The Italian band The Watch are probably the pre-eminent prog band to capture the classic Gabriel-era sound of Genesis.  While the band tours doing covers of Genesis tunes hey write original material that could easily have been lifted from Nursery Cryme.  Tracks From The Alps is their latest.  It includes all original compositions except their reinterpretation of "Going Out To Get You", a track from Genesis' debut album.  If you like "the sound" The Watch will be indispensible.  I consider them a guilty pleasure and have enjoyed all of their releases.  Highly recommended.
    $17.00
  • "Fair to say their name is still as dislikeable as it was when we covered their excellent album Eight Pieces, One World album two years ago but musically the Belgian metallers still rock the juices out of us as proven by new encounter Odd Memories. Max Pie fills their third album with all the essences which made its predecessor a surprising and compelling proposition but it is with bigger and bolder imagination and creative energy. We are no major heavy/power metal fans here to be honest but once again Max Pie has given us one thumping and rousing time.The band was formed in 2005 by vocalist Tony Carlino taking inspirations from bands such as Symphony X, Van Halen, Toto, Queensrÿche, and Dream Theater into their emerging ideas. A slightly unstable time in personnel graced their early years before Max Pie released debut album Initial Process in 2012. Fan and critically acclaimed it was surpassed by Eight Pieces – One World a year later in presence, sound, and praise. Its release was followed by the band playing numerous festivals and undertaking tours with the likes of Symphony X, Evergrey, Fates Warning, Avantasia, and Queensrÿche. Now they return with, as the last album, the Simone Mularoni mixed and mastered Odd Memories and simply their finest, most inventive proposal yet.The album opens with its title track; an instrumental ripe with a foreboding atmosphere and epic textures all cinematically imposing on the imagination. This type of beginning is becoming a common practice across varied metal offerings but when done right, as here, it makes a potent invitation into any release. As the track slips into the following Age of Slavery, a sizzling electronic coaxing colludes with rampant riffs and a melodic embrace of keys. The thick commanding rhythms of drummer Sylvain Godenne shape and invigorate the track further, framing the growling vocals of Carlino perfectly. The frontman’s diverse delivery is as magnetic as ever, some elements more powerful and potent than others but like the music, a constant lure that likes to stretch and push both song and musician. As the guitar and keyboard craft of Damien Di Fresco builds and expands its enterprise, the track blossoms into a sturdy and fiery encounter to really kick things off.It is also, in many ways, a relatively straight forward and maybe expected proposal from the band, the new exploration showing itself more from Odd Future on. Keys breed the first mesmeric caress on the third track before guitars and the wonderfully dark throated bass of Lucas Boudina bring their hues to the emerging and stirring landscape of the encounter. Once vocals join, the song settles into a melodic roar and sonic flame of melodic and heavy rock ‘n’ roll, their union a heated and tenacious arousing of ears and thoughts veined by sparkling, and at times understated temptation from the keys. It is when things go off kilter with a glorious stretch of discord kissed invention and melodic bedlam that the song really comes alive and if there is any moan it does not play in this great moment long enough.Promised Land opens on a vivacious escapade of keys quickly encased in storming riffs and rhythms, it all quickly blooming into a virulently contagious slice of rock pop with classic metal and progressive rock hues. It has single running through its potent craft and lusty veins, every second of the track a bold and rousing incitement for body, voice, and emotions. Such its power and lure, it gives next up Love Hurts a hard time trying to follow it, and as mesmeric in melodic beauty within tempestuously emotional and physical terrain that it is, it never quite finds the same full-blooded personal reactions as its predecessor. It is undeniably superbly crafted and woven though and does leave only fully satisfied thoughts before the darker, ravenous excellence of Don’t Call My Name takes over. The guitars alone are predatory with their creative rummaging of the senses whilst the keys float with celestial temptation above them and the uncompromising rhythms spearing it all. Reaping the ripest elements of technical and progressive metal, band and track pulsate as they gnaw on ears, adding melodic and harmonic balm to the increasingly irresistible voracity on offer. With Carlino also on fine form, the track is the pinnacle of the album, reason alone to eagerly approach Odd Memories.The acoustically brewed Hold On slips in next to transfix and from a slow start to its persuasion grows into a big favourite. Whether by chance or intention, it has a Bowie-esque essence to it, a floating whisper in quieter moments which does it no harm. It is a scent soon out flamed by vocals and the sonic blaze giving the song rich crescendos and a breath-taking finale before Unchain Me takes the listener on another tumultuous ride of rugged metal and tantalising electronic adventure.No prizes in guessing some of the scenery within Cyber Junkie, its electronic and industrial endeavour a potent spicing to another song offering a compelling fusion of bestial metal and melodic flirtation, the former steering the ship with invigorating success. As Don’t Call My Name before it, the track is a masterful web of varied and diverse styles in one predacious provocateur, thoughts of bands from Anthrax to Armored Saint, Dream Theater to Skyharbor coming to mind across its exciting and again show stealing soundscape.The album is finished by The Fountain Of Youth, a song which either a raging storm of a canter or a gentle caress enthrals and sparks only the keenest attention and support from ears and emotions. Like a couple of other songs it takes longer to get all of its hooks inescapably entrenched but with its additional symphonic elegance and emotively hued strings, the song has seduced long before realisation notices.Wrapped in the excellent artwork of Didier Scohier, Odd Memories and indeed Max Pie have caught us again with a tempest of sound and invention driven by craft and passion. This time it is bigger, more adventurous, and confirming the band as one of progressive power metal’s finest." - The RingMaster Review
    $15.00
  • Pinhas is back and Cuneiform has him (once again). Incredible array of musicians evokes the good old days. Here is what Cuneiform says:"Metatron is over 2 hours of spacey and flowing music that isn't afraid to rock out completely as well, by French electronic rock pioneer Richard Pinhas (on guitar and electronics), with Jerome Schmidt on laptop, drummer Antoine Paganotti (Magma) and ex-Heldon members Didier Batard (bass), Patrick Gauthier (minimoog) and Alain Renaud (guitar), as well as Chuck Oken, Jr. (Djam Karet) on synths and Philipe Simon on violin on one track each. While a lot of this is definitely comparable to Tranzition, his great last album, there really is a lot more rock involved this time around, as there are drums on the great majority of tracks. In addition to all the great music, there is a QuickTime video with footage from Richard and Jerome's 2004 North American tour."
    $21.00
  • Red type on black shirt. Front text is simply DSO and the back reads:DIABLO SWING ORCHESTRA No 2 SING ALONG SONGS FOR THE DAMNED & DELIRIOUS(same as the album cover)At the moment only Men's shirts are availabe. Women's shirts coming in shortly.
    $20.00
  • Released by Camel some years ago, this is a wonderful archival live set from 1972. Four tracks: "Lady Fantasy", "White Rider", "Six Ate", and the incredible "God Of Light".
    $16.00