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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.

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  • New authorized edition of one of the great UK organ rippers. Fuzzy Duck had roots in Five Day Week Straw People, Andromeda, and Atomic Rooster. This one falls into that "proto-prog" category. Its from 1971 and pre-synthesizer. The music has a great balance of organ/guitar interactions with Roy Sharland's organ really dominating. Sort of a cross between The Nice and Human Beast. This Esoteric edition features the 4 non-lp singles tracks as well as Mark Powell's usual excellent essay chronicling the band's brief history.
    $17.00
  • Great double live album available at a budget price.
    $11.00
  • 28 years is a long time for a band to stay together but that's how long Woodenhead has been playing together. They have quietly cultivated a dedicated cult following in New Orleans. Now Free Electric Sound is bringing this extraordinary quartet to a national audience. Woodenhead's music is a spicy gumbo of jazz fusion, symphonic rock and local R 'n' B flavors (sorry for the wordplay!) The group has toured the U.S. and Central America and has played the New Orleans Jazz and Heritage Festival for over 20 years. The band has played with the Dixie Dregs, Mahavishnu Orchestra, Billy Cobham, Chick Corea's Elektrik Band, John McLaughlin Trio, Bela Fleck and The Flecktones, Tuck And Patti, Hugh Masekela, Spyro Gyra, Robben Ford, Johnny Winter, Stevie Ray Vaughn, and John Mayall, and has toured with the Steve Morse Band and Allan Holdsworth."Perseverance", the band's 6th album, was recorded live in New Orleans and captures all the energy and emotional playing of a Woodenhead gig. Augmented by a horn section, the band's music comes across as a blend of the Dixie Dregs, Happy The Man, and Hot Rats-era Zappa. This is an album with broad appeal to fans of jazz rock, prog rock and even Cajun music. "At the New Orleans jazz festival, Woodenhead gets a standing ovation for teaching traditional jazz fans just how far imagination and electricity can push the form" - Esquire magazine
    $5.00
  • Tremendous pedigree follows this new Swedish band. Dionysus was put together by Johnny Ohlin, guitarist from the late lamented Nation, and drummer Ronny Milianowicz late of Sinergy. Fronting the quintet is Olaf Hayer who has sung on Luca Turilli's solo projects. The album was produced by Edguy's Tobias Sammet and mixed by Tommy Newton (Helloween and Ark). This is well crafted melodic power metal with touches of speed and neoclassical guitar. To my ears this sounds like Angra or perhaps a stripped down version of Rhapsody - it's more direct and less bombastic. I was a big fan of Nation so it's great to hear Johnny Ohlin playing again.
    $12.00
  • Excellent debut from this Finnish occult rock band.  Led by the sultry voiced Jess, JATAOs go the 70s retro route in similar fashion to The Devil's Blood and Ceremony.  In fact there is a remarkable similarity to the first album from The Devil's Blood although Jess' voice isn't quite as operatic as Farida Lemouchi.  Keyboards are present (even hear some 'tron samples in the mix) but they aren't as prominent as used by The Devil's Blood.  Long guitar driven tracks have a mystical, almost psychedelic, vibe.  If you were told this had this been released on Vertigo 40 years ago you wouldn't even blink.  Highly recommended.
    $36.00
  • 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.
    $12.00
  • "Death.Taxes.Ozric Tentacles.Since 1984 this loose collective have been releasing reliably great music from the mind of leader Ed Wynne. Their margin of error is enviably tiny – there is no such thing as a bad Ozrics album. Sure, some are better than others, but the body of work is as inescapably consistent as mortality and societal contributions. Technicians of the Sacred is their fifteenth studio album, second double album and the first release in this format since Erpland in 1990. It is also one of the best they have ever recorded.The blend of electronica and inner-space rock is instantly recognisable with ‘The High Pass’. World music and gently undulating synths take their time to ease us back into the required frame of cosmic consciousness. It takes almost 6 minutes for the secret weapon, Wynne’s signature lysergic lead guitar, to be deployed and that is the modus operandi of the whole album – nothing is rushed, each track unfolds lotus-like.‘Changa Masala’ distils all the band’s ingredients into a spicy side-dish. Sequencers, vocal samples and a reggae skank provide the base while acoustic guitar rips like a John McLaughlin solo, interjecting a nod to their past, a musical in-joke for the fans, which I won’t spoil for those who haven’t yet heard it.The Steve Hillage (Gong, System 7 and sometime Ozrics collaborator) influence is foregrounded in the first disc’s closer, ‘Switchback’. Tap-delay guitar slithers over a web of ambient keyboard washes. Portamento bass notes slide and glide their way through the patchouli-scented psychedelic haze.f the first disc was an aromatic treat, then the second is manna. ‘Epiphlioy’ recalls the classic ‘Saucers’. Its serpentine twelve-string acoustic riffs employ Eastern modes to evoke a scene that is paradoxically earthy and otherworldly. Staccato strings conjure Kashmir while a celestial orchestra of whooshing keyboard pads threatens to levitate us into the stratosphere and beyond. We are back in the bizarre bazaar, folks. Brandi Wynne pins down the ethereal mix with a heavy dub bassline. The track changes constantly. This is the most compositionally complex music the band has ever produced.While there are references to Ozric history and a more organic feel similar to early classics with the occasional use of non-electric instruments and ethnic voices, the album as a whole is a step forward. The painstakingly crafted symbiosis of synthesised sounds and rock instrumentation, coupled with a slick production, lend Technicians of the Sacred a holistic integrity not heard since Jurassic Shift (which incidentally entered the UK charts at a very respectable number 11 in 1993). The whole gels together and flows with the multi-layered sophistication of a symphony while retaining some of the jam-band aesthetic of the free festival days.‘Smiling Potion’ features interlocking sequences even Tangerine Dream would be proud of and a tribal metronome-sense beat straight out of Peter Gabriel’s soundtrack for The Last Temptation of Christ.As ‘Rubbing Shoulders With The Absolute’ throbs along on a blissed-out dub rhythm artificially generated voices ensure the weirdness meter is kept firmly in the red.Hungarian drummer Balázs Szende makes his first studio appearance and throughout the album he proves to be a superb addition to the group, whether approximating the tight programmed style of The Hidden Step era or, as on the closing track, ‘Zenlike Creature’, tackling elusive prog time signatures with ease and finesse. As Ed Wynne winds up a solo worthy of fusion maestros Mahavishnu Orchestra he introduces a shimmering Hillage-esque repeating motif that stays in the mind long after the music has stopped.Technicians of the Sacred, for all its dynamic shifts and intricacies, is a very chilled-out release, one for relaxing to and for transportation to the other, wherever that may be. There are no jarring wig-out rock guitar hero sections or all-out sonic attacks like ‘The Throbbe’. Rather this is Ozric Tentacles’ most cohesive and accomplished effort in almost 20 years and a highlight of a long and peerless career." - Echoes And Dust
    $13.00
  • "Proving that Norwegian metal is not relegated to corpse paint, grimness and blasphemy comes the new record from progressive metal champions COMMUNIC. Not quite a comeback album, but it has been a while: three years since their release of Payment of Existence (Nuclear Blast). In that time they have continued to refine and redefine their sound. They have always identified as a “prog” band, but they clearly still fly the flag of metal high and proud as ever too. As evident on The Bottom Deep, the band has consciously streamlined their writing process while not sacrificing the quality song-craft they have been known for. Starting off the the blistering opening track “Facing Tomorrow” the track starts off with a hail of machine-gun fire riffs and expansive drum parts. The first few seconds have more in common with KREATOR than say DREAM THEATER and says a lot about their intentions on this album. The marching pedaled beats and chords give way to interesting textural guitar parts that lay on top of the chaos. Once again the stunning tenor vocals of guitarist Oddleif Stenland is what congeals the song together. His voice is rough enough for metal, but never ceases amaze as an expressive melodic instrument. Second track “Denial” begins with modern rock elements, but has a sizzling guitar solo and nice double kick drum fills. Downshifted into atmospheric metallic balladry, the song is emotional and has a cool chorus. More of Stenland’s emotive vocals really get to you and his range is very impressive. There are some moments of the song that will remind you of recent songs from VOIVOD or TOOL and this could be a breakout song for the band. “Flood River Blood” is more of a straight up rocker with a light verse and heavier climax. Bassist Erik Mortensen gets to stretch out and play some dewy lead lines during the verses. Two-thirds of the way through, the song turns harsh and Stenland does his best ROB HALFORD-like high scream yet. In contrast to their last album that had more obtuse structures and longer songs, COMMUNIC has reduced the sonic fluff a bit to good results. The very heavy and introspective “Voyage of Discovery” is next and has a little bit of everything the band is good at in the song. Drummer Tor Atle Andersen is the star here with his excellent playing. The song finds the band covering some of the territory better known by NEVERMORE or even BLIND GUARDIAN. Just really well written songs that are not prog for the sake of randomness, but out of a true reverence for musical aptitude. Later cuts like “In Silence With My Scars”, “My Fallen” and “Destroyer of Bloodlines” are some of the heaviest and best songs on the album with many inventive twists, time signature shifts and turns musically. “My Fallen” is certainly the most crushing track here with terrific interplay with guitars and drumming. Although not groundbreaking, The Bottom Deep is a strong and enjoyable effort start to finish." - Metal-Army.Com
    $20.00
  • Fifth album from this young Dutch trio.  The band seems to be rising in popularity in Europe and Australia.  The band recorded this album in Georgia with producer Mark Neill (Black Keys).  The overall sound is intact - Hammond organ still is the focus - but there is a bluesy Southern vibe injected that reminds a bit to The Black Crowes.
    $24.00
  • "It has become patently unfair to review a Luca Turilli creation as a “metal album.” No matter what you call it… “cinematic metal,” “symphonic metal,” “classical metal” – Turilli composes musicscapes beyond comparison. While he will never be held to the unattainable standard of a modern Mozart and Beethoven – the giants who receive 100% critical acclaim whether deserved or not – Luca can easily draw comparisons to modern composers like John Williams, Hans Zimmer and Jerry Goldsmith.With his composition company created, his ability to mix both old world classical and modern/new world classical with metallic elements is unprecedented in heavy metal. This music transcends the metal world and thrusts deeply into mainstream music and movie soundtrack lore. On “Prometheus – Symphonia Ignis Divinus” – Turilli uses both dark and light elements, a real combination of “Prophets of the Lost Eclipse” and “The Infinite Wonders of Creation,” to create a stunning masterpiece that trumps the impossibly towering “Ascending to Infinity.”It is literally pointless for fans that do not enjoy meticulously orchestrated cinematic metal to run out to buy “Prometheus,” so just stop right here. Long time Luca fans, read on! Imagine, if you will, being on board the Hollywood backlot tram tour, only its much cooler than you can imagined. As you pass by various sets for movies like “Solomon” (with “King Solomon and the 72 Names of God”) “Lord of the Rings” (with “One Ring to Rule Them All”), “Valhalla Rising” (with “Yggdrasil”) – you are whisked away on a musical journey that is a rich and pure as the breathtaking mountains, valleys, lakes and oceans. Luca creates music that conjures images teaming with life that flash on every note, which is as extraordinary as the breathtaking compositions themselves.After the accident that nearly took the hand and career of guitarist Dominique “Dodo” Leurquin, his presence on “Prometheus” is a both relieving and required. It’s also a welcome sight to see drummer Alex Landenburg (21 Octayne/Mekong Delta), who joined the band before the release of “Ascending Into Infinity” in 2012, but who hasn’t played on a release until “Prometheus.” A favorite skin basher for many years, it’s a triumphant display from one of the best and hardest working in the business. Sound wise…albums do not get much more pristine.With Luca at the helm along with his team of Sebastian Roeder (recording) and Christoph Stickel (mastering) – “Prometheus” is a sonic jewel. Having freed himself from the binding storylines of the pre-split Rhapsody/Rhapsody of Fire days, Luca seems bent on raising the bar with everything he does – becoming part opera, part soundtrack, part metal, part symphony.Where tracks like “Rosenkreuz,” “Prometheus” and “Yggdrasil” ratchet up the heaviness that metalheads expect (notably those fans who have become disillusioned at the orchestrated distractions away from guitar), other songs bring a beautiful “non-metal” element, best represented through “Il Tempo Degli Dei” – which has quickly grown to be the go-to favorite after a mediocre first listen (it sounds immensely happy) – and “Notturno,” the operatic ballad showcasing uber-talented vocalists Alessandro Conti and Fench soprano Emilie Ragni.Once again, the album’s keystone monument is “Of Michael the Archangel and Lucifer’s Fall” – this time with the second part, subtitled “Codex Nemesis.” Remembering greatness levels reaching stupid proportions on “Ascending to Infinity,” the second part matches but comes from a different melodic angle.Overall, “Prometheus - Symphonia Ignis Divinus” ties elements from all of Luca’s previous efforts – with a heavy dose of “Prophet of the Last Eclipse,” nods to the Dreamquest release “Lost Horizons,” and a victory lap from “Ascending to Infinity.” If you are a fan of Turilli, there is little doubt you will gush all over “Prometheus.” If you find the cinematic, operatic and symphonic elements a little too over the top for your metal cravings, then steer clear. One thing is certain, the only composer on earth who can top Luca Turilli is the man himself.Highs: High expectations realized from the world's best composer.Lows: With Luca's Rhapsody, either you find it amazing or way too over the top to be respectable.Bottom line: "Prometheus" may seem like an "Ascending to Infinity" victory lap, but it goes way deeper than what you hear on the first listen." - Metal Underground
    $15.00
  • "CRYSTAL VIPER are Poland s most promising Heavy Metal act. The band from Katowice has earned a fabulous reputation in the Metal underground with their previous releases and have recently played the Keep It True, Swordbrothers and many others major festivals. Singer Marta Gabriel is the centre point of the band, and implies a nice and charismatic appearance with a powerful Metal voice. Heavily influenced by the 80´s Metal of Judas Priest, Iron Maiden, early Manowar and the like, Crystal Viper draw immediate comparisons to the legendary WARLOCK (with Doro Pesch on vocals) but hold their own with their unique stylings. Crimen Excepta is their highly anticipated fourth album and features guest appearances by David Bower of Hell and Piotr Wiwczarek of Vader." Comes with 2 bonus tracks.
    $15.00
  • Latest album from this UK band that used to embrace doom metal but ultimately morphed into a Pink Floyd inspired band with metal influences. This time around the band continues to ramp up the atmosphere quotient and seems to downplay the metal aspects. So what we have here is a heavy version of Radiohead or Porcupine Tree. An easy recommendation but if you are looking for metal stay away. Great album now available at a midline price.
    $13.00
  • 30th anniversary reissue of the first album of the Mk III lineup with David Coverdale and Glenn Hughes.  One of the classic hard rock albums of the 70s.  This version comes with 5 bonus tracks featuring 2004 remixes.
    $9.00