Hand. Cannot. Erase (Blu-Ray)

SKU: KSCOPE523
Label:
KScope Records
Format:
BLU-RAY
Region:
Region 0
Category:
Progressive Rock
Add to wishlist 

"'Hand. Cannot. Erase.' is the highly anticipated fourth studio album from Steven Wilson - four-time Grammy nominee and founder member of cult legends, Porcupine Tree.

Hand. Cannot. Erase. follows the critical and commercial success of The Raven That Refused To Sing, released in February 2013, and a run of sold-out shows around the world including London's Royal Albert Hall. Steven will embark on an extensive 'An Evening With Steven Wilson' European tour in March & April 2015.

Recorded at London's illustrious Air Studios, Hand. Cannot. Erase, reunited Steven with Guthrie Govan (guitar), Adam Holzman (keyboards), Nick Beggs (bass / stick), and Marco Minneman (drums), the spectacular band responsible for The Raven That Refused To Sing album and world tour.

The album is presented in an elaborately designed 96 page case-bound book, with several additional inserts - including a diary, a sketchbook, newspaper cutting, a letter etc - featuring artwork by long-term SW collaborators Lasse Hoile (photography), Hajo Mueller (illustrations) and Carl Glover (design).

Blu-Ray contents include hi resolution stereo & 5.1 audio (96/24 5.1 LPCM & DTS-HD Master Audio 5.1), seven additional alternative versions, mixes & radio edits, half-hour studio documentary, studio sessions photo gallery.

The album follows the critical and commercial success of 2013's 'The Raven That Refused To Sing' (Germany #3, UK# 28) and an international run of sold-out shows, including London's prestigious Royal Albert Hall.

Joined by Guthrie Govan (guitar), Adam Holzman (keyboards), Nick Beggs (bass / stick), and Marco Minneman (drums) - all part of the world-class band that graced The Raven and the 2013/2014 world tours - Wilson recorded 'Hand. Cannot. Erase.' at the renowned Air Studios in London."

There are no review yet. Be the first!

Product Review

You must login or register to post reviews.
Laser Pic

customers also bought

SEE ALL
  • Limited edition embossed digipak with one bonus track."It was the friendly split heard round the world: two bands – same logo, same history….huh? Two Rhapsody’s? Would they sound the same? What does Rhapsody even sound like without Luca? All those questions are now about to be answered as Rhapsody of Fire (RoF) will finally present the response album to the overwhelmingly cinematic masterpiece spewed by Luca Turilli’s Rhapsody (LTR) in 2012. In the interim, there is a new record company (AFM), the first North American Tour and a Hess in….a Hess out. The split with the former HolyHell guitarist has left Roberto De Micheli as the lone guitarist, which turns out to be the best move of all. Meanwhile, Fabio Lione has been the busiest and a singer for hire – guest starring on a multitude of releases, including a long stint with Brazil giants Angra – and permanently joining Hollow Haze on top of Vision Divine. Fans wondered, when would that long awaited response album from Alex Staropoli be heard? The time is now and “Dark Wings of Eternity” is upon us. Right, right….you want the verdict! Well this album will definitely distinguish the band from LTR, but at the same time all of the key RoF qualities remain.Is it a win? Absolutely! Alex Staropoli takes RoF in a more organic and metallic direction, which on the first listen may come across sounding “under produced” when compared to the grandiose “overly produced” previous albums. Successive listens unveil the beauty of “Dark Wings of Steel,” an album that favors drama over theatric, proving there really is room for two Rhapsodys without picking sides.Luca’s vision of Rhapsody is the cinematic grandiose direction – a grand production of sight and sound, dazzling and spectacular. Alex Staropoli has side stepped and stripped down Rhapsody of Fire just a bit towards a purer “heavy metal” direction. Fans might take that statement as a step backward, but keep in mind, having two bands that are exactly the same would be silly and certainly wouldn’t help either. The guitar sound is more prominent, darker, and little less speedy as in the past (save for two of the album’s tracks). The choirs and choruses that fans have come to expect remain intact, as well as those building and sweeping melodies, written to perfectly balance the strengths of Fabio’s voice. Clearly, this is Staropoli’s band and he makes his presence known in a huge way (more on that later), and Roberto’s work is absolutely brilliant and cannot go unnoticed! His riffs are engaging and his solos are masterful, in many ways exceeding Luca’s own (which Turilli would freely admit). Many people do not realize that Roberto was actually in Thundercross in 1993, the band that would change its name to the famous Rhapsody in 1995 (though he did not play on the “Land of Immortals” demo of 1994).For any true fan of the band, approaching “Dark Wings” brings a certain level of both excitement and concern, especially considering Luca’s absence, the band’s back catalog and history, and LTR's post-split opening salvo that only raised the bar. It is nearly impossible for any fan of these bands to simply turn off the past and not instantly begin with comparisons. By giving “Dark Wings of Eternity” room to fly and breathe, I guarantee with each successive spin any concerns will quickly fade. In the end, you will find that RoF really isn’t all that far from where it already was! As soon as "Vis Divina" (intro) and opening track “Rising From Tragic Flames” begin you will notice the hallmarks – choirs, speedy riffs, Fabio – are all there, but the sound, especially the drums, is more natural. Staropoli’s keyboard play is much more modern and flamboyant juxtaposed to De Micheli’s neoclassical style. When that choir bridges you to Fabio’s first verse, you quickly realize this is classic RoF.For purposes of keeping this review from becoming more like a novel, lets group the tracks into “quicker” and “slower.” History has proven that Rhapsody of Fire is more often than not associated with quicker tunes, which are the ones that tend to be prominent among the fans. “Rising From Tragic Flames” is akin to classics like “Unholy Warcry” as the choir and speed is strikingly similar. “Silver Lake of Tears” presents a fierce and angry Fabio on the verses, which will be just what many fans have been hoping for (and no…we aren’t talking “Reign of Terror” angry). The title track is slightly more mid-paced with a De Micheli riff that is just as lethal as the speed. The song has one of the coolest guitar vs. keyboard solo battles, something that happens in multiple tracks on the album. “A Tale Of Magic” is an up-tempo half-speed with one of the most memorable choruses on the release. It’s a challenge to pick and outright favorite, but for now the pendulum swings in favor of “Tears of Pain,” with its simple, though highly fetching, riff that just draws more anger from Fabio’s voice.As for the “slower” side, which encompasses ballads and mid-paced tracks, the crop includes the building layers of “Fly to Crystal Skies” - galloping into the chorus along the bass pedals of Alex Holzwarth and the stunning ballad “Custode Di Pace”- a song like so many other greats from RoF and another pedestal for Fabio. “Angel of Light” showcases Fabio’s current strengths - the upper mid vibrato – matched in perfection only by Alessandro Conti. The song sports another one of the best choruses, as well as a slow Manowar type gallop as the song progresses. One of the real standouts in this category is “My Sacrifice,” which rises like a mountain, each level progressively heavier, ranging from near ballad from the onset, to mid-paced bass centric while pausing on the bridge with a uniquely Italian acoustic flair before cascading into the chorus.As mentioned earlier, a word about Alex Staropoli. For starters, I’ll admit that I had my concerns about his “flying solo” as a writer and those concerns were dispelled by “Dark Wings.” His play is much more flamboyant and modern than on previous releases, including a number of keyboard solos that battle back and forth with Roberto’s guitar. It’s an exciting element that really enhances the album. If I had one stylistic gripe, it would be that the keyboards are so prominent in the mix that they suffocate the guitar riffs at times (examples include the opening riff to the title track and “A Tale Of Magic.”). In those heavier tunes, the riffs could easily drive the melody alone.In summary, “Dark Wings of Steel” is a well written and fantastic effort. It demands attentive and successive listens before its true beauty is revealed. Changes are both bold and subtle, especially the more organic sound. The mix meter tilts with Staropoli, which throttles the riffs at times, but the quality of play is superb. The song writing is top notch, leaning more dramatic and less theatrical to distinguish the band from LTR, and Fabio shines not only with his voice, but also in his role as lyric writer. Enough cannot be said about Roberto, who has taken over and stepped up in the absence of Luca. For me, this album is a testament to his play. “Dark Wings of Steel” will not replace the classics, but it will find its place among them. The future is bright for one of heavy metal’s veteran acts." - Metal Underground
    $16.00
  • 40th anniversary reissue comes in a 2 CD version. The first disc includes a completely new mix taken from the multi-tracks. The mix was prepared by Steven Wilson. There are 5 bonus tracks. The second disc features the 2004 remastered version of the original mix but there are 5 other bonus tracks. Basically this is the set to get if you don't care about the 5.1 mix.
    $17.00
  • "The musical transition that seemed to have just begun with Fear of Music came to fruition on Talking Heads' fourth album, Remain in Light. "I Zimbra" and "Life During Wartime" from the earlier album served as the blueprints for a disc on which the group explored African polyrhythms on a series of driving groove tracks, over which David Byrne chanted and sang his typically disconnected lyrics. Remain in Light had more words than any previous Heads record, but they counted for less than ever in the sweep of the music. The album's single, "Once in a Lifetime," flopped upon release, but over the years it became an audience favorite due to a striking video, its inclusion in the band's 1984 concert film Stop Making Sense, and its second single release (in the live version) because of its use in the 1986 movie Down and Out in Beverly Hills, when it became a minor chart entry. Byrne sounded typically uncomfortable in the verses ("And you may find yourself in a beautiful house, with a beautiful wife/And you may ask yourself, well, how did I get here?"), which were undercut by the reassuring chorus ("Letting the days go by"). Even without a single, Remain in Light was a hit, indicating that Talking Heads were connecting with an audience ready to follow their musical evolution, and the album was so inventive and influential, it was no wonder. As it turned out, however, it marked the end of one aspect of the group's development and was their last new music for three years." - Allmusic Guide
    $6.00
  • When it comes to Dream Theater influenced prog metal no one does it like the Italians. Zen, Scenario, Mystere De Notre Dame, Solid Vision...the list goes on and on. Add Daedalus to the list as well. Like most of these bands mentioned there is a common flaw - lets call it a lapse of originality and a vocalist with good range but an accent. But all of these bands transcend these deficiencies with great chops and excellent compositions. Basically what I'm saying is that if you are a fan of the genre you are going to love this disc...just keep an eye out the window for the Originality Police. This is actually the second album for this band from Genoa. They went first class all the way - Roland Grapow mixed it and Rob Tyrant contributed some guest vocals. Noted illustrator Mark Wilkinson did the artwork. Highly recommended.
    $3.00
  • Riverside is a way of expressing reflections, dreams and fantasies through music. It is an idea for exposing emotions, for an escape from the grey or unnaturally overcoloured reality. It is music inspired by a time, a place, a thought and a word, a figment of their own and other people's imagination. It is joy and sadness, a whisper and a scream. This young Polish band has created an emotional musical journey through dark and moody atmospheres that find kindred spirits in Porcupine Tree, Opeth, Anathema, and Pink Floyd. With a sound that encompasses prog, psychedelia, metal and even alternative rock, Riverside is poised to break through to a wider audience. The gorgeous full color booklet, designed by award winning digital artist/graphic designer Travis Smith is the visual counterpart to Riverside's music, perfectly capturing the mystical spirit of "Out Of Myself". Riverside has been invited to perform at NEARfest 2005. They will be the opening band on the 2nd day of the festival.
    $14.00
  • "Back in the late eighties and early nineties I was a huge fan of that eras best thrash metal. Bands like Slayer, Testament, Death Angel, and Forbidden drew me in with machine gun double bass drums, lighting fast rhythms, and aggressive vocals. One Machine is the brainchild of guitarist Steve Smyth, best known for his stints in some of metals finest bands including Nevermore, Forbidden, Dragonlord, Vicious Rumours, and Testament, a stellar resume to be certain! For One Machine’s debut album, Smyth has formed a band that is compromised of a who’s who in the world of extreme/underground metal who were carefully selected by Smyth: Mikkel Sandager (Mercenary) on vocals, Jamie Hunt (Biomechanical) sharing guitar duties, rounded out by a powerhouse rhythm section with Tomas “O’Beast” Koefoed (Mnemic) on bass guitar and Michele Sanna on drums (although former drummer Raphael Saini of Italian progressive metallers Chaoswave played on the album). The Distortion Of Lies And The Overdriven Truth was recorded and produced by Steve Smyth. Mixing was handled by guitarist extraordinaire Roy Z (Judas Priest, Bruce Dickinson, Halford), mastered by Alan Douches (Three Inches Of Blood, Firewind, Sepultura) from West West Side Music with artwork created by Niklas Sundin from Cabin Fever Media (Dark Tranquillity, Arch Enemy), complimented with photography from Anthony Dubois (Meshuggah, Mnemic).The songs harken back to the 80′s Bay Area thrash movement of bands like Early Metallica, Testament, Death Angel, Exodus, and Forbidden and melds it with the classic metal style of Painkiller era Judas Priest and the melody of Vicious Rumours. Lead vocalist Sandager sings clean for the majority of the album but can growl out some extreme growl vocals as well as ear piercing screams that would make Rob Halford proud. He also has a vocal similarity to Russ from Forbidden in places (Crossed Over). Unlike a lot of their thrash metal forefathers, the band has a penchant for writing choruses with melodic and catchy hooks (Armchair Warriors). The music is chaotic at times (Killing The Hope Inside) almost to the point of no return, only to transition into a melodic passage that brings things back from the abyss. The guitar solos are as frenzied and speedy as the songs, at times reminding me of classic Slayer. What you have here are ten no nonsense slamming brutally heavy tracks that will make you want to jump in the pit. The title track sets the tone for the album with neck snapping, whiplash inducing headbanging thrash metal. There are some lighter moments such as in Kill The Light Inside and most notably the dark and moody mid-tempo of Last Star Alights, but for the most part, each song on the album takes a turn pummeling the listener with heavy riffs and brutal rhythms (see Evict the Enemy).One Machine is a band with a tremendous upside and possible crossover potential in the mainstream metal market with the right promotional push. Fans of Smyth’s revious work in Testament, Forbidden, and Nevermore will find a lot to love about this band, while fans of more melodic fare might be surprised to find lots of catchy melodies and hook laden choruses to sink their teeth into!" - Lady Obscure
    $15.00
  • "Chastain offered up a unique brand of progressive metal, combining his over the top guitar playing with Leather's unique vocal sound at a time when Shrapnel was enjoying success with then-new label mates and fellow guitar heroes Paul Gilbert, Vinnie Moore, and Tony MacAlpine.There has been a resurgent interest in musician-oriented records and the early shred scene. The re mastered Ruler of The Wasteland is one of those seminal records that helped to shape the emerging progressive metal movement." Comes with 2 bonus tracks.
    $16.00
  • Peculiar but interesting band from Belgium. Oceans Of Sadness mix progressive, death and doom metal influences freely and even incorporate some 70s flavors as well. The music is a bit off-kilter in the same way that Pain Of Salvation used to be. Vocals are a mix of clean and coarse. The odd use of Hammond organ in places is a weird stylistic choice that just helps to set these guys apart from the norm. If you like your prog metal to the left of center check these guys out.
    $8.00
  • "Sweden’s Bloodbound has returned with the fifth album “In the Name of Metal.” If you think this album is all about dripping anthems raging about the glory of metal and all related topics...you would be right. If you think you have heard it all before, well, perhaps you have. BUT....if you love "Franken-traditional" comprised of parts of Manowar, Accept, ancient Queensryche, Helloween, Skid Row, and oddly, old Bon Jovi, well you have a new master. What Bloodbound did was take the sum of those parts, add the slick 2012 production and put out one of the greatest true metal albums in memory. For every single solitary thing that Manowar did wrong with “The Lord of Steel,” Bloodbound did ten things right. If you will indulge me, let me impart a few words that apply: “Glory, majesty, unity Hail! Hail! Hail!”I often speak of songs of yore back in the great times of the beginning to mid-80's and how it evoked a spirit, a feeling...a metal brotherhood, if you will. I’ve pointed out many recent albums that evoked that spirit, and I am back to tell you that this is another of those, but the best of all - complete with the hair standing on the back of my neck. Only my favorite bands have the ability to do this, and Bloodbound was not in that realm up to this point. As far as an album that lives up to its name, “In the Name of Metal” is glaringly perfect. As an album that breaks new ground, it “falls flat.” As an insult, that last statement is completely the opposite.Having heard the song “In the Name of Metal,” it wet my appetite providing more Manowar than the aged egos of its members have since “Gods of War” (for some, much earlier). This is nothing compared to what follows: the Accept-ish “When Demons Collide” (a personal favorite), the “bonecrushing” sound of first album HammerFall on “Bonebreaker,” back to Manowar with “Metalheads Unite,” Bloodbound took every working formula and made it better. “Son of Babylon” had me head scratching wondering where I had heard that chorus and it dawned on me, if Bon Jovi made “In and Out of Love” a heavy song, it would be this. “Mr. Darkness” doesn’t just scream Helloween for nothing: it has “Mrs. God” all over it (or was that “Dr. Stein,” no...no “Mr. Torture,” wait, no “Mr. Ego”). “I’m Evil” has a chorus that echoes (linear wise) Queensryche’s “Breaking the Silence.” The comparisons here are merely meant to show the affluence of talent drawing influences from all over the metal spectrum.The most interesting combination is found within “Monstermind.” The verses present a riff right from Motley Crue’s “Dr. Feelgood.” Then right before the bridge it grinds down with that brash riff from Ozzy’s “No More Tears” (complete with the Zack Wylde style). So many great styles meld to make “In the Name of Metal,” which works in terms of catchy head banging greatness. It helps that a band has a phenom on vocals in the form of Patrik Johansson (from Dawn of Silence, not to be confused with Nils Patrik Johansson), a brotherhood of guitarists (Tomas & Henrik Olsson), the absolutely non-buzzing bass of Anders Broman, and the perfect (not mechanical) drumming of Pelle Ã…kerlind (Morgana Lefay). Fredrik Bergh is one of those keyboardists that is unassuming, but who’s presence is notable when absent. Even he would agree, in Bloodbound it’s all about the guitar.So, when you are all done mocking power metal for its lack of originality, Bloodbound will still be there: totally unapologetic, balls to the wall, hail and kill, steel meets steel, bells of seven hells metal that makes you want to be a metalhead. Music doesn’t always require over the top orchestration or melodramatic progressive Malthusianism. Most days, it’s what makes you instantly feel great, even though the world laughs at you for being in a “pre-pubescent phase.” For the metal faithful, every achievement in life is all “in the name of metal.”" - Metal Underground
    $15.00
  • First time on CD! Guru Guru made two excellent albums during their brief stay on Atlantic Records of which this is the first (Dance Of The Flames is the second). It is also the last album to feature original guitarist Ax Genrich. Although you can expect craziness and the usual sick playing, there is actually a bit of refinement to their sound - as though they are playing with a bit more control and restraint. Easily one of their best efforts and highly recommended. This gorgeous digipak edition features a bonus CD - a concert recorded on 9/15/73 at the German Rock Festival. Although sourced from an audience cassette, it's a previously unavailable taste of the band in a live setting - which is where the band really excelled.
    $12.00
  • "Dancer and the Moon is Blackmore s Night 8th studio album. Despite Ritchie Blackmore s past as a guitar player in Deep Purple and Rainbow, he is now in another stage of his musical life, concentrating on modern Folk, Renaissance and Progressive Rock music. Besides Ritche s incredible talent as aguitar player, the other selling point for Blackmore s Night is vocalist Candice Night, the beautiful wife of Ritchie Blackmore who could be described as a younger, and folkier, version of Stevie Nicks."Deluxe digipak CD/DVD edition.  The DVD features a documentary as well as acoustic versions of 3 tunes that are on the album and one that is not.
    $19.00
  • No sophomore slump for this Austrian band. Stylistically it's still a bit of a balancing act between the power and prog side of metal with a definite leaning towards power. The symphonic element seems to have been amped up a bit lending comparisons to Kamelot and Sonata Arctica. Once again Georg Neuhauser's vocals are a standout (at least for my taste). He has a great way of communicating emotions elevating the music beyond the standard prog/power fare.
    $12.00
  • Long promised second album from this stellar Norwegian symphonic band is now with us. Before the release of Hinterland, the band had made available (through their website) two lengthy demo tracks that garnered a lot of buzz. These tracks "Imperial Winter White Dwarf" and "Leprechan Behind The Door" appear here is re-recorded versions. The rest of the disc consists of material drawn from the band's past as well as one of the tracks from the Hinterland sessions that never got finished. Its not a long disc but its definitely a matter of quality over quantity. If you like Mellotrons, Hammond organds, flutes, retro sounding guitars....look no further. Essential listening for any symphonic rock fan.
    $16.00
  • Trillium is the new project from Amanda Somerville. You may not be overtly familiar with her but you've heard her work. In addition to the Aina album, she has collaborated with Avantasia, Kamelot, and Epica among others. In fact she filled in for Simone Simons on one of Epica's US tours. In addition to being a songwriter she is a prominent vocal coach.Trillium is a collaboration with Sander Gommans (ex-After Forever) and noted metal producer/musician Sascha Paeth. Musicians from the Paeth universe are featured through out. Most notable are duets with Jorn Lande (!) and Matt Sinner. The music is an amalgam of hard rock, symphonic metal, and perhaps even a smidgen of gothic metal. Ms. Somerville is a great singer and is adaptable to all the styles she presents. Shockingly good!
    $7.00