Vampire State Building (Vinyl)

SKU: LHC122LP
Label:
Long Hair Music
Category:
Jazz Rock
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Rare German jazzrock originally released on the Philips label in 1971. The music of Alcatraz is based around Klaus Nagurski's flute/alto sax trading off with the fuzz distorted guitarwork of Klaus Holst. Long jamming tracks remind me more of Traffic than "Miles Davis meets Deep Purple" as purported by the label. A great one either way.  Higly Recommended.

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  • New edition of the third album from this great Italian band - their last in their purely progmetal phase. Oleg Smirnoff comes up with killer keyboard lines through out but it's the vocals of Terrence Holler that sets this band apart. Perhaps their best effort, now augmented in this new remastered edition with 6 bonus tracks and a poster. Highly recommended.
    $12.00
  • First time on vinyl - now spread out over 6 sides of beautiful 180 gram vinyl.  Comes with the album on 2CDs as a bonus."A legendary band in their own right, The Flower Kings have been at the forefront of progressive rock since their formation in 1994 by guitarist, vocalist, composer, astronaut, chef and veteran nut head icon Roine Stolt. Dedicating themselves to producing a strain of prog they like to call symphonic rock‘, they incorporated classical music, movie soundtracks and both jazz, ethno, blues and seventies metal elements to much success - and building themselves a dedicated fanbase in the process over ten studio albums before taking a break.After a triumphant return to action in 2012 - following an almost 5 year hiatus, The Flower Kings released "Banks Of Eden" in the summer of that year to a brilliant reaction from fans and critics alike. In celebration they toured the world for the better part of a year, visiting locations including Europe, Japan, Russia, Israel & USA. The following year the band hit the road once again, this time with old friends Neal Morse & Mike Portnoy to celebrate the 20th Anniversary of label InsideOut Music, where they played a hugely successful prog extravaganza to packed venues across Europe and the US.Never ones to rest on their laurels however, The Flower Kings immediately entered Fenix Studio in Sweden to start work on the recording of a brand new album. Recorded "live" in this classic, but modern, studio and on reel to reel tape, the album features a glut of grand vintage keyboards such as Hammond B3, Mellotron M 400, Fender Rhodes, Minimoog and a whole host of Tube amps.The band even decided to try a new approach to writing and recording, assembling music on the spot and arranging it as a team.The result of this wonderfully collaborative effort is an epic 10 song cycle entitled ‚Desolation Rose‘; an album that revolves around some of the more disturbing observations of mankind's failure to create the paradise they once hoped for – and the greed, fear and ignorance that caused that failure. The scenario is an observation by an angel who resides in a mysterious tower, looking down on all this ongoing perpetual insanity, yet unable to reach out and help.The band is very much back to their cinematic and melodic symphonic rock best, but with a heavier edge no doubt honed while on tour for the past year. The 10 songs contained within are to be heard as a sequence and the lyric thread is wonderfully cinematic, but again it is more of an observation that works both as a whole or as separate parts. It might be considered one of their most focused efforts to date, such is the impact the tracks have on the listener from the very beginning. From the opening 14-minute tour-de-force that is ‚Tower‘, right through the moody swagger of ‚White Tuxedo‘ and beyond, this album sees the band crafting what might be their most varied album yet.The Flower Kings are truly back where they belong, at the beating heart of the modern day progressive rock scene, and ‚Desolation Rose‘ is testament to their continued vibrancy, sonic potency and determination to keep the music driving forward."
    $32.00
  • Second album from this Norwegian band finds them climbing the ladder of melancholy prog bands. Short on complexity but long on atmosphere and melody, Airbag's new one packs an emotional wallop. The album has just enough spacey keyboards to draw comparisons to Pink Floyd and older Porcupine Tree. The album builds up to the 17 minute "Homesick I - III" which has enough references to Wish You Were Here that you'll be plowing through your Floyd collection afterwards. Lethal atmospheric prog that will annihilate the minds of any Anathema or Riverside fan. Highly recommended.
    $15.00
  • Amazing how these guys are still able to bring it. A Night For Baku turns it up a notch and then kicks it into overdrive finding the boys from Cali unleashing their usual assortment of psych-tinged progressive mayhem. Somewhere...someplace...the Progressive Gods are looking down on us with a big grin on their faces...Djam Karet have delivered the real goods again.
    $15.00
  • "Right from the start, a vastly different Weather Report emerges here, one that reflects co-leader Joe Zawinul's developing obsession with the groove. It is the groove that rules this mesmerizing album, leading off with the irresistible 3/4 marathon deceptively tagged as the "Boogie Woogie Waltz" and proceeding through a variety of Latin-grounded hip-shakers. It is a record of discovery for Zawinul, who augments his Rhodes electric piano with a funky wah-wah pedal, unveils the ARP synthesizer as a melodic instrument and sound-effects device, and often coasts along on one chord. The once fiery Wayne Shorter has been tamed, for he now contributes mostly sustained ethereal tunes on soprano sax, his tone sometimes doubled for a pleasing octave effect. The wane of freewheeling ensemble interplay is more than offset by the big increase in rhythmic push; bassist Miroslav Vitous, drummer Eric Gravatt, and percussionist Dom Um Romao are now cogs in one of jazz's great swinging machines." - All Music Guide
    $7.00
  • Third album from Wobbler finds them with a new vocalist Andreas Prestmo (who is a bit of an improvement). The music is still retro-British 70s prog but its clear that the spectre of Yes presides over the album. The King Crimson and ELP tidbits that cropped up on Hinterland are for the most part gone. Instead think in terms of The Yes Album and Close To The Edge with perhaps a bit of Octopus and This Is Gracious! tossed in for fun. Beginning to end its a total blast. Highest recommendation!"Norway's kings of symphonic prog, Wobbler, arrogantly sidestep the whole debate of "prog" versus progressive. Since it's dubious whether rock has anywhere left to progress anyway, they have instead chosen simply to celebrate the rainbow-colored fireworks, the airy-fairy themes, the danger and the drama and the joy of pure music that made prog what it really was, and still can be: An exhilarating musical spectacle, a gladiator match of major chord crescendos and mini-moog glissandos.Wobbler's third album, Rites at Dawn, is a case in point. It's a no-holds-barred declaration of love to the progressive giants. It's all here - Lars Fredrik Frøislie's overblown arsenal of every analog synth known to man, played with Wakemanesque flair and Emersonian hubris. Andreas Prestmo's soaring vocals, delivering at times delicate, fragile melodies and at times joyous, triumphant multi-part harmonies that would make CSN proud. The vibrant, stinging guitar of Morten Eriksen, the - you guessed it - thundering Rickenbacker bass of Kristian Hultgren, and finally Martin Kneppen's drumming, which manages that neat and esoteric 70's trick of making even impossible time signatures swing and swagger.Rites at Dawn is a major step forward for Wobbler. As songwriters they have matured. Even though the music is as complex as ever, it flows and breathes in a whole new way, and the addition of Andreas' vocals adds a very human, and dare we say emotional, element to the songs. The album somehow pulls off being both challenging and adventurous, but at the same time accessible and downright infectious. Even though this is the kind of prog connoisseurs will stroke their beards appreciatively to, it is also prog their girlfriends will like. And you really can't ask for more than that."
    $16.00
  • This one is a real mindblower.  One of Italy's best bands, La Maschera Di Cera, has created a musical sequel to Le Orme's Felona E Serona.  I can't recall any band ever doing something like this.  Like all of the band's work it remains faithful to the "Rock Progressivo Italiano" sound.  Apart from cleaner sounding sonics it could have easily pass for somethining recorded in 1974.  The music does in fact pick up on some of the core themes and melodices from FeS.  You want 'tron?  You got it!  You want flute?  You got it.  To wrap the whole package together the band licensed the cover art from Lanfranco, the artist responsible for the art for FeS.  So it really does feel like a sequel.  Please note there are actually two versions of the album.  This is the English language edition - it features a slightly different mix than the Italian version.  Highly recommended.
    $18.00
  • Fresh legit vinyl pressing of one of the great krautrock albums of the 70s.  After the release of the first album the band went through a radical lineup change with only bassist Reinhard Kawatky left.  He brought in drummer Peter Giger, and Vita Nova guitarist Eddy Marron.  Marron's playing is quite amazing and frenetic.  Not only does he play a variety of guitars but he also incorporates the Turkish saz into the mix lending an exotic, Middle Eastern flavor.  When things heat up they reach Mahavishnu Orchestra proportions.  Essential.
    $31.00
  • A new release from Causa Sui is like money in the bank.  The new Live At Freak Valley is no exception.  The live milieu is where the band really shines.  If you are unfamilar with the band you should know that the band's origins date back to the stoner scene but they evolved into something different - something more psychedelic - more organic.  The quartet features Jakob Skott (drums), Jonas Munk (guitar), Jess Kahr (bass), and Rasmus Rasmussen (keyboards).  The band goes off on looooong instrumental jams.  Munk's guitarwork has a beautiful fluidity that plays off of Rasmussen's keyboards which tend to surge to the forefront like waves on the ocean - or sit back and become a nice supporting backdrop for Munk's lead work.  I love when Munk burst out with a chunk of heavy riffage that recalls their stoner days.  Reminds me of vintage Zeppelin!  Highly recommended.
    $35.00
  • 2LP 180 gram vinyl is a gatefold sleeve."When Mark Trueack announced the break-up of Unitopia, the feeling was like that of losing a close friend or family member. But Mark Trueack, (Truey), has been working on many projects at the same time. The United Progressive Fraternity evolved from the collaborations of some of Truey's favorite artists on a solo album yet to be released. The project took over Truey's consciousness to the point that he temporarily put aside the solo album to help assemble this cast of creative and innovative artists. Like a fraternity, this is no young bunch of artists trying to find their way. These are seasoned and experienced artists from some of prog rock's premier bands. The "fraternity" includes honorary members Jon Anderson and Steve Hackett amidst a cast of "Who's Who" in modern prog rock. The wonderful thing about the fraternity is that it will expand and grow over time to include some excellent surprise contributors in the future.But that is the future…let's talk about the present and their debut, Fall in Love with the World.The United Progressive Fraternity, for this debut album include some familiar names like Matt Williams, guitar; Dave Hopgood, on drums; Tim Irrgang, on percussion and Mark Trueack, on vocals; all from the band Unitopia. The Fraternity also includes original members: song-writer Guy Manning, (Manning and The Tangent), on vocals and keyboards; Daniel Mash, (Maschine, The Tangent), on bass guitar; Marek Arnold, (Seven Steps to the Green Door), on wind and keys; and Steve Unruh, on violin and flute. Honorary members include Jon Anderson, formerly the voice of the rock legend Yes: and Steve Hackett, on guitar, formerly the exquisite and innovative guitar sounds of the rock legend Genesis. Claire Vezina, also brings her beautiful vocals to the project.To open the album, what better way than with an overture? And "We Only Get One World" is full of sounds of voices from around the world mixed well with intricate and exquisite percussion, soft acoustic guitar and sounds from throughout the world all surrounded by a powerful heartbeat of drums. Like the opening of a classic Disney movie or a symphony of the world it welcomes you to the fraternity. The four minute overture sets the table well for the feast to come."Choices" introduces the theme of the album: protect the Earth, before it's too late. The opening classic radio excerpts that Unitopia has been famous for adding to the opening of its tracks is back. They are really a great way to introduce a song and Truey always selects an interesting and diverse spectrum of excerpts that fit so well. I think this might have been one of his best.Then Truey sings, "Choices make the world go round". Yes of course. But the world music surrounding this peace and the eerie stillness of the sound just force us to contemplate our future and meaning of life on the planet even deeper. That underlying Squire - like chunk of bass Daniel Mash is playing has an awesome King Crimson/Yes quality that adds that special touch to the track. Williams guitar is inspired and the solo sax from Marek Arnold is a fortunate treat.Hopgood, on drums and Arnold on clarinet open the third track, "Intersection" with a cool jazzy spirit. Then Truey returns with powerful vocals, "Hello will you stand in my way. Do you fall?" Do we ascend or fall? A very good question. Truey's warning reminds us of the choice we still have if we choose to exercise it. The keyboards, guitar and sax soloing are excellent. This music reminds me of the intricacy and the powerful design Unitopia used to create such a powerful mix of jazz and progressive rock elements. Irrgang's percussion tingles the ears."The Water" is one of the album's powerhouse highlights. Imagine getting to sing with your idol. Well Truey has always been a Jon Anderson on vocals, Yes fan; like many of us. This time he gets to sing with Jon about something that both artists feel strongly about in the world. The drying of the Earth. A powerful driving force uniting two powerful vocal talents...and members of the progressive fraternity…by coincidence. Williams guitar is innovative and a driving force throughout the production."Don't Look Back", is loosely based on a story Truey told me about an adventure that occurred to Unitopia accidently on their first tour in Europe. It was a wrong left turn that could have had disastrous effects on one of the first shows of that tour. But as Truey sings in the refrain, "Don't look back…no left turn". You can, as Truey sings, "shout with frustration, it's only direction I seek, in another world where no one understands the language I speak". Any world traveler or adventurer has felt the frustration. But the metaphor can mean oh so much more to one's life. Matthew's guitar and Arnold's clarinet add that perfect old world charm as Hopgood's heartbeat drums and Mash's bass help mimic Truey's heartbeat during the ordeal. Excellent work."Travelling Man (The Story of ESHU)" is my favorite track on the album. It is full of a worldwide sound of music and plenty of deep thinking. The story goes far back in time, beyond the famous "Crossroads" sung about by the famous blues singers of the American South. I will not spoil the story. After all you can Google it these days. But listen to the music as you are listening to Truey sing. The assemblage of music on this epic long track is full of the expanse of time and world cultures brought together by this fraternity of progressive artists. Along with Steve Unruh's flute you can hear one of my other favorite highlights of the album Steve Hackett's guitar soloing. That guitar is instantly recognizable. Unruh's violin helps add to the world celebration of this album. As Mark sings, "When will we all re-unite!" Manning's keyboard interlude just before Matt Williams rocking guitar solo is yet another highlight. Steve Unruh's violin solo immediately conjures memories of Charley Daniel's fiddle duel on "The Devil Went Down to Georgia". Everything you can imagine from an epic and more. The wonderful slow guitar solo that accompanies Truey at the end will bring tears almost as full as the ending of Unitopia's "Garden". I will not spoil it by providing the lyrics here. With Claire Vezina accompanying him it helps close one of the best songs of the year."Fall in Love with the World" opens with this strange poem by a guest narrator. It is actually yours truly. Yes, Truey invited me to write a short intro poem for the title track. Which was quite an honor. Thanks Truey. The title track is yet another classic highlight of what will truly be the group debut album of the year. This song sums up the weight and power of the message of this album. Enjoy life and this Earth to the best of your ability, but don't take what you don't need, and take good care of what has been given. Williams guitar and Truey's vocals rise to the usually strong levels we all remember from Unitopia. The refrain is perfect, "Fall in love with the world. The world needs to fall in love". It will have you singing along."Religion of War" closes the album with yet another powerful lyrical track asking us why faith must always be linked to violence. It is a powerful piece of music as well. Manning's innovative keyboard creations open the track with Truey singing, and Matt Williams and Daniel Mash providing their own guitar innovations. Hopgood's heartbeat drums keep great pace. Truey sings poignantly "It's not what your maker had in mind".All of the news out of the Middle East and around the globe is a reminder that these battles continue unending. Like a wink back to Genesis' "Blood on the Rooftops", the news continues to distract us from what we were meant to do here on Earth.If you order the deluxe edition, you will receive an extended version of "The Water" which is well worth the price. More orchestration and more of Matt Williams' excellent acoustic guitar work at the opening along with powerful vocal statements from Truey and Jon will complete this collection.Ed Unitsky's artwork is over the rainbow great. Ed simply is one of the best artistic interpreters of music on this planet and he outdid himself this time.Don't miss this innovative and complete debut for this globally expressive band. For fans that were worried about the breakup of Unitopia…there is no need to worry anymore.You are part of the fraternity. The fraternity of the world which we all belong to and are meant to enjoy. This is a truly extraordinary debut for a band that will be making major strides in the future." - Sea Of Tranquility
    $20.00
  • his is one of their best releases. It was primarily composed by the band's keyboardist Jukka Gustavson. The jazzy undercurrents evoke a suble Canterbury/Caravan feel but some of vocal stylings of Pembroke and Gustavson remind one of Peter Gabriel on Selling England By The Pound."Considered by many as Wigwam's most ambitious work, Being was originally released in 1974. The album was partially remixed and remastered in 2001, and this latter version is considered superior by the group's mastermind behind the album concept, Jukka Gustavson.When we at Svart began planning the Being reissue, we were faced with the problem of whether to base the vinyl on the original version or the 2001 version, both somewhat different from each other. Eventually we decided to expand the album to a double vinyl, with the 1st LP being as close to the 1974 version as possible, and the 2nd LP presenting the 2001 edition on vinyl for the first time.The original vinyl release featured two booklets, one in English and the other in Finnish. Our version has the contents of both + unreleased photos + a new interview with Jukka Gustavson in one massive booklet."
    $28.00
  • "UK act SUNDAY was a trio consisting of Jimmy Forest (piano, organ, vocals), John Barclay (guitar, vocals) and Davy Patterson (vocals, bass). This Scottish act issued their one and only production in 1972, a self-titled effort. Other than that, little is known about this obscure outfit from the early 70's. 'This is the only album from this band. Style wise, they are somewhere between Santana and Deep Purple. In short, funky rock with tonnes of Hammond organs and guitars. The first three Deep Purple albums is a good reference, but their music is also as funky and lively as Santana. Quality wise, this is a good album. The long Hammond organ runs by Jimmy Forest is what makes this album a good album. They are underpinned by some good vocals, guitars, bass and drums. The songs are overall good with some flashes of superb melodies. The ten minutes long Sad Man Reaching Utopia is a great epic which changes between light and dark. The rest of the album is good though and I have grown to really be fond of it. This is a nice album for those who appreciate vintage rock.' " - ProgArchives
    $24.00
  • "Marbles was originally released on the band's own Racket Records label and attracted a lot of attention when it was released as the album had been funded by donations from fans who had pre-ordered the album before they started recording in return for having their name printed within the album artwork (over 18,000 names). This new 2CD Madfish edition of the album is packed in a deluxe 36 page digibook re-worked by original designer Carl Glover. The book features unseen pictures not used in the original artwork. The tracks on the second disc have previously only been available through the band's own website."
    $13.00
  • 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
    $13.00