Metal/Hard Rock

Third album from this Danish band is a futuristic concept album based on the book Hyperion by Dan Simmons. Manticora play mega-fast power metal that mixes US and European styles. At times it has the coarsness of Iced Earth and at other times there is a more produced symphonic feel.

$7.00
Add to wishlist 

Full length debut from this excellent UK based djent metal band. Led by the clean/scream vocals of Dan Tompkins, Tesseract effortlessly balances melody with technicality. Similar in nature to Periphery but with MUCH better vocals.

$9.00
Add to wishlist 

Third album from German "true metal" band recommended to fans of Helloween and their ilk.

$7.00
Add to wishlist 

"First of all, I've got to get it off my chest: I'm a SONATA ARCTICA fan. I've been following their work for many years however, before I am a musician, I'm an honest woman so I promise to give an honest opinion about “Stones Grow Her Name”.

$6.00
Add to wishlist 

"Reformed and rejuvenated may best describe Evergrey 2.0 and their eighth studio album Glorious Collision After dissolving the band in the Spring of 2010, founder, guitarist, and vocalist Tom Englund immediately began recreating Evergrey, writing several songs with remaining keyboard player Rika

$6.00
Add to wishlist 

Latest solo album from Dream Theater's vocalist finds him pushing the boundaries a bit. This is square on prog metal with keyboardist Matt Guillory and guitarist Marco Sfogli returning.

$7.00
Add to wishlist 

This is a new US 35th Anniversary remastered edition of the classic album from the Mk 3 lineup. Very strange to call it that since the album is 42 years old but I digress.

In addition to the remastered stereo version of the album you get:

$15.00
Add to wishlist 

"This man has no boundaries as far as music goes. From singing for Steve Vai at age 19, to the bastion of noise known as Strapping Young Lad, Devin Townsend has proven time and time again that he's a musical genius.

$7.00
Add to wishlist 

Eighth album from the Swedish masters of melancholy may well be their best. Katatonia's music is all about atmosphere and mystery - all served up with a bit of a moody and depressing feel.

$8.00
Add to wishlist 

Lots of gothic metal bands are fortunate to be fronted by an attractive female. Midnattsol has two knock outs! Nordlys (Northern Lights) is the second album from this Norwegian gothic metal band led by Carmen Elise Espenaes (the younger sister of Liv Kristine).

$4.00
Add to wishlist 
VIEW MORE
Subscribe to RSS - Metal/Hard Rock
Laser Pic

customers also bought

SEE ALL
  • “Let us begin where it all began...”Progressive rock band Big Big Train return with Folklore, their first full-length studio album since the award winning English Electric. Folklore contains nine new songs with a total running time of 68 minutes.Despite the album title, Folklore is by no means a collection of traditional-sounding folk music pieces. On Folklore, Big Big Train are reimagining and breathing new life into traditional themes, and also creating a few new ones along the way. The crafts of songwriting and storytelling beat strongly at the heart of the Big Big Train and inform every track on the new album.Folklore features the same line up (eight piece band and brass quintet) that performed three sell out shows at Kings Place in London last summer, with the addition of a string quartet. The experience of bringing this complex music to the concert stage has honed the band’s sound, making Folklore a focussed and exciting listening experience. All the hallmarks of the Big Big Train sound can be found here: powerful and emotional vocal delivery, and dramatic extended song arrangements which showcase the musical ability within the band.Big Big Train proudly present Folklore: an epic progressive rock tour de force.“Heigh-ho, so we go. We pass it on, we hand it down-o...”Folklore Ancient stories told by our ancestors around the camp re, being passed down from generation to generation. The passage of time sees the coming of written language and electronic communication, but still we tell our stories and pass them on.London Plane Once upon a time, a great tree took root on a river bank, and watched through the years as a city grew around it.Along The Ridgeway A journey along an ancient pathway, where legends are reborn.Salisbury Giant Big Big Train tell the true story of a medieval giant.The Transit Of Venus Across The Sun When the astronomer lost the love of his life, he set a course for the stars. Inspired by the much-loved British TV astronomer and educationalist, Patrick Moore.Wassail The old ways get a 21st century reboot in this pagan- inspired progressive-folk groove. The title track from Big Big Train’s Wassail EP, it was nominated in the “Anthem” category at the 2015 Progressive Music Awards.Winkie A ripping action adventure story about a true life war heroine, the  rst to receive the Dickin medal in honour of her achievement. To the best of our knowledge, this is the  rst prog epic about a pigeon...Brooklands John Cobb, racing driver, lived life at high speed on the racing line. Time passes, but the ageing driver yearns for one more adrenaline  lled lap of the track... Cobb died in 1952 while attempting the world water speed record at Loch Ness.Telling The Bees Traditionally, bees were told of births, deaths and marriages within the bee-keeper’s family, as it was believed that otherwise they would leave the hive. When his father is killed in the First World War, a young boy takes on this responsibility, grows up to become a man,  nds love and starts his own family. “The bees are told... and we carry on...”.-------------------------------------------------------------------------------------------------Big Big Train: BackgroundDavid Longdon: vocals and  ute; Rachel Hall: violin; Dave Gregory: guitars; Rikard Sjöblom: guitars and keyboards; Danny Manners: keyboards; Andy Poole: guitars and keyboards; Greg Spawton: bass; Nick D’Virgilio: drumsFormed in Bournemouth, UK, in 1990 by Greg Spawton and Andy Poole, Big Big Train has charted an independent course through the British progressive rock scene, slowly developing a richly arranged blend of electric and acoustic instruments that mixes prog, rock, post-rock, folk and classical in uences. 2009’s The Underfall Yard was the band’s  rst album to feature the powerful vocals of David Longdon, alongside the guitar of Dave Gregory (XTC) and the drums of Nick D’Virgilio (Spock’s Beard), since when critical and public acclaim for the band has grown rapidly.The two-volume English Electric (2012-13) further developed Big Big Train’s favourite themes of English history, industry and landscape, and the band won the Prog magazine Breakthrough award in 2013. The following year, the Classic Rock Society awardedBig Big Train their Best Band and Best Track awards, while David Longdon won Best Male Vocalist, a feat he repeated this year.After 17 years as a studio-only outfit, Big Big Train returned to the stage in 2015 with three London performances which topped the Prog magazine Readers’ Poll for Best Event, with several band members also featuring in the instrument sections of the poll. The band has just released Stone & Steel, a Blu-ray featuring songs from the London gigs along with performances recorded in 2014 at Real World Studios. 
    $12.00
  • Big Big Train have ascended to the top echelon of progressive rock bands currently active.  They are easily the best band coming out of the UK - the fountainhead of all prog rock."Is there a nicer feeling than when you discover that one of your favourite bands is to return with new material much sooner than predicted and somewhat unexpectedly? There aren’t many better moments that’s for sure and Big Big Train are the architects of this great piece of news, offering us their tenth album ‘Grimspound’ less than 12 months on from the release of the utterly sensational ‘Folklore’.Long term readers will perhaps be familiar with that review, where I was quoted as saying that “‘Folklore’ is another amazing addition to the Big Big Train discography and is something all lovers of quality progressive rock should cherish and take to their hearts. I know that I have.”However, the feelings of levity and excitement about such a speedy a follow-up are, for me, tempered ever so slightly by a few more cautious thoughts. ‘Is it too early for more material?’, ‘has this album been hurried?’, ‘will the quality take a hit?’ You can see where I’m going with this. I worry that speed doesn’t always yield positive results and therefore, whilst I’m like a child at Christmas following this news, I have a few nerves as well. ‘Folklore’ remains on heavy rotation at the Mansion of Much Metal (and Progressive Rock), providing the same levels of magic as it did at the time of its release. The bar has been set and I desperately want ‘Grimspound’ to follow suit.So, does it?The answer, after a slightly slow start is ‘yes, very much so’. At the outset though, I wasn’t convinced if I’m honest. I was looking for similar heart-stopping moments to those that featured within the likes of ‘Brooklands’ or ‘Winkie’ and I couldn’t find them initially. But that says more about my levels of patience than it does about the music on offer within ‘Grimspound’ because, with time, those moments of genius are there to be found and to be heard. In fact, this entire record borders on genius as far as I’m concerned now. How else can you explain the fact that these eight musicians have returned so quickly and effortlessly with another eight superb, intricate and captivating progressive rock compositions?I understand that the band came up with an awful lot of material during the ‘Folklore’ writing sessions and some of what we hear on ‘Grimspound’ was given birth back then. But regardless, the achievement here beggars belief, it really does. Take a bow, Messrs Spawton (bass), Poole (guitars/keyboards), Longdon (vocals/flute), D’Virgilio (drums), Gregory (guitars), Manners (keyboards), Hall (violin) and Sjöblom (guitars/keyboards). You deserve it.Big Big Train have always followed a path of progressive rock that veers down the pastoral route and they probably always will – it’s in their blood. But this is not a group of musicians to stagnate either. So, whilst the music here is recognisable as Big Big Train, there are some differences to be heard between ‘Grimspound’ and previous albums.Some of this is down to the fact that newer members, Rikard and Rachel along with Danny have become more active in the song writing process, bringing their own unique view points to the table. And it is testament to the open-mindedness of the other members that this has been allowed to happen. Mind you, I think ‘welcomed with open arms’ would be a more appropriate description.One of the first things that I notice is that ‘Grimspound’ features very little brass. As someone who genuinely intensely dislikes brass within rock or metal music, I must confess that I am ever so slightly torn by this turn of events. For some reason, I never had a problem with the brass element of Big Big Train and so, once you realise how little of it is evident, it does give the music a slightly different flavour overall.As the band readily admits in the accompanying press release, ‘Grimspound’ also sees Big Big Train experimenting with longer passages of instrumental expression. So it comes as no surprise to learn that ‘On The racing Line’ for example is a five-minute instrumental piece, whilst other compositions have plenty of space for some indulgent instrumental flamboyance. Normally, I would baulk at the notion but where Big Big Train are concerned, they pull it off with style and elegance. Their music has always had the ability to tell a story and this is true whether or not there are lyrics being sung over the music; the dynamics and ideas at play here within the instrumental passages are such that the stories are able to continue very eloquently.Another interesting addition this time around is with the inclusion of a guest vocalist on the song ‘The Ivy Gate’. Judy Dyble offers her voice within this quite a dark and powerful composition that concerns “the reported sightings of a ghostly apparition beside the cemetery gates in a quiet English village.” It is an intriguing composition that begins with a folky, bluegrass banjo-led melody that initially I railed against. In the context of the song however, it makes a lot of sense and is a wonderful addition to the band’s armoury. Moreover, it is an ingredient that I have grown to rather like and enjoy.The violin playing of Rachel Hall is beautiful and I embrace the sadness and atmosphere that is conjured within this track. But even more, I love the way in which the song builds and opens up at the 4:30 mark to deliver a sumptuous melody that is made even more powerful by the duet of Longdon and Dyble that joins it, before the track deconstructs to end with some impressive and emotional vocals and the soothing sound of rain falling.It seems like I am uncontrollably waxing lyrical about this album, but that can’t be helped I’m afraid, with every positive word being well earned and justified. And it must continue I’m afraid.The opening few moments of ‘Brave Captain’ and indeed the album as a whole, create a very subtle, ambient soundscape, very introspective and thought-provoking at the same time. After a minute or so, the entire band enters the fray in what becomes a rousing and dynamic piece of music. This is arguably the most immediate track on the album but in true Big Big Train fashion, it ebbs and flows throughout its substantial 12 minute life creating a sense of drama upon which they tell the powerful story of a World War One pilot named Captain Albert Ball who gave his life for his country.Naturally, given the subject matter, there are moments that convey the sobriety of the story, like the almost Dire Straits-esque piano and bluesy guitar section. But equally, there are also times where the musicians open up their wings and take flight, just like the central character in the song. When they do so, it is quite a heady experience and it is easy to get caught up in the music that swells all around you.Another favourite is the quite stunning ‘Experimental Gentlemen’, a tale of Captain Cook on his first journey of discovery. Incorporating a vast array of intricate ideas within a remarkably cohesive whole, it moves from gentle, dreamy and wistful to up-beat and bouncy. You can feel an increase in intensity as the song slowly and inexorably moves through the gears to eventually deliver a dramatic sequence complete with an emotional and delicate lead guitar solo. That’s not the end though as there’s time for an extended atmospheric outro that has a subtle yet moving feel to it.Arguably the biggest exponent of those aforementioned extended instrumental passages is the longest track on the album, the hugely impressive ‘A Mead Hall In Winter’. The melodies are just so strong that they draw me in for repeated listens in spite of its length, rivalling anything that appeared on ‘Folklore’. But it is the experimentation and the ambition that is the most impressive aspect, including a plethora of bold and striking keyboard sounds as well as plenty of lead flamboyance all round. It all helps to create genuinely rich and engaging textures not to mention a multi-faceted, multi-layered soundscape. This sort of music only works when it is handled with care and attention to detail. And Big Big Train are fast becoming the safest pair of hands that I know, turning everything to gold with their unique Midas touch. My mind never wanders, my attention is never diverted away and as this epic composition draws to a close via a reprise of the early sumptuous melodies, I am filled with nothing but admiration for what has been achieved here.By contrast, ‘Meadowland’ is a much shorter proposition that benefits from a truly gorgeous lead violin and acoustic guitar intro, full of sensitivity and elegance. The wistful vocal delivery of Longdon adds a compelling embellishment to a piece of music that straddles the divide between folk and progressive rock, that I wish was twice as long.The title track begins in strange fashion with an oddly creepy and discordant introduction, quickly replaced by more acoustic guitars. Another serious grower, I’m currently of the opinion that it contains my very favourite melody on the entire album, accompanied by the words:“Out on the Heathland,Look up to the night sky.See the second brightest star?Adjust to the dark light.”The vocals and music together combine in magical fashion to stop me dead in my tracks. But I also enjoy the way in which the track subtly moves away from its starting point, to finish with more instrumental prowess in a much different and more up-tempo vein. The closing vocal passage is inspired too.Seeing as I’ve mentioned all the others, it seems churlish to overlook the closing composition, ‘As The Crow Flies’. It ends ‘Grimspound’ in fine fashion, fittingly oozing warmth and richness. It begins in delicate fashion, featuring more female vocals and some really welcome flute from Longdon. At the mid-point, the composition explodes in typically controlled but epic fashion, delivering a briefly rousing and heartfelt melody, led by hungry guitar notes that retreat all-too-quickly, allowing the song to ease to a gentle and introspective conclusion.Just when you thought that Big Big Train couldn’t possibly get any better, they do. ‘Grimspound’ is without doubt the best progressive rock album I’ve heard since…well, since ‘Folklore’ to be exact. Big Big Train have become an integral part of my musical life, to the point where I cannot imagine what my life was like before I discovered them. Right now, I can’t think of any bigger compliment that I can pay or one that is more justified and thoroughly deserved. Without question, Big Big Train are my favourite progressive rock band on this planet, bar none." - Man Of Metal blog
    $12.00
  • "While Headspace probably known to most prog fans, All That You Fear Is Gone, their second album, is my first experience with the band. Headspace features some notable musicians from the UK prog world including vocalist Damian Wilson (Threshold, keyboard player Adam Wakeman (Ozzy Osbourne, bassist Lee Pomeroy (It Bites, Steve Hackett), and guitarist Pete Rinaldi with new drummer Adam Falkner.All That You Fear Is Gone is a second part of trilogy with concept created by Wilson. Their first album I Am Anonymous had to do with the individual fitting into the world and it's various groups. This album deal with the individual sparring with and releasing himself for the hold of those same groups and institutions. Breaking free suggests also breaking free from your fears that they may have put upon you, and so the album title. Heady stuff from Headspace.My initial interest in Headspace comes from seeing vocalist Damian Wilson's name in the credits. I love his voice and vocal style. His work in Threshold is quite pleasing. He has this smooth melodic elegeance to his voice, but yet still conveys passion.As for the music within, there's definitely some creativity and variety, yet with echoes of classic prog from Yes to Genesis to Threshold to Hackett. Some things are heavier, like Kill You With Kindness which is thick with riffs, bass and drums, but still has a segue distilled to voice and acoustic guitar in the center. Conversely, The Element dials back most everything to minimalism: voice, light guitar, atmospheric synths. Similar is the short The Death Bell, where piano comes to the forefront with Wilson's voice. The title cut follows a similar motif, quiet, yet with even brighter piano aids Wilson's impassioned vocals.Alternatively, severals songs, like Secular Souls and The Science Within Us, the two longest songs here, work the juxtaposition of lightness and heaviness with more complexity, having moments and movements feature different elements. For example, within Secular Souls, before the midpoint the piano gets some attention. But after this, a strong bottom end takes over and the sound gets heavier, darker.Perhaps the most interesting song here is Polluted Alcohol. According to Wilson, it was a song that started one way, then came out differently. Mostly, this song is voice and guitar, and what's either a Dobro or steel guitar. At his this kind of Southern front porch blues feeling to it. One thing you will be convinced of upon listening to All That You Fear Is Gone is that this is definitely interesting progressive rock created by some very talented musicians. Recommended." - Danger Dog
    $13.00
  • The Blu-ray features the new video for lead track ‘Drive Home’ along with the video for ‘The Raven That Refused To Sing’, both directed by Jess Cope. It also includes four tracks recorded live in Frankfurt during the recent tour. In addition, the Blu-ray features high resolution (96/24 stereo and 5.1 surround) audio recordings of two previously unreleased tracks, ‘The Birthday Party’ and an orchestral version of ‘The Raven That Refused To Sing’. ’The Birthday Party’ was recorded in LA at the same sessions as the tracks that made up the album while the version of ‘The Raven That Refused To Sing’ is a new mix that strips the track back to just the orchestra and vocals.These tracks are also featured on the accompanying CD, along with the audio from the live tracks and an edit of ‘Drive Home’.
    $8.00
  • ""It has happened to me twice here in 2009. You stumble upon a band that you have never heard of which totally blows you away. The first time was with the band Anima Mundi out of Cuba. Now, it has happened a second time.From Germany comes the band AtmOsfear with their third release called Zenith. After hearing this one, I am now they have me on a mad search for their past two discs. I cannot believe that they have been ignored by the prog metal world if the past music is as good as this album. Any fan of groups such as Dream Theater, Symphony X or Evergrey whom they have shared a stage with, are in for a treat that is the equal of any of these bands.The disc kind of lulls you in with the short instrumental intro titled "Beginnings". Aptly titled as this is only the start of what is about to fill your senses. The five remaining songs fill the remaining 70 minutes of music and it culminates in the almost 30 minute epic "Spiral Of Pain". Along the way you are treated to a group of five musicians that can hold their own with anyone you would like to name. Stephan Kruse on keyboards, vocalist Oliver Wulff, bassist Burkhart Heberle along with drummer Tim Schnabel and guitarist Boris Stepanow form one of the most dynamic group of musicians ever assembled. They seem to draw off each other and interweave their individual talents into one of the best musical offerings of 2009 or any year for that matter.When music has the power to make you stop what you are doing and listen then you know you have something special. As the very metal opening to "Loss Of Hope" hit me I perked up the ears. When the vocals started, I knew this was no run of the mill offering. Then as the band swelled to their full magnitude, I was completely absorbed. Who are these guys? It is still amazing that music of this caliber can fly under the radar for this long. All you have to do is listen to the exchange between the keyboards and guitars during the extended instrumental section of this song and you will become a fan without a doubt. These guys are the real deal.I have been trying to think of what I can tell you are the highlights of this disc. Well it could be the terrific instrumental piece "Reawakening" with its powerful piano that sets a mood that the guitar plays off of so well, or it may be the enthralling "Generations" which is a roller coaster ride of sound. Then there is the edgy "Scum Of Society" which shows that they are as powerful lyrically as they are musically. Of course all this is setting you up for the epic "Spiral Of Pain" where they take you on a 30 minute quest for musical perfection. They leave nothing on the table as this vast work captures all that we prog metal lovers dream of. Intoxicating from beginning to end this is a classic piece of art. Where Michelangelo used many different mediums to project his art, AtmOsfear similarly uses many different musical approaches to convey their message, melancholy when called for, melodic where needed, brooding and harsh as the story calls for and totally mesmerizing throughout.This is a must have disc. For anyone who has a love of great music this is one that needs to be given a chance. You will not be disappointed." - Sea Of Tranquility
    $3.00
  • IQ made the curious but welcome decision to make a special edition of The Road Of Bones containing 40 minutes of extra material on a second CD.  None of this material is available elsewhere.  Not remixes or throw away tracks - just 40 more minutes of prime IQ!IQ's 10th studio arrives and again with a slightly reconfigured lineup.  The exceptionally gifted Neil Durant, previously with Sphere3, is now handling keyboards.  Nothing dramatic changed.  If anything keyboards might even be a bit more prominent.  Paul Cook and Tim Esau, the original rhythm section, are now in tow. Peter Nicholls is his sombre self.  Guitars seem to be slightly heavier but all in all this sounds like prime IQ.  This is a band that has weathered personnel changes over the year but like a fine wine they've improved with age.  This is a BUY OR DIE release.  Top 10 for 2014. 
    $18.00
  • 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 
    $12.00
  • "Neal Morse and Mike Portnoy represent two of the most prolific careers in the Prog mainstream over the last 20+ years. In that time, they have been a part of more albums than many bands’ entire catalogs combined, a considerable amount of them regarded as Prog classics; Neal on ‘The Light’ and ‘Snow’ with Spock’s Beard, Mike with Dream Theater on Scenes From A Memory’ and ‘Images and Words’ and of course together on ‘Bridge Across Forever’ and ‘The Whirlwind’ with Transatlantic, not to mention Neal’s solo albums and the dozens of other albums they released. So when Mike Portnoy says this latest album might be the best album of his career, that is certainly a statement not to take lightly.  It also places immense pressure on the album. Most albums do not live up to such praise and usually end up disappointing. However, after many listens, it is fair to say, that with ‘The Similitude of a Dream’ the hype is for real.The album is based on the book ‘The Pilgrim’s Progress from This World to That Which Is to Come; Delivered under the Similitude of a Dream’ written by John Bunyan.  The story, described as set in a dream, follows a lead character named Christian, who is tormented by spiritual anguish and told he must leave the City of Destruction to find salvation in the Celestial City.  There is much more to the story, of course, and the part of the story portrayed in this album represents just a small portion of the book.  Is it spiritual?  Yes.  But relative to prior Neal Morse releases, this album is absolutely accessible and, done in the guise of an allegory, does not come off preachy in the least.  In fact, for anyone paying attention to the last few Neal Morse outings, this has been the case for some time now.Morse has produced a fair share of concept albums, including 5 in a row from the time he made Snow with Spock’s Beard through his first 4 solo albums.  He had largely stepped away from concept albums with his more recent work, 2012’s ‘Momentum’ and 2015’s ‘The Grand Experiment’. While all of Neal’s solo albums have been recorded with Mike Portnoy and bassist Randy George, ‘The Grand Experiment’ was the first album released by the Neal Morse Band, with guitarist Eric Gillette and keyboardist Bill Hubauer on board as full-time members, not only as performers, but as songwriters.  The result of this new 5-piece added a boost to the songwriting and overall sound that Morse had become known for.  Gillette and Hubauer are, on top of being stellar musicians (each plays practically every instrument), both phenomenal singers and Morse was smart to have them showcase those talents on the last album.  With this new album, they all take everything up a notch and then some. This is now a band in the truest sense of the word.The flaw in most double or concept albums is that they usually can be and probably should be condensed into one great album’s worth of music.  There are always one minute interludes that can be skipped over, too long and unnecessary intros, and songs that are not as good as some others.  Neal and the band avoid those pitfalls here, which is part of why this album is enjoyable. It is just a straight 100 minutes of music with no filler, no waste of time, nothing that makes you want to skip.  While there are all the signature Neal Morse moments, there are loads of new elements and styles that make this album sound fresh and revitalized.  Additionally, the production, courtesy of the always reliable Rich Mouser, and the performances by each member are impeccable.  Now let’s get to the music.(Skip to the last paragraph to avoid any spoilers)The album opens calmly with strings and Neal singing the album’s main melody “Long Day” setting the stage like any proper rock opera, before the bombastic “Overture” kicks things into high-gear.  There is so much contained in the opening instrumental, it is hard to absorb it all in one listen.  Only after you listen to the entire album, does the “Overture” become clearer.  From there we meet the character Christian, as he describes “The Dream”.  This is all a build-up to the one of the main full songs and the single from the album “City of Destruction”, a hard-hitting tour de-force, that is unlike anything Neal and the band have written before.  There are a few motifs that are repeated throughout the album, this song being one of them.  Neal’s ability to revisit and reinvent themes is his ace in the hole.  Few of his contemporaries possess this songwriting skill at this exemplary level, which is why many fail at the epic song or concept album.  Done with such precision, as it is here, demands attention from the listener and creates a more immersive listening experience.What comes next, beginning with “We Have Got to Go” is the equivalent to side 2 of The Beatles’ Abbey Road, with partial songs segueing into each other, keyboard and guitar solos interjected seemingly at will.  “Makes No Sense” introduces another one of the album’s themes and is also where Eric and Bill add a soaring element to the song as they reach new heights with their voices. Mike takes his turn at vocals with the rocker “Draw the Line” which leads in to the instrumental “The Slough” before concluding this section of the album with “Back to the City.”One of the surprises on the album and true highlights is the Beatle-esque “The Ways of a Fool”, where Bill Hubauer takes lead vocals.  The song is sheer pop brilliance and adds a new element to this core’s musical repertoire.  Eric Gillette reprises much of Disc 1 in “So Far Gone” before Neal closes out the first disc with the gospel “Breath of Angels”, a pure, emotionally charged Morse number.  Bill proves again, on this album, his ability to do practically anything and Eric continues his ascension up the guitar royalty ladder with stupendous soloing and tremendous vocal ability.Disc 2 starts with the rockin “Slave To Your Mind”, an explosive track with the band cutting loose, shifting through numerous time changes and solo breaks.  Mike again shows the power and creativity to play any style and keep things interesting and exciting.  Throughout much of Disc 2 there are more surprises stylistically, like the folky “Shortcut to Salvation” the bluesy “The Man in the Iron Cage”, the country-twang of “Freedom Song” and The Who-inspired “I’m Running”, which features a monster bass solo by Randy George.  All of these together, make as inventive a listen as one can remember with a Neal Morse album. Make no mistake, in between, there is still plenty of Moog and synth solos and Prog extravaganza to thrill the senses, but as you stick with this album, you begin to appreciate the incredible diversity contained in these 2 discs.The finale begins with “The Mask” which features a grand piano solo before changing into a dark, almost industrial reworking of “City of Destruction”. This precedes the track “Confrontation”, which is a climactic reprise of many other album themes and one of the best moments on the album.  The final instrumental “The Battle” is full-on Prog madness, with some of the group’s best soloing moments.  All this leads up to the epic final track, the quintessential Neal Morse ballad, “Broken Sky/Long Day (Reprise).  Not much to say here that will do justice to the ending, but kudos to Neal for allowing Eric to shine during the closeout moments on this track.  If you don’t get chills, you might need to check your pulse.  It all ends with Neal bringing it all home on a quiet note, just as the album began.All in all, this is quite an achievement by a group of musicians that didn’t need to improve upon already magnificent careers filled with incredible albums.  While its position atop any all-time lists will be up for debate, ‘The Similitude of a Dream’ does the impossible and exceeds all expectations.  It is absolutely a jaw-dropping release that will no doubt rank alongside the best albums by Neal Morse and Mike Portnoy, if not above them." - The Prog Report
    $18.00
  • "Clive Nolan and his Neo-hard rocking companions return for the eighth Arena album in twenty years, `The Unquiet Sky', taking inspiration from (without being a direct interpretation of) M.R James' short story `Casting the Runes'. It's easy to see why the ghostly tale of supernatural intrigue and occult mystery from 1911 would appeal to Mr Nolan, and the album reveals plenty of the sleek and heavy symphonic rock with poetic lyrics that the British band is known for. The previous disc `The Seventh Degree of Separation' was a divisive and somewhat controversial release for a new line-up of the group that now included vocalist Paul Manzi, a transitional album that saw them adopting a more streamlined hard rock/metal sound. But long-time fans of the group will be pleased to know that, while there are still similarities to that previous album here and there, the much-loved symphonic atmospheres the band was known for are given more focus again, meaning a better balance of these two qualities together to create a truly sublime Arena work.Some of the twelve tracks on offer still retain a hard-rock flavour, but everything an Arena fan could hope to discover is all present and accounted for here. After a more low-key performance on the previous album, virtuoso keyboardist/composer Clive Nolan is center stage again over the entire disc. Not only are his exquisite synths constant and upfront, but the artist has also implemented plenty of theatrical and orchestral symphonic textures into the group this time around, his recent work with the `Alchemy' musical being obvious right from the start, and these theatrical flourishes are a perfect fit for the group. Vocalist Manzi made a promising and reliable debut as singer for the group on `...Separation', but here he lifts his game considerably and offers endless more vocal variety. Better worked into the group, he is equally at home with heartfelt ballads, theatre flair and chest-beating rockers, and he has really become a perfect frontman for the band. Kylan Amos from Nolan's own `Alchemy' production replaces bass player and IQ member John Jowitt and makes an impressive debut here, ex-Marillion drummer perfectly drives the music forwards and It Bites/Kino/Lonely Robot guitarist John Mitchell delivers his usual tasteful and commanding guitar flair.Of several of the highlights, listen out for the gleefully wicked and wondrous orchestral pomp that opens the album that could easily be an outtake from Mr Nolan's `Alchemy' show, the infernal and overwhelming church organ intimidation of `The Demon Strikes' and especially the shimmering dark reggae (yes, really!) chimes and sleek electronics of the thrashing `No Chance Encounter', where Kylan's bass really glides. `The Bishop of Lufford' perfectly mixes ghostly gothic mystery with soaring symphonic prog and muscular hard rock (and wait for that hair-tearing heavy finale!). `Oblivious to the Night' is a fragile little piano interlude with whimsical synths and a thoughtful vocal, `Markings on a Parchment' is an eerie dream-like introspective instrumental, and Mitchell's extended guitar solo in the classy title track even brings to mind Nolan's other band Pendragon.Cascading classical piano spirals with snarling brooding guitars in `What Happened Before', and Clive delivers an overload of delirious synth soloing goodness on both `Time is Running Out' and `Returning the Curse' in the best Nolan tradition that his fans always love to hear! `Unexpected Dawn' is a strong ballad with warm Hammond organ and soothing acoustic guitar, and the ambitious seven minute closer `Traveller Beware' finds time for plenty of ghostly gothic tension, punchy plodding heavy riffs, creeping piano and a stirring repeated chorus with a dark lyric.But special mention has to go to glorious power balled entitled `How Did It Come To This?'. It's a glorious emotional tune with a sombre piano melody, delicate orchestration and dreamy lyrics, carried by a perfectly controlled yet soaring vocal from Manzi. A restrained unfolding guitar solo from Mitchell in the middle ensures it may be one of the truly most heartfelt pieces ever to appear on an Arena album, and it's certainly one of their most purely romantic musical statements to date.Along with typically fascinating and surreal proggy cover artwork and a lavish CD booklet (but what a shame there doesn't seem to be a vinyl version in the works so far), `The Unquiet Sky' is one of the most lavish, sophisticated and varied Arena albums to date, and certainly one of their most endlessly melodic. It's a fine return to form for the Neo prog institution, and it really shows what this latest line-up is capable of, so hopefully even more impressive music is to come from the mighty Arena!" - ProgArchives
    $16.00
  • Arjen Lucassen's long awaited Ayreon project is a total blast.  Like some of the earlier Ayreon albums, it owes as much to prog rock as it does metal.  All the old school heroes like Emerson, Wakeman, Wetton get to strut their stuff showing a young stud like Rudess a thing or two.  As always Lucassen latches on to some of the best vocalists around and this one is no exception.  Highly recommended.PLEASE NOTE THERE WILL BE A VERY EXPENSIVE IMPORT "ART BOOK" EDITION FORTHCOMING."You know what the metal world needs more of? Musicals. I'm not saying that ironically either. Sure, we have plenty of prog bands putting out concept albums, but cool as these records many be, the story themselves are not the focus of the album. Ayreon mastermind Arjen Anthony Lucassen has resurrected his grandest of all projects to continue showing these folks how to tell an epic story the right way.With 01011001 the Ayreon story came to an end, or so we thought. Arjen instead decided to focus on projects like Star One, Guilt Machine, and his solo album Lost in the New Real. When he revealed not too long ago that he was working on a new project, it wasn't a surprise to discover it was new Ayreon, but I was still plenty excited.Lucassen said of the newest record, "It's not science fiction, but a human story set in a science context." So no aliens or battling emotions or any of that. So, in an attempt to better understand the story, I contacting him for the lyrics and much to my surprise, he sent them to me saying, "Oh yes, you need the lyrics, definitely." Holy hell, was he right. The story is indeed more grounded than previous records, but there are still layers to this beast.Fans of Ayreon should know what to expect here. The Theory of Everything has seven guest singers and each singer plays a part in the story. They are JB (Grand Magus) as the Teacher, Christina Scabbia (Lacuna Coil) as the Mother, Michael Mills (Toehider) as the Father, Tommy Karevik (Kamelot) as the Prodigy, Marco Hietala (Nightwish) as the Rival, John Wetton (Asia/ex-King Crimson) as the Psychiatrist, and Sara Squadrani (Ancient Bards) as the Girl.Of these singers, the most impressive is the relatively unknown Sara Squadrani. She performs on a large portion of the story and shines every time, especially on "Love and Envy". I was also surprised to be so enamored with the performance of Christina Scabbia. She's always had  a wonderful voice, but her performance in this record might be her finest. Her harmonies with Squadrani stand out particularly on "Mirror of Dreams". This isn't to say only the performances by the female singers are worth mentioning. Tommy Karevik's introduction in "The Prodigy's World" is one of the strongest moments on the album.Press_Photo_01Every Ayreon album comes an eclectic group of guest musicians. This round primarily consisted of guest keyboardists. Rick Wakeman (ex-Yes) handles a good portion of the record, while Keith Emerson (Emerson, Lake & Palmer) and Jordan Rudess (Dream Theater) both make excellent solo appearances on "Progressive Waves".Having listened to all of Lucassen's albums at least once, I can say The Theory of Everything is the most musically diverse offering he's had a hand in, perhaps with the exception of his solo record. This isn't as heavy as previous Ayreon titles, but it has its driving moments like "Collision" and the Dream Theather-esque "Frequency Modulation." The aforementioned "Love and Envy" is a slower introspective song, while "Diagnosis" is massive and a little cheesy, but so awesome. "Transformation" has a Middle Eastern feel to it, and  "The Eleventh Dimension" sounds like intergalactic renaissance faire music.Often times there are jumps in mood, genre, etc in the middle of a song. This is fairly typical for an Ayreon release; what isn't typical is that technically this record consists of only four songs. These four songs are each at least twenty-one minutes, but they are cut up into forty-two pieces (yes, that's a Hitchhiker's Guide to the Galaxy reference) .This is a fun record. It's a record that does require a time commitment. I'd say listeners should treat it as a proper musical or film in a theater. Try to experience it all in one sitting for the full effect. It's absolutely worth it." - Metal Injection
    $17.00
  • Second part of the English Electric concept dealing with life across the UK landscape.  What a beautiful album.  First off lets make it clear - Tony Banks and Mike Rutherford made a huge mistake.  Vocalist David Longdon should have been Phil Collins replacement in Genesis.  He would have fit like hand in glove.  The album features the band augmented by a variety of guest musicians including Andy Tillison of The Tangent who contributes organ, Moog, and Mellotron parts.  Its all very British sounding and once again a wonderful mix of old school prog and a more contemporary neoprog sound.  Highly recommended.
    $13.00
  • Now here is a beautiful slice of contemporary progressive rock.  Anubis is an underrated band from Australia - bands down under don't seem to get the attention they deserve.  Hitchhiking is their third full length album.  2011's A Tower Of Silence was a big hit around here and frankly when it arrived it came as a huge surprise.  This long awaited follow up reinforces that the prog rock world needs to take notice.  The music has a cinematic Floyd-like feel.  Vocals from Robert James Moulding are emotion driven and have plenty of impact.  This is not a band who's music is filled with tons of soloing but what's here is solid.  In other words this is not old school prog - its very forward thinking but with a modern sound.  Highly recommended."I have long dreamt of an Australian progressive rock album that would inspire me to click the repeat button, in order to drift through its world all over again, and I am happy to declare that Hitchhiking to Byzantium has been on constant rotation for weeks at this point. Bringing an enchanting blend of Floydian melancholy and the energy of Rush to the table, Anubis have come to stake their claim as heavyweights in the Oz scene with their third opus.Whilst being equally impressed with their 2011 album A Tower of Silence (which I have only just heard recently also), I have found myself returning to Byzantium more to explore the subtle nuances contained within the album’s ten tracks. ‘Fadeout’ as an opening diddy is like riding a gentle breeze for just a short while before being swept up in all the drama and opulence of ‘A King with No Crown’, a reference quality track on every level, cinematic in scope and full of drama and tension and certainly an inspired choice as opening single for the album. ‘Dead Trees’ is a classic prog cut with all the bells and whistles sporting a vocal performance that harkens to a young James Labrie and a chorus that will have you by the balls from the first time you hear it.I mentioned a notable influence from Floyd and Rush earlier, but if I was to be honest, I would love to ask them if they are fans of American prog band Tiles and those wonderful Brits Anathema, because both bands are called to mind on this album amongst others like Sweden’s Anekdoten. The title track is a sublime centrepiece and features a plaintive aura that is sent soaring when spine-tingling female backing vocals lace the chorus. It’s so hard to choose a favourite song when they are all so filled with creamy goodness, but any of these three  - ‘Blood is Thicker than Common Sense’ (a seductive groover), ‘Tightening of the Screws’ (a majestic slice of melancholia reminiscent of early The Pineapple Thief) or ‘Partitionists’ (a lyrical and musical marvel) - could easily take the title for this humble listener.The final triptych features dark drama in ‘Crimson Stained Romance’, a song that reminded me most of a classic Floyd epic, the 15+ minute ‘A Room with a View’, which is nothing short of a sweeping symphony of moods and tones and the closing ‘Silent Wandering Ghosts’ sounds exactly like its title would suggest, haunting and transcendent with an outro to die for.These seven talented lads are a gifted lot, with every performance of outstanding quality, enhanced by a jaw-dropping production that let’s every instrument tell its own little story and play its part in this emotionally resonant work that as the band state themselves: "I feel that there's more of us in there - the hurdles that life throws at us and the only way to feel true inner peace - by examining the love around you. It's certainly an introspective record - but it's real life. It's about you, it's about me, it's about all of us. Hitchhiking to Byzantium. That journey is life."And somehow I believe them." - Loud Mag
    $15.00
  • Virtuoso keyboardist Vivien Lalu has created a new progressive metal epic featuring an all star cast:Band [A-Z]---Martin LeMar (Mekong Delta) - VocalsMike LePond (SymphonyX) - BassSimone Mularoni (DGM) - GuitarsVirgil Donati (PlanetX)- DrumsVivien Lalu (Shadrane) - KeyboardsGuests [A-Z]---Jens Johansson (Stratovarius)Joop Wolters (Shadrane)Jordan Rudess (Dream Theater)Marco Sfogli (James LaBrie)Mike Andersson (Cloudscape, Fullforce)Peter Wildoer (Darkane, James LaBrie)Born of Noelle and Michel Lalu, musicians from the ‘70s French progressive act Polene, Vivien Lalu has released a surplus of recordings through an array of different bands and projects since 1997, as the keyboard player for underground black/doom band Time For A Change. At the turn of the millennium Lalu played keys for two underground progressive metal bands from Paris, Sad Warden and then Mind’s Orchard, and in 2002 was hired by Hubi Meisel (ex-Dreamscape vocalist) to compose and record the keys for his solo album EmOcean, the following year doing the same for Meisel’s sophomore album Kailash, both of which were released by Lion Music.It was at this time Vivien Lalu begins recruiting his own associates from major prog and metal bands — some of which he shares time composing music alongside in progressive metal act Shadrane — and forms his own solo project, LALU. The first full-length Oniric Metal was released on Lion Music in 2005 and began an entirely new chapter for this composer and his insatiable need to create mind-expanding, cinematic music.These accomplishments helped Lalu to begin securing score and soundtrack work for film and television; over the last few years he’s written many cues for the orchestral soundtrack for the Warner Bros movie Seuls Two, for the show Science X made in association with Lucasfilm Ltd. Additionally he joined the production team behind Laszlo Jones in order to assist the recordings and production of Banana Nation (Universal Music Group). He’s composed many soundtracks for French television, music and sound effects for Neko Entertainment, worked as a sound designer for Ubisoft Entertainment and much more.After collaborating with Shadow Gallery for a song on their Digital Ghosts album, and working with Canadian drummer Chris Nalbandian for his Paralysis of Analysis solo album — recording all keys and sharing solos with Derek Sherinian and Alex Argento — Vivien finally settled in and began work on the second LALU opus. Handling all composition and songwriting duties, as well as all keyboards on the massive production, Vivien weaved the cloth of the new album with vocalist Martin LeMar (Mekong Delta), bassist Mike LePond (SymphonyX), guitarist Simone Mularoni (DGM), drummer Virgil Donati (PlanetX), the album’s parts recorded in several countries including the United States (Los Angeles and New York), Germany and Italy, produced by Lalu in his own studio, and mixed at Boumbox Studio in Paris by Yan Memmi (Dio’s Lock Up The Wolves, Marcus Miller’s The Sun Don’t Lie, etc.). Additional contributions from Jens Johansson (Stratovarius), Joop Wolters (Shadrane), Jordan Rudess (Dream Theater), Marco Sfogli (James LaBrie), Mike Andersson (Cloudscape) and Peter Wildoer (James LaBrie) were also carefully built into the album, the final product boasting over fifty minutes of exceptional, massive  cinematic, atmospheric metal Lalu has dubbed, Atomic Ark. 
    $13.00