Hard Rock

Remastered edition with 5 previously unreleased studio tracks.

$8.00
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Remastered edition with a collection of bonus tracks including demos, live, non-lp and unreleased tunes.

$8.00
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Category:
Hard Rock

Remastered edition with 5 live bonus tracks + 1 unreleased studio track.

$8.00
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Blu-ray/CD set includes a full live concert filmed in Santiago, Chile plus 8 music videos.  The CD is an EP with 5 unreleased studio tracks.

$22.00
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"Budgie's classic period, marked with this album, is now over. The album signifies that the band were done pulling out classic album after classic album and classic tune after classic tune.

$16.00
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"After four albums, Budgie had achieved moderate success in the U.K. with their unique combination of Black Sabbath heaviness, progressive rock flashes, and bizarre sense of humor. But 1975's Bandolier found the band pursuing a more conventional rock sound with a noticeable funk influence.

$16.00
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"Bang's sophomore album, 1972's Mother/Bow to the King, probably raised quite a few eyebrows in its day based on its curious cover art alone (is that "mother" herself serving the band a very large pie, and is that one dude wearing a cape?), but it was likely the two-for-one title intended to rep

$8.00
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Previously unreleased first album recorded by this Philadelphia/Florida hard rock band that was actually rejected by Capitol Records and sat on the shelf for decades.  If you like 70s hard rock you have to check out Bang.  They were the real deal.

$8.00
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"Sabbath Assembly have always been odd, especially since they used their music to proselytize about the obscure religious splinter group known as the Process Church of the Final Judgment.

$12.00
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"Bang's sophomore album, 1972's Mother/Bow to the King, probably raised quite a few eyebrows in its day based on its curious cover art alone (is that "mother" herself serving the band a very large pie, and is that one dude wearing a cape?), but it was likely the two-for-one title intended to rep

$13.00
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  • Since the release of 2013’s In Crescendo, Kingcrow toured North America in support of Pain Of Salvation, and headlined a European tour.  Kingcrow kept busy in 2014, touring Europe with Fates Warning and at the same time crafting the material that would become Eidos.“Eidos” is a new conceptual album about choices, consequences, dealing with regret and disillusion. Their earlier album Phlegethon dealt with childhood and In Crescendo about the end of youth.  Eidos can be considered the third part of a trilogy about the path of life. Musically it sees the band exploring new territories and pushing the extremes of its complex soundscape with a darker atmosphere and a more progressive attitude.Describing the band today is quite a difficult task, but one could state that the influence of such artists as Porcupine Tree, Riverside, Opeth, Anathema, Radiohead , King Crimson and Massive Attack are all present in the music of Kingcrow.With each release Kingcrow has taken a step further away from their original roots as a classic metal band and is now one of the most personal and exciting bands that Italy has to offer.
    $13.00
  • "Even though it has been a good forty years since the Swedish sextet Kaipa first appeared on the music scene, it was only back in 2012 and through exposure to their then latest studio album “Vittjar” that I was first introduced to their unique blend of melody-driven Progressive/Folk Rock.With that album having created such an impression, listening and reviewing the band’s latest material was something that I was more than keen on doing – perhaps in an attempt to discover whether founding keyboardist Hand Lundin & Co had managed to take full advantage of the positive press generated by the above-mentioned release.Soon the possibility to review “Sattyg” was presented to me and jumped at the opportunity. So, let’s see what Kaipa’s twelfth studio album has to offer.Similarly to its predecessor, “Sattyg” contains an interesting collection of thematically varied but pleasantly deceptive compositions, and, as you will soon find out, the word “deceptive” is complimentary.As I mentioned before, melody is an integral element in the band’s music, so what’s bound to initially and immediately attract your attention are various emotive vocal themes provided by the duet Patrik Lundström/Aleena Gibson, Per Nilsson’s flamboyant performances on the six string and/or Hand Lundin’s intelligently-crafted 70s themes keyboard parts.There is, however, a wealth of beautiful and cleverly hidden themes, mainly offered by the band’s dead-tight rhythm section, that only those of you willing to spend time on really listening to “Sattyg” will really profit from; these themes gradually reveal themselves to you every time you choose to revisit this beautiful album.Never the ones to shy away from a challenge, the members of Kaipa introduce their latest album with the epic-sounding “A Map Of Your Secret World” – what can only be described as fifteen minutes of pure musical joy!Opening with a stunning vocal melody by Aleena Gibson, the song works through a thematically challenging section that will make most Progressive Rock fans happy before evolving into a Folk tune whose memorable vocal lines are bound to stay with you for a while.Since joining Kaipa back in 2000, Aleena has helped shape the character of band’s second incarnation and no song demonstrates that better than “World Of The Void” – a composition filled with her strong and passionate performances.Dark vocal themes and jazzy rhythmical parts and clever bass lines characterise the appropriately-named “Screwd-upness” while the same-titled “Sattyr” find the band bring strong Kansas-influences to the surface in their attempt to indulge in their much-loved Folk Rock melodies.It should come as no surprise to anyone that the second most important composition of the album is also fairly long. Featuring stunning violin melodies, clever choral themes and a beautiful melody which is carrier by all instruments in clear succession, “A Sky Full Of Painters” is another impressive exercise in technical dexterity, while “Unique When We Fall” a great vocal duet by Lundström/ Gibson.Ever-changing rhythmical themes and a healthy parade of impressive melodies also characterise the nine and a half minute “Without Time – Beyond Time” – a song that offers a fitting, as well as a rewarding conclusion to this absolutely delightful album.It takes a very talented and pretty harmonious group of musicians in order to create an album as thematically challenging and approachable as “Sattyg”.There have been countless occasions, while listening to the seven compositions on offer, when I found myself lost in Jonas Reingold’s soulful bass themes, stunned by the flamboyant nature of Nilsson and Lundin’s melodies and/or captivated by the vocal contribution of both Lundström and Gibson, all of which convinced me that the album, the CD version of which I soon plan to add to my collection, is one that deserves every praise possible.Another great quality release by a band that’s clearly at the top of its game." - Get Ready To Rock
    $15.00
  • After a 10 year absence Enchant are back.  The band started in 1993 making them one of the earliest prog metal band.  Actually they are sort of an interesting band in that they seem to exist in both the prog rock and prog metal realms.  Some metal fans think of them as a bit lightweight and some prog rock fans think they are too heavy!  One thing is for sure they are wildly successful.  This is definitely prog but it never loses sight of the melody.  Fronted by the great Ted Leonard (who is now doing double duty with Spock's Beard) this one is a no-brainer - whether you are metal or prog head.  "irst impressions are the similarities to Spock’s Beard. Hardly surprising since Ted Leonard has been singing with them since 2011. He’s been with Enchant longer; their first CD came out in 1993. And familiarity doesn’t breed contempt here, fortunately.Bay area progressive rockers, they steer a straight course composing guitar-structured songs that they extemporise over. Guitarist Douglas A Ott is also the band’s main producer, with The Great Divide having been recorded at his own studio, but if in the past the band’s followed his direction they’re now more involved after a ten year gap working on other projects. Also, while integral, Ott doesn’t dominate Enchant’s sound but flows in and out adding a hard rock bias to their generic musical flavouring. Drummer/percussionist Sean Flanegan and bassist Ed Platt have the solidity of early Kansas and musically there are some pretty snazzy and often too brief keyboard solos from Bill Jenkins.A rolling cyclical bass line forms the basis of opening number ‘Circles’ with Leonard pondering life going round well, like a circle – while the lyrics aren’t profound they feel right and though this isn’t a concept album, despite the band stating otherwise, there are common themes concerning the human condition in a loosely existential manner. Mainly straight verse and choruses ‘Circles’ breaks out into more complicated time signatures before an acoustic comes to the fore, vocals return, an electric guitar take over and it concludes with a nicely warm keyboard solo. ‘Within An Inch’ follows with a steady rock backbeat over which Ott’s playing echoes Camel’s Andy Latimer interrupted briefly by some John Ellis punk-styled sirening. ‘The Great Divide’ follows suit in a more epic manner, the arrangement akin to Genesis in their golden period.Enchant don’t play with the fairies, despite what their name suggests. If anything they’re two steps removed from an AOR sound leaning in towards early Asia with some latter day Beatles thrown in, and a less grandiose take on Spock’s Beard. One might refer to them as technically proficient rather than emotionally overwrought, meaning there is a heartfelt flavour to their songs, and they tend to grow on you.The subdued opening to ‘Life In A Shadow’ throws a brief curveball echoing the Canterbury sound of Hatfield & The North before a heavy chorded chorus takes this into a rocking tune with soulful harmonies. ‘Deserve To Feel’ pours on the technical drumming and dribbling triplet bass figures with some flashy pyrotechnics predominantly on guitar but with keen keyboard flourishes, moving into a more intricate musical score as Jenkins and Ott trade inspired lines towards its conclusion. Likewise, ‘Here And Now’ builds reflectively moving towards emotional drama.Finely composed, played well, Enchant’s The Great Divide might not have you falling under its spell, but you may well be surprised how you find yourself being drawn to playing it." - The Midland Rocks
    $13.00
  • Brilliant double live set clearly demonstrates that Mr. Hackett can still bring the thunder to the stage. The set was drawn from shows in Paris, London, and New York during the 2009/2010 tour. With a great line up and a set list that digss into his solo career as well as Genesis gems, this is impossible to pass up. Simply awesome!
    $12.00
  • 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
  • While Ayreon’s ‘Forever/Planet Y’ saga seemed to have reached its conclusion with the album 01011001, it’s clear that Arjen Lucassen’s creative muses had other plans. The new Ayreon album The Source revisits the Forever saga, adding a whole new chapter to Lucassen’s impressive body of work. With its top-flight cast of singers and musicians, compelling songs, overwhelming sound, and intriguing story, The Source offers everything that has gained Lucassen dedicated fans worldwide since he laid the foundations of Ayreon back in the mid 90’s.“Whenever I start something new, I usually have a solo album in mind”, Arjen Lucassen explains. “It gives me the freedom to go any direction I want. All options are still open, with regards to sound and style. This time around I initially felt that a new Star One album was appearing on the horizon because the guitars were so dominant. But after the first flutes and violins showed up, I realized I had a new Ayreon album in the making.”This album, to be released on April 28, saw Lucassen’s creative process take an unusual twist. Normally, finding and assembling the album artwork comes very late in the process, long after the music is finished. But to gain inspiration he began looking for artwork very early on, after writing just the first few songs.“While Googling I found the website of the French artist Yann Souetre. Right from the start I was fascinated by his imagery. It was industrial and futuristic at the same time. I was particularly captivated and inspired by a portrait of a woman under water, hooked up to various tubes. Not long after that I had an overall theme, a story line, and a visual aesthetic for the album. I contacted Yann, and after we agreed that his artwork would be available for the album, I continued composing songs with confidence and a clear vision.”The Story of The Source is set six billion years in the past relative to Earth. It begins on Planet Alpha, a world in the Andromeda system where computer intelligence has far surpassed that of humanity.  Alpha is facing a massive global crisis, with ecological and political catastrophes threatening all human life. The Alphans (our human ancestors) try to save their planet by entrusting the global computer mainframe—The ‘Frame—to find a solution. Given total control of the planet, the ‘Frame reaches the logical conclusion that its creators are the cause of all the trouble. The only way to solve Alpha’s problems is to exterminate humanity. This leaves the Alphans no other option than to try and escape their horrific fate. But their escape comes at a terrible price.“The most dramatic segment on the album is the song Condemned To Live. There is just one ship that is capable of making the journey to a new planet, and it can only carry a handful of people. So only those who have essential skills or other useful qualities are allowed to join. All the others have to stay behind. Those who are allowed to leave are, as the title goes, “Condemned To Live”, as they must wrestle with the unimaginable anguish of leaving their families—and the entire Alphan civilization—behind to certain doom.”It’s the beginning of a story that contains everything that has made the Ayreon epics so endlessly fascinating all these years. First there are the musical riches, then there is the layered story line. It can all be interpreted as strict science fiction, but Arjen Lucassen doesn’t shy away from making references to actual events.“I usually get inspired by scientific documentaries and facts. Just recently I heard that by around the year 2050, artificial intelligence will have surpassed human intellectual capacities, the ‘Technical Singularity’. What will the consequences be for humanity? I spend a lot of time thinking and philosophizing about this fascinating subject, and sooner or later some of these musings usually find their way onto my albums. Of course, everything is a product of my imagination, but at the same time I’d like to think that my stories could actually happen, at least theoretically!”Arjen Lucassen strives to make every Ayreon album a contrast to the one before. “If The Theory of Everything was my prog album, then The Source is my rock album. It’s more guitar oriented, which makes it heavier than previous Ayreon releases.  The Source is also more ‘accessible’ than The Theory of Everything: the songs are structured more conventionally, and the melodies are catchier.”The title of The Source invites various interpretations. It’s a reference to water—the source of life—and the water planet where the escaping Alphans find a safe new home after their long, arduous journey. The Source also points to the origins of humanity and the question of where we come from. The title also hints at the role that the album itself plays in the whole Ayreon catalogue. Given that it is a prequel, it can be thought of as the source of the entire Ayreon epic.The international status of Ayreon enables Arjen Lucassen to write his characters with some of the most respected singers in rock in mind: James LaBrie (Dream Theater), Tommy Giles Rogers (Between the Buried and Me), Simone Simons (Epica), Mike Mills (Toehider), Floor Jansen (Nightwish), Hansi Kürsch (Blind Guardian), Michael Eriksen (Circus Maximus), Tobias Sammet (Edguy, Avantasia), Nils K. Rue (Pagan's Mind), Zaher Zorgati (Myrath), Tommy Karevik (Kamelot) and Russell Allen (Symphony X). Special contributions were offered by guitarists Paul Gilbert (Mr. Big), Guthrie Govan (The Aristocrats, Asia, Steven Wilson), Marcel Coenen and keyboard player Mark Kelly (Marillion).Just as on his previous albums, The Source has Arjen Lucassen playing a wide variety of instruments, while the inimitable Ed Warby (o.a. Elegy, Gorefest, Hail Of Bullets) once again masterfully handles the drums.“For quite a while it was a self-imposed rule to avoid inviting a singer more than once for an Ayreon. I have a very close relationship with my audience, and frequently found them wishing that this vocalist or the other could have been present on my previous album. I then realized that my self-imposed limitation was doing the fans a disservice. That’s why The Source features many vocalists who have already sung on an Ayreon album before. In fact, about half of the singers made their debut on an Ayreon album.”The Source adds a compelling new chapter to a career that began in the mid-nineties in a cloud of doubt and uncertainty. After years of gigging and making records with Dutch hard rock bands Bodine and Vengeance, guitarist Arjen Lucassen set out to create his own rock opera—including all the bells and whistles—inspired by the works that he cherished in his younger years: The Who’s Tommy, Andrew Lloyd Webber’s Jesus Christ Superstar and Jeff Wayne’s The War of The Worlds. In the post-grunge era, the audacious ambitions of the tall Dutchman were met with stony indifference by most record labels. But Lucassen persevered and eventually his debut Ayreon offering, The Final Experiment, was released and managed to reach a huge international audience. The rock opera was back!Following the success of The Final Experiment, new Ayreon albums arrived every few years. Their musical impact was such that they all became successful in their own right, even though Lucassen—a self-proclaimed recluse—chose not to promote the albums with live shows. Instead he opted to remain safely within the walls of his private studio The Electric Castle to work long days on his musical projects. Most of his albums have appeared under his Ayreon-moniker, but he also allows himself the occasional lyrical and musical sidestep with other projects such as Ambeon, Stream of Passion, Guilt Machine, The Gentle Storm, and Star One. Whatever he’s done and whatever name he’s used, it’s all been embraced by a loyal community of international fans.2017 will be a particularly exciting year for Ayreon fans thanks to a unique chance to actually see Ayreon live. Limited to three exclusive performances, “The Ayreon Universe” will take place in September in the prestigious 013 venue in Tilburg, Holland. This unprecedented live event features the best of twenty years of Ayreon music, brought to life by a top cast of musicians such as Floor Jansen (Nightwish), Russell Allen (Symphony X), Damian Wilson (Threshold), Hansi Kürsch (Blind Guardian), Tommy Karevik (Kamelot), Jonas Renkse (Katatonia), Anneke van Giersbergen and various others. The reclusive Arjen Lucassen himself is also expected to make a rare appearance on stage. The tickets for all concerts – 9000 in total – sold out within a day, proving once again that the Ayreon magic is still very much alive and kicking.The Source is the first Ayreon album to be released by the renowned Dutch record company Mascot Label Group/Music Theories Recordings, which could be considered a new beginning for all things Ayreon. “Let me start by saying that I always make every effort to create the best Ayreon album possible. This time was no exception. I really wanted to deliver the goods, and I hope I did! I’ve got a very good feeling about it, mainly because of the way everything seemed to fall easily into place with this album. I’ve only experienced that twice before, with Into The Electric Castle and The Human Equation. The music, the story, the artwork and most of all the fantastic guest musicians just came together very naturally.”
    $16.00
  • "The Flower Kings have been performing their brand of symphonic rock since their formation in 1994. Roine Stolt is the "veteran cosmic rocker" who heads this formidable assault on modern prog. They and some of their peers have been responsible for both maintaining and expanding the fan base for modern progressive rock since the '90s.Although I have enjoyed some of their music over time, I have only slightly enjoyed most of their work. That changes with Desolation Rose. This is a masterpiece in modern prog and it will definitely compete for one of the top spots on my favorite albums of the year list.Last year, The Flower Kings returned after an almost 5 year hiatus. They released Banks of Eden in the summer of 2012 to a strong favorable reaction from fans and critics alike. I missed that one, but will go back and try to listen to it after hearing Desolation Rose. They celebrated their success with a tour of the world. This year the band hit the road again to celebrate the 20th Anniversary of their label InsideOut Music with old friends, and label mates Neal Morse & Mike Portnoy. They kept the momentum going with a return to Fenix Studio in Sweden to start work on the recording of Desolation Rose.The band describes Desolation Rose, as a "live" recording made on reel to reel tape to bring back the feeling from analog recording. They also brought out some classic vintage keyboards, like a Hammond B3, Mellotron M 400, Fender Rhodes, Minimoog and a whole host of Tube amps. All to bring back the glorious past. They further describe Desolation Rose as: "Being somewhat of a political statement, the epic theme of Desolation Rose is a logical step in a time where perpetual war, famine, environmental threats, religious conflicts dominate the media and our minds. This is a time to wake up and the music on this album takes you on a journey where you are forced to question what the mainstream media feed us and to rethink your whole world view on all of the above. This is in many ways a typical Flower Kings album but we have also taken it into another realm where we do take chances and where you may struggle to get into the music - or the lyrics - but trust me when I say that you will be rewarded, as this may be our most involved, important and interesting album ever." (Roine Stolt).Ok, so… "on with the show…this is it"."Tower ONE" is an over 13 minute epic to start this album off in the right direction. Stolt's vocals opens with, "She'll walk me slowly through burning spear. She'll be my shelter no sign of fear. She'll walk me slowly through wholesome light. She'll be my shelter. She'll be my eye". Stolt describes "an observation by an angel who resides in a mysterious tower, looking down on the entire world's ongoing perpetual insanity, yet unable to reach out and help" (Flower King's Desolation Rose Press Release, 2013). The solid drums, dripping bass, lead electric guitars rock. The band gives you more than you may ever have dreamed of receiving on this epic opener. But for me it's the keyboards that truly shine the best on this track. "Don't we all shine on?" Well…yes definitely on this one.If you close your eyes and listen to "Sleeping Bones", you may actually visualize Rael emerging from the mist and rain on Broadway. And with all the wonderful string arrangements and soft mandolin, this one will definitely take you immediately back to some of the highlights from "The Lamb". But Stolt enters to provide a new direction, "We're the third from the sun. We're a long way from home. We're between land and sea. We are blessed and we're greed". He then proceeds to uncover the world's many ills as the deep bass, power Hammond, and punching drums march their cadence. A dark march into the current state of affairs delivered with powerful lyrics."Desolation Road" opens with limitless grand piano, yes the kind you may remember again from "The Lamb", and powerful slamming drums and stellar synths that create a spectacular grand opening. "Be sure to meet your enemies with open eyes. As you answer drums of war with a lullaby. Battlefields that come alive. You know you cannot hide. But here you know your fears…the man inside". "There are no glittering prizes." Yes, another powerful lyrical commentary on the state of affairs globally. The weeping lead electric guitar licks are perfect for the mood of the song. The keyboards, drums, bass and jams are excellent. Three tracks in and you know you're listening to a winner. Something you will play over again…many times.Well, when you open with excerpts of a speech from Richard Nixon, you know "White Tuxedos" is going to be full of political angst. "I respect your ideals. I want peace. Bring the boys home". Nice that they decided to go with images of Vietnam, for all of us old enough to remember the ravages of that war. No war or person personifies the evil politician more than Nixon and the unfortunate war he escalated only magnified that feeling globally for many. Modulated vocal delivery helps add swag to the powerful message. The music supports the power of this piece well. Dark and full of some excellent solo electric guitar, accompanied by solid bass, punching drums, and deep keys."The Resurrected Judas" is full of wonderful acoustic guitar and elegant keys after the opening explosion of drums and lead electric guitar. The softer transition welcomes you to this tale full of soft synth keys and great vocals. The lead electric guitar soloing adds dramatic flair. The dark tone keys and dripping bass help create a jam session full of piano and melody which at times take you back to Collins era Genesis with its Tony Banks keyboard romps. At over 8 minutes this track is full of imagery and cinematic music that will definitely entertain. I kept hearing echoes of the imagery in the lyrics and music from the song "Squonk", which is not a bad thing at all."Silent Masses" opens with bold keys and organ and what sounds like Jonas Reingold singing about factories again, "So you think you can rule all the fools. Staying cool when the walls coming down. Got the world on a string, but your bird cannot sing. All these men in the factory lines. And all the angels who fell from the skies. You tried to say hello, but they say goodbye", while some Beatles "And Your Bird Can Sing" chords fall like rain. "We are just the silent masses" becomes the refrain. The solid drums, bass, lead electric guitar and keyboards build as the drama continues on the second half of the track. Another solid song to add to the discography."Last Carnivore" opens with some dramatic flair from drums, bass, and lead electric guitar. The momentum continues to build excitement and mystery. "The nightmare becomes real. You have fallen from your tower". "Seven matches seven". The lead electric guitar solos accompanied by drums are powerful. The keys slide in to garnish the sound perfectly. The rhythm and melody of this track make it one of the best.With a title like "Dark Fascist Skies", you know it can't be good. The opening reminds me of Jethro Tull's A album classic "Black Sunday"; with its heavy keyboard and lead electric guitar assault. The ominous start forebodes multiple mellotron tones and a full on launch of power keyboards, bass, lead guitar and drums to the ears. This track is full of drama and ominous lyrics and sounds."Blood of Eden" is my second favorite track on the album. "We're the third from the sun. We're a beacon and a seventh wonder. We are green and we are growing. We are the one and eternal Mother". Its lyrics like that which will endear you immediately to this song. This is no way as powerful as Peter Gabriel's "Blood of Eden". And at times you can even here a bit of Jon Anderson in the high notes reached vocally. But still it is a solid track for this album."In "Silent Graveyards" we look for saviors" is repeated several times as launching guitars, and keys rocket this short song high.This is a keeper. If you are new to the Flower Kings, welcome to the party. You picked a good time to find them. If you are a fan this is a must buy." - Sea Of Tranquility
    $11.00
  • Hardbound mediabook edition with one bonus track."I haven't had anything similar on my musical plate for a while, so Gazpacho's eighth album Demon was an interesting, beautifully surprising and absolutely brilliant variation. Again Gazpacho mixes progressive sounds with electronic elements and folk instrumentation with the addition of dynamic riffing and amazing vocals. The outcome is a unique sound that is quite inimitable and rare to find. How much you enjoy the new record will mainly depend on how you respond to this incredible mix and the singing style used by the vocalist. Anyway Gazpacho rules, especially at night.I'm a great fan of these guys and for those of you that still don't know who they are, Gazpacho is a band formed in Oslo, Norway in 1996 by childhood friends, Jon-Arne Vilbo and Thomas Andersen, along with Jan-Henrik Ohme - later joined by Mikael Krømer, Lars Erik Asp and Kristian Torp; they released their debut album Bravo in 2003.Demon, the upcoming record, is a concept album based on the true story of a manuscript found in an apartment in Prague where the writer, a previous resident, had detailed his chase of an evil, “The Demon”. Demon is for sure full of emotion and humanity and the way the Norwegian band reproduces in music the diabolical story and the psychosis of the protagonist is wonderful.The story is told in four parts and it starts with 'I've been walking – part 1' and it couldn't start in a better low-key fashion way. There’s something disarmingly powerful about loud vocals from Jahn Henrik Ohme that add incredible depth to a song. The intermittent piano notes are just perfect and the delicate violin sound is like a nice shade of color you don't notice on painting but that painting wouldn't be the same without it. A great bonus.The second part of 'I've been walking' – that is the third track of the album – starts exactly where the first movement of the piece ends but adding a dark shadow to the overall atmosphere. There are still vocals but now are slower and they mix perfectly with the other instruments. The bass is gorgeous and the way the song turns into a more ambient and atmospherical dimension is great. It's such a damn good track and together, 'I've been walking' parts I and II, might be the best tunes that Gazpacho has ever written.The mix of sounds of the opening track changes completely in 'The Wizard of Altai Mountain' becoming electronic in the first part of the track and turning into a sort of gipsy or Yiddish sound in the second half. We are all crossing lands pursuing the demon.The story ends with 'Death Room' and the motifs of the 'The Wizard of Altai Mountain' come back like creating a circle with that song. Oriental sound, progressive rock and folk are all mixed together and the resulting fusion sound is incredible. I rarely make direct comparison among artists but this time I cannot avoid to think of Radiohead's music mixed with folk elements to create an intricate yet beautifully original tone. Other times they make me think of the Scandinavian prog-rock band Airbag but again Gazpacho find their way to be definitely unique.The story ends here and Demon too, a captivating and intriguing album that is absolutely brilliant. I like the way it flows song by song and the variety of sounds blended in it. Such experimentalism is the proof that the Norwegian guys are really talented and they deserve to be considered one of the best progressive rock bands on the scene today.Demon is an album that requires time and patience to be understood and to gain the listener's estimation and it will reward open minded audience. Play it in the dark to fully experience its great music." - Echoes And Dust
    $13.00
  • Edensong is a progressive rock quintet from New York City.  The band's self-released 2008 debut "The Fruit Fallen" was hailed as a "masterpiece" by critics, and helped to pave the way for live shows and notable festival appearances throughout North America.At over 70 minutes of new music, their 2016 followup, "Years in the Garden of Years" is even more ambitious than it's predecessor, and will be sure to appeal to fans of both classic progressive rock and metal.  The concept album features an extended song cycle on themes of time, each song a different scale and perspective.  The melodies are more memorable, the riffs more powerful, the flute playing more inventive and propulsive.  The songs prominently feature immersive new textures, from lush keyboard and orchestral arrangements to esoteric percussion from around the world, such as hang drum and Balinese gamelan.   "Years in the Garden of Years" is mastered with audiophile precision by Grammy winning engineer Bob Katz, and the CD release features stunning original cover art and booklet illustrations from beloved surrealist painter Dan May. 
    $13.00
  • "You have to give it to them… Vanden Plas certainly have a sense for the dramatic, grandiose, the literary, the overblown, the theatrical… and then some!As its title suggests, ‘Chronicles Of The Immortals - Netherworld II’ is the second part of a symbiosis the Teutonic progsters have formed with collaboration with the multi-million selling German author Wolfgang Hohlbein, whose duotych of novels of the same name Vanden Plas frontman Andy Kuntz helped to bring to musical life in a series of sold-out theatrical performances during the 2012 and 2013 seasons. Subsequently, Kuntz led his band on the ambitious journey of bringing the novels to a wider musical audience with two thematic CDs.Now, I’m going to be brutally honest here and admit that I’m familiar with neither the novels in question, or the first part of their musical accompaniment… from what I can gather, however both left the hero of the story - the immortal Andrej Delãny – facing up to the perfidious plans of the dark “Godmaker”, while the second half of the story sees its hero delivered into a further darkness from which his own sense of self-awareness sees him eventually emerge into the light of his own salvation… or something like that!Unfamiliarity with the literary and lyrical background to this album (as well its musical predecessor) initially made this a difficult listen, as I struggled to comprehend the underlying thematic in each regard. However, as it progresses, it possesses a dark and dreamy entrancement, which grabs you in its poetic embrace and caresses you with its strange, extremely enigmatic charm, leading you deep into an opus of truly epic proportions.Kuntz’ vocal is outstanding. His depth and warmth possesses a dark soulfulness which enchants and hypnotizes, drawing the listener into the layers of the musical interpretations of his lyrics. Günter Werno’s keyboards soar and swell, while at the same time dropping diplomatically into the background to make way for Stephan Lill’s sublime guitar work, which crunches and grinds on the album’s denser moments as much as it seers its layered harmonics, which build the layers of each song to their logical conclusion.‘Chronicles…’ drives its story forward with the quality and zest of a good novel. A knowledge of the latter work on which it is based perhaps would aid a better understanding of its inherent message and motive, but the lack of same does not denigrate from the quality of the listening experience, which is an ultimately rewarding and satisfying one." - Uber Rock
    $15.00
  • To say this album is monumental would be an understatement.  Jon Anderson has finally made the Yes album that we've all been waiting for the band to record for the past 40 years and never seemed to get around to it.My understanding is that the germ of the collaboration between Roine Stolt and Jon Anderson began when they met on one of the mega-concert cruises.  Anderson and Stolt have been bouncing material back and forth since then and Roine pulled it together into something amazingly cohesive.  Ex-Yes keyboardist Tom Brislin is on board, as are many of the members of Flower Kings and Karmakanic: Jonas Reingold, Michael Stolt, Lalle Larsson, Felix Lehrmann.  Daniel Gildenlow and Nad Sylvan contribute backing vocals.The album consists of 4 epic length tracks.  The vibe, the feel, the soul feels like Yes.  Some people say this sounds like The Flower Kings with Jon Anderson singing.  I don't hear it that way.  To me this has the DNA of Going For The One and Tales From Topographic Oceans.  Is there some Flower Kings feel here?  Sure - after all if there was no Yes there probably wouldn't be a Flower Kings.Roine is a fabulous guitarist.  While he doesn't try to mimic Steve Howe's tone or style he does use a parallel array of guitars.Plain and simple...this is the Yes album you've been craving for decades.  Easily the prog rock album of the year.  I'm simply blown away.  BUY OR DIE!
    $12.00
  • "Beware! This is the first time that I have been able to review a full Haken album without any word limits or other punitive restrictions placed upon me. You have been warned…I’m going to lay my cards on the table right at the outset: Haken are one of my all-time favourite bands. Despite only being in existence for a relatively short period of time, right from their debut ‘Aquarius’ I have held them in high regard. It is a situation that has only strengthened over the years with each passing album and having had the chance to meet the band on several occasions, from interviewing the whole motley crew on their tour van at Progpower Europe in 2010 to friendly chats with various members at numerous gigs subsequently.Regardless of this however, Haken are the real deal. Yes, they are a cracking bunch of guys but crucially, they back it up with a superlative end product. Each member of Haken is a supremely talented individual with their chosen instrument(s) but together there is a real magic; an unquantifiable ‘x’ factor that leads to the creation of music that is almost peerless and jaw-droppingly good.And, on that note, let us delve into the world of ‘Affinity’.It took me quite a while to get into and appreciate ‘The Mountain’. It sounded different from what went before it; more grown-up and, ‘Cockroach King’ aside, more serious and introspective. However, in stark contrast to ‘The Mountain’, ‘Affinity’ captured my imagination right off the bat and has not failed to let go in the month or so that I’ve been listening to it. If anything, the more I listen, the better it gets.Weirdly enough, a small voice in my brain kept suggesting that it might be a good thing if ‘Affinity’ wasn’t as good an album. That way, I’d be able to tackle this review without the inevitable comments from readers about me being a fanboy and moaning that ‘you were always going to give it a high score’. But then I came to my senses.‘Affinity’ won’t be for everyone, that’s for sure. If you’re a fan of the first two albums and wanted a return to more of that sound and approach, you might be left slightly disappointed. If however, you’re open to listening to a band that refuses to tread the same path twice, a band that champions the true meaning of ‘progressive’ by trying new things whilst remaining loyal to their core principles, then ‘Affinity’ will probably have the same impact upon you as it has had on me.And what exactly is that impact? It is almost impossible to describe if I’m honest. ‘Affinity’ is an album that transcends the normal debates around whether it is good or not. Of course it is good, that almost goes without saying. I’m not a musician, so I am unable to dissect all of the technical intricacies that are present on this record. That’s not my style. Instead it’s the feelings that Haken evoke in their music that I feel the need to focus on as this is arguably the most powerful and intoxicating aspect of their incredible music.We all have them – bands that, as you listen, make you feel happy to be alive. Well, for me, Haken are one of the four or five bands on Earth that do just that.The album opens with the sampled sounds made by early computers atop a dark, cinematic soundscape that grows in intensity, building the sense of anticipation brilliantly and setting the foundations to the musical avenues to be explored within ‘Affinity’. Whilst ‘The Mountain’ was heavily influenced by the 1970s with the likes of Gentle Giant looming large within certain compositions, ‘Affinity’ takes its cue from the following decade. To be fair, this was fairly obvious after one look at the retro cover artwork and the most excellent teaser trailers released a few weeks ago. Again, the imagery might not appeal to everyone, but I really like the boldness and simplicity of the artwork that deliberately and unashamedly harks back to the analogue days of cassette tapes and vinyl.The opening instrumental segues seamlessly into ‘Initiate’, the first ‘proper’ track on the album and a barnstormer at that, a deceptively complex piece of music that acts as a real showcase for everything great about Haken in 2016. And as I listen, almost immediately, several things become clear. Firstly, ‘Affinity’ is blessed by a production and a mix courtesy of Jens Bogren (Fascination Street Studios) that is right out of the top drawer. The music sounds powerful yet with a clarity that allows every instrument to shine. Nothing is lost or overlooked and the results are simply stunning.Secondly, Ross Jennings’ vocals have taken another huge leap in the right direction. I was always one of those that took a lot of convincing over his delivery on the debut record particularly. However, he has pushed himself to the point that he is, without doubt a highly talented and accomplished vocalist with a unique, passionate delivery.Thirdly, the increase in atmospherics, of electronic sounds and textures courtesy of Diego Tejeida is also very pronounced from the outset. Not only does he create a very interesting sonic palette that weaves in and out of each composition, he injects a surprising amount of warmth to the music that could so easily have sounded cold and inaccessible.This in turn links to my final observation, that ‘Affinity’ manages to deftly and expertly merge the sounds of the past with the sounds of the future. In spite of the 1980s sheen, all nine compositions on ‘Affinity’ come across to me as fresh and exciting, with accents of djent, post-rock, ambient and all manner of other sounds bursting forth at whim.Having said all that, ‘1985’ is almost entirely immersed in the 80s. In the same way as ‘Cockroach King’ was Haken’s ‘all-out’ track on ‘The Mountain’, ‘1985’ is the song on ‘Affinity’ that throws a little caution to the wind and shows Haken at their most audacious in many respects. Synth drums, overt retro sounds and an occasional dive headlong into 80s movie soundtrack territory all take place within this ambitious composition. However, it works, retaining a homogenous feel throughout. It is made all the more special thanks to a really rousing, hooky chorus that is nothing short of addictive.The elegant ‘Lapse’ features some of Jennings’ most accomplished vocal work on this record, and indeed throughout the entire back catalogue. The vocal chords are stretched in directions that must have been really challenging but the result is gripping, full of sincerity and emotion in places.‘The Architect’ is Haken’s monster epic. At 15 minutes long, it allows the band the time to explore a number of ideas without ever feeling cluttered or disjointed. The track starts off in grand, cinematic style before exploding in a barely-controlled prog metal assault. It is here that Haken most clearly reference their earlier output as the music flits between the over-the-top excesses of the debut and the grandiose tones of ‘Visions’.I’m then reminded vaguely of Tool in the more refrained guitar work and rhythms that follow, before another memorable chorus of sorts grabs the attention. And then, the song plunges into a music abyss where everything falls away to eventually and gradually rebuild over time. The foreboding yet ambient synth sounds lay the early groundwork as the bass guitar of relative newbie Conner Green joins the fray with some exceptionally expressive, deft and highly musical work. Ray Hearne’s drumming is subtle but inspired, and the resulting guitar interplay between Richard Henshall and Charlie Griffiths is inventive, melodious and ear-catching.If that wasn’t enough, as the song ascends from the depths, the band are joined by Leprous’ Einar Solberg who adds his unique gruff vocals atop some heavy djent-like riffing before a return to the chorus and an epic lead guitar solo that rivals that of ‘Aquarium’ for spine tingling majesty.‘Earthrise’ is possibly my favourite track on the album right now. I adore the quiet and melodic opening because it fills me with a warm glow and the feeling that the world can’t be an entirely awful place if such beautiful music can be written. It develops into a composition that is bright and breezy, complimented by lyrics that have a distinctly positive vibe to them.By contrast, ‘Red Giant’ explores entirely different terrain. It is the most modern and post-rock that Haken have ever sounded and is also one of their most brooding and quietly intense compositions. The keys and rhythm section take the lead on this track, which is arguably the biggest and most consistent grower on the entire record.‘The Endless Knot’ features some delicious drum fills from Mr Hearne and more killer melodies. It also affords Diego the opportunity to go a little crazy with more zany and out-there sounds. It also allows some six-string indulgence in the shape of one of the most intricate and dextrous guitar leads at around the mid-point. The song constantly shifts direction throughout its relatively modest life, but is held together by those strong melodies which return time and again to my great delight.‘Bound By Gravity’ then closes out the album in an impossibly perfect manner. It is arguably one of the softest songs that Haken have ever penned but it is also one of the most beautiful. Acoustic guitars and more warm and inviting keys, vaguely reminiscent of Sigur Ros envelop the listener in a soothing, comforting embrace. Jennings’ soft and gentle delivery adds an almost ethereal quality to the track as it floats along on a warm current of magical melody that is both uplifting and almost heart breaking. Such is its understated and subtle beauty, I find myself smiling broadly and wiping tears from my eyes almost simultaneously.How do I sum up an album like this? I could have mentioned a million bands throughout this review, from Textures to King Crimson and beyond as indeed there are reference points all over the place if you’re of a mind to count them. However, Haken are Haken and the bottom line is that they have developed into a modern prog band that is truly unique. ‘Affinity’ is one of the best progressive albums I have ever had the pleasure to listen to but more than that, it truly moves me and I connect to it on an emotional level; it makes me smile, it makes me cry and it makes me feel alive." - The Blog Of Much Metal
    $14.00
  • Vly began as strangers sending 1's and 0's across the Atlantic Ocean. British-based guitarist Karl Demata had a vague idea and a few demos, when a friend put him in touch with New York singer / artist Keith Gladysz. Keith began working on the demos, adding a more melodic, dream-like and decidedly indie sensibility. "It was a new way to work", says Gladysz. "The music and collaborative art I've made always started with people I knew, and creating naturally came out of that understanding. That's not the case with Vly. We managed to make an album without ever meeting. There was no gauge or reference point except for the music. It was a total shot in the dark".The sound of Vly shooting in the dark hits elements of progressive rock, classic rock, folk, early-Floydian psychedelia, intimate pop melodies, massive walls of epic guitar riffage, post-classical, post-rock and electronic music. And it's the diverse background of the members that lead to the breadth of their sound.The progressive sentiment of Italian keyboardist Elisa Montaldo quickly attracted the ear of Demata. "The first time I heard Elisa play" says Karl "I knew we had to be in a band. Her innate melodic approach and instinctual understanding and knowledge of 'anything prog' is simply remarkable"."Karl asked me to join the project at the very beginning" Elisa picks up: "My idea of prog is somehow more vintage, more typical 70's Italian style. After various experiments on arrangements and sounds, I went to Karl's studio to record most of the keyboards, where we found the right balance".Connecting with strangers, and expanding circles of mutual friends became the pattern for Vly. Karl next recruited experienced bass player Chris Heilmann who worked together previously in Crippled Black Phoenix. Chris provided a solid backbone with a more classic rock attitude.Demata doesn't hold back when talking about Sweden-based musician Mattias Olsson. "He is simply a genius. And he's never predictable as a drummer. Mattias also contributed some vintage keys and odd analog noises, which have a definitive effect on the bands sound. A common friend described him as a 'lateral thinker', and I can't think of a better way to describe him."Vly makes good on the futuristic dreams of the late 1990's, when promises of international recording sessions via the Internet excited incredulous musicians. Now that it's a reality (thanks to Dropbox and Skype), the method may be less glamorously sci-fi than one had hoped; still, they get the job done."I always disliked the cliches about music as a universal language, and more recently about the Internet bringing people together", explains Keith. "I'm even more uncomfortable with those sentiments now, since Vly proved them true".Vly's debut album, I / (Time) is available on the Laser's Edge imprint September 18, 2015. It's engineered and produced by Karl Demata, with additional production by Keith Gladysz and Mattias Olsen, and audiophile mastering by Bob Katz.VLY is:Keith Gladysz (Diet Kong, Typical Reptiles) - Vocals.Karl Demata (ex-Crippled Black Phoenix, Karl Demata Band) - Guitars, synths, programming.Elisa Montaldo (Il Tempio Delle Clessidre) - keyboards and synths.Chris Heilmann (ex-Crippled Black Phoenix, Bernie Torme', Shark Island) – Bass.Mattias Olsson (ex-Änglagård. White Willow, Necromonkey) - Drums & keyboard 
    $13.00
  • WE ARE NOW ACCEPTING PREORDERS FOR THE 2LP SILVER VINYL/CD REISSUE OF HAKEN "VISIONS".  PLEASE NOTE STREET DATE IS SET FOR FEBRUARY 3RD.  PLEASE DO NOT COMBINE PREORDERS WITH YOUR REGULAR ORDER AS IT WILL CAUSE DELAYS IN PROCESSING AND LOTS OF LONG FACES...Ten years since the band first formed, 2017 will see Haken’s first two albums, ‘Aquarius’ & ‘Visions’, reissued through InsideOutMusic after being unavailable for a lengthy period of time. Remastered by the renowned Jens Bogren (Devin Townsend Project, Between The Buried & Me), who worked with the band on their last two studio albums ‘Affinity’ & ‘The Mountain’, this reissue sees the albums brought up to the sonic quality of their most recent output.Originally released back in 2010, the band’s debut album ‘Aquarius’ capitalised on 3 years of work from the band which saw them staking their claim as one of the most exciting new progressive metal bands, playing with the likes of King’s X, Riverside & Bigelf. A 72-minute concept record that touched on themes of global warming, this album has long held a place in their fans’ hearts & the lengthy 17-minute closing track ‘Celestial Elixir’ remains in their set lists now.Arriving just a year on from their debut, ‘Visions’ cemented the bands reputation as one of the most solid progressive metal bands of recent years, bringing them to the US on tour for the very first time in 2011. Another detailed concept album conjured in part from a dream that vocalist Ross Jennings experienced, ‘Visions’ captured the imaginations of both fans and critics alike. Haken have also announced that they will be revisiting the album in full, live at Prog Power USA in September 2017.‘Aquarius’ and ‘Visions’ will be available as a remastered double CDs, each featuring a bonus disc of instrumentals, as well as on heavyweight vinyl for the very first time.HAKEN “Visions”:1 Premonition (00:04:17)2 Nocturnal Conspiracy (00:13:09)3 Insomnia (00:06:03)4 The Mind’s Eye (00:04:04)5 Portals (00:05:27)6 Shapeshifter (00:08:08)7 Deathless (00:08:06)8 Visions (00:22:07)
    $29.00