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Jazz Rock

2CD set collects the three albums from this percussion ensemble led by noted German drummer Klaus Weiss. The first album consists of two side long tracks of pure percussion. No its not a drum solo.

$16.00
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Drummer and composer Pip Pyle is widely recognized as the drummer of the Canterbury school of progressive rock.

$15.00
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28 years is a long time for a band to stay together but that's how long Woodenhead has been playing together. They have quietly cultivated a dedicated cult following in New Orleans. Now Free Electric Sound is bringing this extraordinary quartet to a national audience.

$5.00
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Brilliant 3rd and 4th albums from Ian Carr's ensemble that ultimately metamorphosed into an incarnation of Soft Machine.

$19.00
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Remastered edition of the original 2LP set includes new liner notes and photographs. No one knows more about Soft Machine than Steve Feigenbaum. With his permission I have decided to steal his thoughts:

$9.00
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One of the great fusion albums from the MPS label, finally available on CD and it's been given the royal treatment from Promising Music. This is the first of two albums from Pork Pie, the band formed by keyboardist Jasper Van't Hof, saxophonist Charlie Mariano, and guitarist Philip Catherine.

$22.00
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  • \"With Book 3, The Chronicles of Father Robin reach the final chapter of “The Songs & Tales of Airoea”. This dynamic and soulful journey starts with the upbeat “Magical Chronicle”, a vocal driven track full of lush harmonies and clear references to prog classics such as Gentle Giant, Yezda Urfa and the Canterbury Scene. From the atmospheric “Skyslumber” and the soaring prog ballad that Yes never wrote, “Cloudship”, the album burst into the dynamic psych-rocker “Empress of the Sun”, a song full of energy and contrast eventually sliding into a keyboard lead middle part reminiscent of The Doors at their most adventurous. Finishing the album “Lost in the Palace Gardens” starts off with a beautiful acoustic guitar part brining associations to British folk bands such as Steeleye Span, but also the guitar work of a certain Jimmy Page. The track follows up with vocal parts where Andreas Prestmo and Aleksandra Morozova’s voices perfectly complement each other, making it a perfect culmination of this highly ambitious body of work where Father Robin explores the cloud lands in the Sky. Featuring members from some of the most revered progressive rock bands from Norway, Wobbler, Jordsjø, Tusmørke and seasoned post-rockers The Samuel Jackson Five, TCOFR is a veritable all-star team. “The Songs & Tales of Airoea”, 30 years in the making, is a cohesive triple concept album with 18 songs set in an alternate archaic world for over a period of three decades. The first album, “Book I”, was released on September 15th, and “Book II” will be out December 08th. The Chronicles of Father Robin (TCOFR) emerged from the remains of the band Fangorn back in 1993- 94, mainly inspired by the classic bands and albums of the early 1970s progressive music scene, alongside contemporary bands like Änglagård, Anekdoten, White Willow and Landberk."
    $14.00
  • "Jordsjø is a duo from Oslo, Norway inspired by Olivier Messiaen, (German) Popol Vuh and Anthony Braxton, via Scandinavian folklore and jazz to early British prog. Following in the tradition of some of the best Nordic rock from the last century, Jordsjø manages to meld progressive rock with fantastic melodies and a folkish twist.“Salighet” is the band’s fourth proper studio album. Seven new tracks, making up what has to be one of the greatest prog albums of 2023. Here, Jordsjø continues their musical journey in the heights and abysses: With “Salighet” they explore different forms of ecstasy through compositions and lyrics. Be it in the shape of dance, a mountain hike, a fairytale, religious pondering or other kinds of inner travels, in a colourful symphonic folk-rock sound. The music is a counterpoint to the mundane everyday life, and longs for mystery and alternate realities – with grand dynamics and dramatics, always searching for a good melody. The album draws inspiration from Nordic jazz and folk music, classical 1900s music and sensory expanding 60-s & 70s rock, creating its own potent musical brew – unfashionable and unpolished.The band consists of multi-instrumentalist Håkon Oftung (Tusmørke, Black Magic, The Chronicles of Father Robin) and drummer Kristian Frøland."
    $14.00
  • Often things happen in an adjacent musical universe that we are not aware of but perhaps we should be more attentive to.  Such is the case with my general interest in the jam band scene.  While I can appreciate the musical prowess of many of these bands the foundation of their music doesn't really interest me all that much.  For example I never got Phish.  Great players but their music flatlined for me.  On the other hand Umphrey's McGee is a very interesting band that resides in the jam band world.  You can tell that progressive rock is a part of their musical DNA.  Such is the case with a band that reached out to us called Squeaky Feet.  I had never heard of this Denver, Colorado based group but it appeared that they were rising stars in that scene but referred to themselves as a progressive rock band.  So perhaps a bit skeptical I gave their studio debut "Cause For Alarm" a listen and I was absolutely blown away and I think you will be too.  The vocal tracks do remind me a bit of Umphrey's McGee - a subtle pop layer sitting on a bedrock of intense virtuosity and intricacy.  As soon as the vocals stop these guys go off into a world of pure prog - blazing dual guitar, flute and sax, keys - over a rock solid rhythmic bed.  These are Berklee grads - they're not fooling around.  These kats can play!  Vocal tracks pop up here and there but the overall musical weight of the album tends to skew in the instrumental direction.  The album is filled with long tracks - each one having a great sense of soft/loud dynamics.  As I mentioned the vocal passages give way to long instrumental stretches where these guys go off.This one came in too late for me to stick it in my Top 10 list for 2023 (lots of competition this year) but if I could I would - it would sit very high up on the top half.  Do I need to say it???  I will anyway...BUY OR DIE!!"Squeaky Feet was conceived within the walls of Berklee College of Music. Its members relocated to Denver in 2018, and their hunger for greatness manifested into what the band is today. Comprised of Colin Shore (guitar/vocals), Greg King (guitar), Jimmy Finnegan (bass/vocals), Brian Keller (keyboards/sax/flute/vocals), and Kevin D'Angelo (drums), Squeaky Feet is poised for success.Their debut album, Cause For Alarm, is scheduled for release on November 17, 2023. It promises to be an electrifying testament to Squeaky Feet's exceptional musicianship, genre-blending prowess, and their innovative approach to progressive rock. The astute listener may hear the influence of King Crimson, Dream Theater, Frank Zappa, Steely Dan, and Snarky Puppy, particularly of guitar player Mark Lettieri, who serendipitously came to play on the album’s lead single."
    $15.00
  • The Custodian is a new British post-progressive rock band formed by Richard Thomson, vocalist for cinematic death metal band Xerath.  Unlike Xerath, The Custodian is an outlet for the more melodic, rock oriented writing from Thomson.While there are moments in the album that harken back to old school bands like Genesis and Yes, the music of The Custodian is contemporary in sound.  Necessary Wasted Time is an album full of dynamics - light and dark shadings balancing acoustic vs electric, heavy vs pastoral.  While atmospherics and tension are a strong component of the album, the band demonstrates their adept musicianship offering up long instrumental passages to complement the emotion filled vocals.  When needed the band unleashes some complex electric runs.The Custodian's debut should deeply resonate with fans of Steven Wilson, Riverside, Pineapple Thief, and Anathema.Necessary Wasted Time was mixed by noted engineer Jacob Hansen and give the full audiophile mastering treatment from Bob Katz. 
    $5.00
  • The artbook contains 2CDs with the album plus an instrumental mix.  The Blu-Ray contains the album in a 5.1 surround mix plus a 37 minute documentary.  Also included is extended artwork and liner notes."Two-time GRAMMY-nominated and millions-selling progressive music titans Dream Theater announce the forthcoming worldwide release of their 15th studio album, A View From The Top Of The World on October 22nd. A View From The Top OF The World is Dream Theater at its musical finest expanding on the sound they helped create while maintaining the elements that have garnered them devoted fans around the globe. The 7-song album also marks the second studio album with InsideOutMusic / Sony Music.The artwork was created by long-time cover collaborator Hugh Syme (Rush, Iron Maiden, Stone Sour). A View From The Top Of The World was produced by John Petrucci, engineered and additional production by James “Jimmy T” Meslin and mixed/mastered by Andy Sneap.Dream Theater – comprised of James LaBrie, John Petrucci, Jordan Rudess, John Myung and Mike Mangini – was in the middle of a sold-out world tour in support of their last release Distance Over Time and the 20th anniversary of Scenes From A Memory when a Global Pandemic brought the world to a stop. The musicians found themselves at home with LaBrie in Canada and the rest of the group in the States. As fate would have it, they’d just finished construction on DTHQ (Dream Theater Headquarters) —a combination live recording studio, rehearsal space, control room, equipment storage, and creative hive. With LaBrie in Canada, he initially wrote with the band via ZOOM on a monitor in DTHQ. In March 2021, he flew down to New York, quarantined, and recorded his vocals face-to-face with Petrucci. The album ultimately threaded together lean and uncompromising hooks with tried-and-true technical proficiency.“We just love to play our instruments,” observes Petrucci. “That never goes away. I love to be creative, write, and exercise that part of my mind. We’ve been able to do this for a long time, and we don’t take it for granted. Whenever we get together, we know we can’t disappoint ourselves or our fans, so we manage to try even harder.”“We approach every album like it’s our first,” adds LaBrie. “It’s been such a great ride, but we’re not going to stop.”"
    $45.00
  • In a time where progressive music is rising and there are so many options available to new listeners, it takes serious guts and personality to turn heads anymore. Norway’s Leprous has done just that in recent years, and it has been such a joy to watch them emerge into the limelight of awareness within the progressive community. It is no wonder, however, as Leprous continues to mature and to cling ever closer to their hearts when crafting new music.Leprous is a visionary band that defies genre labelling, not just in the style, but also in their attitude. After releasing “Tall Poppy Syndrome” (2009), “Bilateral” (2011) and “Coal” (2013); these artists released their monster album “The Congregation” (2015) that spurred high acclaim and an enormous world tour. Leprous, however, is not a band that takes success resting on their hind quarters, as they believe in pushing boundaries, learning from their mistakes, and following their instincts. They are prepared to release their new album “Malina” this summer, and it is set to offer a left hook to the progressive world.Of all things, Leprous is not a band that can be caged into any single genre. They aren’t interested in any of that. What they do believe in, however, is pursuing their artistic passions and following wherever their hearts may lead. They have been celebrated for years for their evocative mix of polyrhythmic grooves, melancholy atmospheres, melodic vocals, and biting lyrics; but their new album represents a pure stream of consciousness in the changes they have made to their sound. It’s in this imaginative style of composition that the band finds “a lot of the beauty about composing and creating: There’s always movement.”The band, however, found their instincts leading them away from simply polishing the melancholy progressive metal of “The Congregation”. They followed their conviction about creating music that feels right in the moment, which they consider to be the core of all true musical expression. In the process, Leprous has become a band that is “more accurately defined as a rock band than a metal band”, though even that label is unsatisfactory and binding to them. This is music that expresses their souls, embodies their passion, and confirms their genius.  They believe in making quality music that speaks to who they are right here and right now.About these changes, the band had this to say, "This album is the perfect example on how you can start with avision and ending up with a result that has nothing to do with the original idea. The writing of the album started out with the idea to perfect the sound and working method we began with on "The Congregation". While the writing process was actually pretty similar (30 sketches, elimination process etc etc) we gradually started noticing stuff with the sound and the songwriting on the previous album that we wanted to sound different. Gradually we realised what needed to be done. This album needs to sound more alive, more organic and more dynamic. The longer into the process the more obsessed we got with this idea”.“Malina” is set to be a change in direction in more ways than one. Right away, you can see that the cover art is more colorful and more mysterious than they’ve ever had in the past. The album itself has been nothing short of a labor of love. The album took 4 times as many days in the studio to record as past albums, as the band was certain that the sound they wanted would be found in the recording studio, and not in a digital mask that would be applied during the mixing stage.With this concept in mind, David Castillo of Ghostward Studios was brought in to produce and record the album to meet the band’s demands for a specific sound and the then went with Jens Bogren again to mix the album.  The band was however adamant about what this album needed to be, “We wanted it to sound like it sounded.  We did not want to "digitalise" the sound.”The members of Leprous have poured their blood, sweat, and tears into the process of creating “Malina”. They’ve challenged themselves to mature and grow in ways they themselves did not expect. It’s because of these amazing qualities that the band is set to conquer the music scene once again in 2017. Combining a new album with a fresh sound with their upcoming, biggest headline tour yet Leprous is ready to bring their passion and badass energy to fans and new audiences worldwide this year.
    $14.00
  • “Devolution Series #2 - Galactic Quarantine” was recorded between July and September 2020 in various places around the world. Originally streamed on September 5th, 2020 on StageIt.com as a replacement show for the COVID affected “Empath Vol 2 European Tour” and various cancelled Summer festivals. The show features Devin on vocals and guitars, Samus Paulicelli III on drums, Wes Hauch on guitars and Diego Tejeida on keys. 
    $15.00
  • "English neo-progressive rock spear-header IQ has been furthering the genre in the 21th century with much acclaim. Sound-wise the band hasn't changed much since ' The Seventh House', but on this album the band has finally revolutionized their composition style, arrangements and production. The symphonic layering by Neil Durant has this adult feel, reminding me of 'Tilt' era Scott Walker or 'Blackstar' era Bowie ' yet drenched in a Bladerunner like delicate sci-fi universe. Somehow this album sounds like a collaboration of the band IQ and... well a new 'force' that can look beyond its songs, its verses, its solo's and its refrains. Because of this 'force' the band has also given new meaning to the prog epic. On 'Resistance' a prog epic isn't just a multi- song. Don't take me wrong ' I really like a track like 'The Narrow Margin' ' but on this album the longer tracks really make sense from a songwriting point of view. Bare with me. Like a in a small song, where a bridge can add to strengthening the final refrain ' IQ manages to intelligently intervene and keep the song growing towards that final refrain. Furthermore, the first cd, which is 'the album', flows like a continues experience. Almost like a movie, including some modern cinematic sound-effects. What also becomes apparent after a few spins is the absence of leaning on catchy refrains, which gives the music a modern feel ' at times almost hinting at modern classical music. Peter Nicholl's voice doesn't allow for much variation, but because of the distinctive atmospheres of the songs his performances do tick the box every time. This material doesn't need catchy line A or B, it needs a performer. The rhythm section of the band has found a perfect balance between fusion styled sophistication and adding to the effectiveness of the material. Guitar player Mike Holmes somehow comes off as a bit left behind in the old IQ with his Marillion/Floyd styled guitar solo's. On acoustic guitar his contributions strike me as more imminent ' like on 'Perfect Space'. If the band ever aims to top this album in the future ' which would prove extremely difficult I guess - the electric guitar will need to contribute in more diverse ways. Now about that second disc, which I will describe in a bit more detail because most reviewers will probably focus on the first disc. If that were an album; the 22 minute 'The Great Spirit Way' alone would suffice for an indispensable purchase. Personally, I think this song is placed right after the rather dark and soundtrack-like first disc because it matches best stylistically. 'Fire and Security' is a more traditional IQ piece ' albeit a bit bleak - with a balled type opening, some darker passages and a melancholy ending section with some strong lead guitars. On 'Perfect Space' the band drives its jazz/fusion influences to the max, which will perhaps turn of some ' but I like it. The second epic, the 20 minute 'Fallout' is a bit more relaxing, abstract and dreamy. In its second halve the band experiments beautifully with sophisticated chord progressions, which also allows for Holmes' most interesting guitar solo. Conclusion. Without a doubt this will become the progressive album of 2019 and I hope it will inspire a lot of other neo-progressive bands to elaborate and expand on their Marillion/Genesis/Floyd roots and take the music to a next level of artistry. This album will probably outshine the nostalgic likings of many of its listeners, but it may also attract listeners that have previously written off the neo-prog genre. " - ProgArchives
    $15.00
  • Formed in Oslo in 1992/93, WHITE WILLOW has built a reputation over the years as a diverse, subtle, progressively-focused group, their albums always critically acclaimed and revered as influential. They were a part of the original revival of progressive rock in Scandinavia that also included Änglagård, Anekdoten, and Landberk, and original Änglagård drummer Mattias Olsson is the drummer of WHITE WILLOW. Fusing influences from 1970s prog rock and folk rock, hard rock, electronica, and even some pop influences, with each album they explore new territories. A common thread throughout all the albums though, is the use of female vocals and the employment of huge arsenals of vintage keyboards and synthesizers, notably Mellotrons, Chamberlins, Moogs, Solinas, Prophets, and more. Among the bands/artists admired by WHITE WILLOW are Genesis, Blue Öyster Cult, King Crimson, Fairport Convention, Nick Drake, Joni Mitchell and Norwegian bands ranging from Høst to Darkthrone.WHITE WILLOW’s first album since 2011’s well-received Terminal Twilight sees the outfit exploring some of the most “progressive” territory the band has ever ventured into, with several lengthy tracks and more instrumental passages than they are usually known for. Musically the album builds upon the foundation of its predecessor, with a modern approach to production. Future Hopes also features a heavy use of synthesizers, including the unique textures of the famed Blade Runner synth, the Yamaha CS80.The Future Hopes lineup, which as always is a loose constellation of musicians with multi-instrumentalists Jacob Holm-Lupo and Mattias Olsson at the core, sees the return of several WHITE WILLOW stalwarts, including flautist Ketil Einarsen (Jaga Jazzist, Motorpsycho), keyboardist Lars Fredrik Frøislie (Wobbler, Tusmørke), and bassist Ellen Andrea Wang (Pixel, Manu Katché Quartet). The singer is however a new arrival. Venke Knutson is best known in her native Norway for a string of Top 10 hits and is well established as a solo pop artist. She came into Holm-Lupo’s orbit as a guest singer with his other project, The Opium Cartel. Guesting on several tracks and putting a clear stamp on the album is Norway’s trailblazing guitar hero Hedvig Mollestad, known from her own Hedvig Mollestad Trio. Holm-Lupo felt the material needed a soloist who could both navigate the tricky, almost jazz-influenced chord and time changes on the album while at the same time retaining a rock edge, and Hedvig fit the bill perfectly.Future Hopes was mixed by highly respected Norwegian Grammy-nominated engineer Christian Engfelt, known for his work on the Elephant9/Reine Fiske album, Atlantis, and the Todd Rundgren/Lindstrøm collaboration, Runddans. The record was mastered by Grammy Award-winning audiophile legend Bob Katz, and completed with a specially commissioned painting by Roger Dean. The CD and digital versions of the album also feature two bonus tracks, including an original tune, “Damnation Valley,” as well as WHITE WILLOW‘s unusual cover of The Scorpions’ classic dirge, “Animal Magnetism,” re-interpreted as a Tangerine Dream-like electronic piece while still retaining the heaviness of the original. The star on the track is New York-based clarinetist David Krakauer, knows as the world’s foremost klezmer clarinetist, with countless credits to his name both with his own projects, in jazz constellations, with many of the world’s best philharmonic orchestras and with soundtrack music. Krakauer is a recipient of many prestigious nominations and awards, from DownBeat to the Grammys.
    $14.00
  • “This smells strongly of British Progressive rock, some Quintessence, some Deep Purple (with flute instead of vocals). The organ and flute, and gung-ho attitude, remind me a bit of both Focus and Out of Focus…” – Daniel Dellamorte, music historian and author of the book Swedish Death Metal"In April 2018 Agusa embarked on a short tour in Italy. The first stop was at Stazione Birra in Rome where the show was recorded by the resident sound technician Alex Di Nunzio. The full gig – without any overdubs – will now be released on a double vinyl and CD by Kommun2 Records. The songs on "Ekstasis - Live in Rome" contain much of the playfulness and improvisational bravado that fans have come to expect from these Swedish rockers. This is the sequel to the live album "Katarsis", but twice as long and with previously unheard renditions of some of the tracks performed exclusively for these Italian gigs. The "Ekstasis" cover features a simple, pencil-drawn picture of the “flower woman” that has become synonymous with Agusa in 2018. I was made by Swedish artist Robin Gnista and was originally sketched out to reflect the complex, yet raw approach of the music. This is the first Agusa album featuring the organ playing of Jeppe Juul and it was mixed by bass player Tobias Petterson together with sound technician Emil Isaksson. This may very well be looked back upon as the most ambitious release from K2."
    $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. 
    $5.00
  • The new Tiles album is a 2CD set in a digipak with a 28 page book.Please note that we will cut off pre-orders for this package on March 31st.  Please do not combine any other items with this bundle - they will be removed form your order.After an eight year absence, T I L E S returns with a vengeance by delivering the mesmerizing 2-CD magnum opus “Pretending to Run.”  Clocking in at over 96-minutes, “Pretending to Run” is an ambitious and richly crafted song cycle spinning the tale of a man blindsided and disillusioned by betrayal.Once again, T I L E S teamed up with producer Terry Brown – and with mastering by Grammy award winning engineer Peter Moore, “Pretending to Run” boasts a powerful and detailed sonic landscape.  Complementing the dramatic and multi-layered storyline is Hugh Syme’s striking and surreal imagery.  Featuring a lush 28-page full-color booklet, the design and packaging for “Pretending to Run” is an elaborate and stunning work of art.Lending their talents to “Pretending to Run” is an extraordinary collection of special guest musicians: Ian Anderson (Jethro Tull), Mike Portnoy (Dream Theater, Winery Dogs), Adam Holzman (Steven Wilson Band), Mike Stern (Miles Davis), Kim Mitchell (Max Webster), Colin Edwin (Porcupine Tree), Kevin Chown (Tarja Turunen, Chad Smith), Max Portnoy (Next to None), Matthew Parmenter (Discipline), Mark Mikel (Pillbugs), Joe Deninzon, and other notable guests from the Detroit area… Destined to be on the radar of Prog fans everywhere, “Pretending to Run” is a distinctive  presentation framed in the grand traditions of progressive rock.  Clearly and unmistakably T I L E S, but infused with a more expansive sound as the guest artists propel the band into new directions sure to please fans old and new.Special guest performances by:Ian Anderson (Jethro Tull)Mike Portnoy (Dream Theater, Winery Dogs)Adam Holzman (Miles Davis, Steven Wilson)Mike Stern (Miles Davis)Kim Mitchell (Max Webster)Colin Edwin (Porcupine Tree)Kevin Chown (Tarja Turunen, Chad Smith)Max Portnoy (Next To None)Matthew Parmenter (Discipline)Mark Mikel (Pillbugs)Joe Deninzon (Stratospheerius)  
    $15.00
  • APOLLO: The ancient Greek and Roman God of music and poetry.SONS OF APOLLO: The new supergroup featuring members of Dream Theater, Mr. Big, Guns ‘N Roses, and Journey.In early 2017, rumors began circulating about a new secret project including former Dream Theater members Mike Portnoy and Derek Sherinian. Finally, on August 1st, the duo revealed the details to the rest of the world, introducing their new band, SONS OF APOLLO.Reuniting to form SONS OF APOLLO, Portnoy and Sherinian join forces with guitarist Ron "Bumblefoot" Thal (ex-Guns N’ Roses), bassist Billy Sheehan (The Winery Dogs, Mr. Big, David Lee Roth) and vocalist Jeff Scott Soto (ex-Journey, ex-Yngwie Malmsteen's Rising Force). Their debut album, Psychotic Symphony, will be released October 20 on InsideOutMusic/Sony Music. Psychotic Symphony was produced by the dynamic production duo of Portnoy and Sherinian, also affectionately known as “The Del Fuvio Brothers,” the nickname given to them over 20 years ago during their time together in Dream Theater.SONS OF APOLLO formed very organically, its seeds planted with a predecessor group, as Portnoy explains: “Derek and I reunited shortly after I left Dream Theater in 2010 and we put together an all-instrumental touring band with Billy Sheehan and Tony MacAlpine. That was my first time working with Derek since the ‘90s when he was in Dream Theater, and it was just great to be working with him again. Ever since that tour, which was really just a one-off live thing, he has been nudging me to start a real, original, full-time band. The timing just had never been right, because I had too many other things on my plate. Long story short, the time was finally right to take the bait and put together a band.”“Mike and I work at a relentless pace in the studio,” continues Sherinian. “The music is modern, but we have an old-school soul. What is unique about SONS OF APOLLO is that we have true rock n’ roll swagger along with the virtuosity-- a lethal combination!”But what to call the next great supergroup? “Derek was mainly the one behind the name,” says Portnoy. “I have a list that I keep on my phone of about a hundred different band names, which I constantly have to refer to every time I have a new band every year (laughs). So I pulled up the list and Apollo was one of the names on the list. It was a word that both of us really liked. We started fiddling with different variations of the word. One of the original band names we were working with was Apollo Creed, the character from the Rocky movies, but after lots of different discussions on different variations, Derek suggested SONS OF APOLLO and it seemed to stick. Apollo is the god of music, so with that in mind it seemed like a fitting name.”With Portnoy, Sherinian and Sheehan having previously toured together in the aforementioned lineup that came to be known as PSMS, playing instrumental versions of various songs drawn from each member’s history, SONS OF APOLLO was the next logical step. They kept that fire burning and stoked it higher by bringing in a different guitarist, adding a vocalist, and creating all original material. The nine songs comprising Psychotic Symphony incorporate the progressive style and individual technical prowess Portnoy and Sherinian shared together in Dream Theater, combined with the swagger and groove of Van Halen, Deep Purple and Led Zeppelin.“I have known Mike and Derek for a long time, so when they came to me with SONS OF APOLLO, I jumped on this straight away,” says Thomas Waber, Label Manager/A&R International of InsideOutMusic. “However, the album they ended up recording exceeded my already high expectations by a long mile! We couldn’t be happier about it!”SONS OF APOLLO will hit the road in 2018 for their first worldwide tour.“This is a real band,” Portnoy declares. “This is going to pick up for me and Billy where The Winery Dogs left off, in terms of this being the next logical full-time thing for us. I’m not saying The Winery Dogs have broken up, because we haven’t, we’re just on a break. SONS OF APOLLO is absolutely going to be a full-time band and we plan on touring all over the world throughout 2018 and, honestly, it is the priority for all five of us.”Sherinian agrees, “We will go on a worldwide crusade in 2018 to bring SONS OF APOLLO to as many people as possible. Apollo was the God of Music, and we are his mighty offspring!”SONS OF APOLLO ARE:Mike Portnoy – drums and vocalsDerek Sherinian – keyboardsBilly Sheehan – bassRon “Bumblefoot” Thal – guitar and vocalsJeff Scott Soto - vocals 
    $16.00
  • 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. 
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