2112 (CD/DVD)

SKU: B001747900-2
Label:
Mercury
Category:
Progressive Rock
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Long awaited 5.1 remix of the classic Rush album.  Here is what you get...

CD:

1. Remastered edition

2. 3 previously unreleased live tracks

DVD:

1. Video section has 5.1 and stereo remix in 24/48

2. Audio section has 5.1 and stereo mix in 24/96

3. Digital comic book, lyrics, liner notes and photo gallery

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    $18.00
  • Mindtech is a new Norwegian progressive metal band.  It's essentially a sister band to Tritonus, featuring Thor-Axel Ericksen (guitars) and Ole Devold (drums).  While Tritonus is old school prog metal, Mindtech is a bit more modern sounding.  Ericksen creates beds of staccato riffing and then unleashes blistering solos.  Vocalist Aslak Johnsen has a mid-range coarseness to his voice that fits this music very well.  Melodic but heavy - this is the good stuff.  Highly recommended. 
    $15.00
  • "'Hand. Cannot. Erase.' is the highly anticipated fourth studio album from Steven Wilson - four-time Grammy nominee and founder member of cult legends, Porcupine Tree.Hand. Cannot. Erase. follows the critical and commercial success of The Raven That Refused To Sing, released in February 2013, and a run of sold-out shows around the world including London's Royal Albert Hall. Steven will embark on an extensive 'An Evening With Steven Wilson' European tour in March & April 2015.Recorded at London's illustrious Air Studios, Hand. Cannot. Erase, reunited Steven with Guthrie Govan (guitar), Adam Holzman (keyboards), Nick Beggs (bass / stick), and Marco Minneman (drums), the spectacular band responsible for The Raven That Refused To Sing album and world tour.The album follows the critical and commercial success of 2013's 'The Raven That Refused To Sing' (Germany #3, UK# 28) and an international run of sold-out shows, including London's prestigious Royal Albert Hall.Joined by Guthrie Govan (guitar), Adam Holzman (keyboards), Nick Beggs (bass / stick), and Marco Minneman (drums) - all part of the world-class band that graced The Raven and the 2013/2014 world tours - Wilson recorded 'Hand. Cannot. Erase.' at the renowned Air Studios in London."
    $14.00
  • Shockingly good reunion album from 1978 that gave us the athemic title track which now has classic status."Deep Purple's definitive Mark II lineup reunited for 1984's Perfect Strangers. It is one of the better examples of a reunion album, although the band's uneasy camaraderie only lasted a few more years. "Knocking at Your Back Door" opens the album with a roar. Ian Gillan's lyrics don't make much sense, but Ritchie Blackmore's guitar riffs and Ian Paice's thunderous drumming carry this song as well as the rest of the album. The robotic rhythm of the title cut relies on Jon Lord's organ work. The 1999 remastered reissue features the bonus track "Son of Alerik." This fascinating, mid-tempo, ten-minute instrumental was the B-side of the "Perfect Strangers" 12" single in the U.K." - All Music Guide
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  • The Japanese jazz scene is finally getting the attention it deserves.  Long written off as just a scene filled with copycats of American and European artists, jazz fans around the world are now discovering that there was some amazing music being created there.  Some of the musicians like Terumasa Hino and Masabumi Kikuchi crossed over into the world jazz scene but for the most part many of the musicians there only gained popularity in Japan.  One of the most important Japanese jazz labels from the 70s was Three Blind Mice.  It was started in 1970 by producer Takeshi "Tee" Fuji.  The label adhered to strict audiophile standards and all of the releases on the label featured exemplary sonics.  The music of Three Blind Mice tended to fall into three facets of jazz (they would crossover from time to time).  Some of the artists play very traditional straight ahead jazz.  Frankly while this stuff appeals to audiophiles its not that appealing beyond the sonics.  There was also an experimental side to the label featuring a lot of free jazz blowing.  The third aspect, which to my ears is the most interesting, is the area where the label explored modal jazz, often with an electric element.  Very little of it would be hardly be called fusion, but a rock element would sometimes be present.  This falls into the realm that has been broadly tagged as "kosmigroov".The label only existed in the 70s and the rights to the catalog has now passed over to Sony Music.  Think Records in Japan has started a limited ediiton reissue campaign of the Three Blind Mice label.  They arrive in mini-LP sleeves and are manufactured using Sony's proprietary Blu-Spec process.  We are cherry picking titles we think should have your attention.  More will follow in the near future.I don't know what the back story is on this album but it has to be a funny one.  Easily by far the most out of place release to have come out on Three Blind Mice.  As far as I can tell its the only progressive rock album to have been released by the label.  The cover art would make you think of some weird Japanese pop band but it couldn't be further from that.  Jimmy, Yoko & Shin consists of Jimmy Shironaga (acoustic guitar, electric bass, and vocal), Yoko Sumiya (electric keyboards), and Shin Okabe (drums/percussion).  Apparently they won first prize in the Japanese Jazz Grand Prix.  Perhaps the prize was a record deal with TBM?The album consists of three tracks - one of which is only 3 minutes long.  Large parts of the album sound like outtakes from the first Emerson Lake & Palmer album with an injection of Canterbury.  Interspersed vocals are in Japanese and are based on 1000 year old Japanese literature (as if we would know the difference!).  The whole craziness is sewn together with the wonderful audiophile production that we expect from Three Blind Mice.  Highly recommended.
    $29.00
  •  Fascinating new post-rock from this Swedish band sporting at least one familiar name!WALRUS THE BAND: Renowned film music composer and piano player Matti Bye on Hammond & Farfisa Organs, Mellotron and Wurlitzer Piano. The Tiny and Gul 3 member Leo Svensson on Cello and Minimoog. Producer and composer Kristian Holmgren on Electric Bass and Fuzz Bass. Mattias Olsson of Änglagård on drums, with Henrik Olsson of Gul 3 and Harr joining him at their double drum kit, The Sprawl."Exciting new album from Sweden that mixes retro progressive with classic Krautrock sounds. Opening track 'Tromso III' gets the motorik running with a steady beat and analog keyboards layered on top. The real party begins with 'Signals', a haunting organ and violin led piece. Heavy bass and drums propel the track forward in an exciting way. Bleeping synthesizers are dropped on top to create a truly psychedelic atmosphere. But it's the 14 minute 'Spitsbergen' that really places Walrus in the big leagues. Starting out in Ohr music territory, with a decidedly funereal backdrop of organ, synthesizers, bass and plodding drums - the composition suddenly comes alive with an insane and massive fuzz bass attack followed by swirling organ and mellotron . If you don't fly off your couch and put a fist through the wall, then you are... ... legally dead. Very few bands ever capture a perfect moment like that. What a stunning song." - Tom Hayes/Under The Radar CDs
    $13.00
  • Quite simply one of the great achievements in the history of progressive metal - now available in a remixed, partially remixed expanded edition with bonus tracks.
    $12.00
  • Rare second album from this Bay area latin rock band led by Coke Escovedo.  This only had a limited run on CD in Japan and has been very collectible for years.  High energy latin rock that is essential for any fan of Santana, Malo, or Chango."Azteca was a large Latin rock band founded by percussionist Coke Escovedo (April 30, 1941 - July 13, 1986), formerly of Santana, in San Francisco in early 1972. Escovedo brought in his brother, singer/percussionist Pete Escovedo, and another percussionist Victor Pantoja; singers Errol Knowles, Wendy Haas, and Rico Reyes; horn players Bob Ferreira (saxophone), Tom Harrell (trumpet, flugelhorn), Mel Martin (saxophone, flute), and Jules Rowell (trombone); keyboardists George DiQuatro, George Maribus, and Flip Nunez; guitarist Jim Vincent; bass player Paul Jackson; and drummer Lenny White. (Guitarist Neal Schon, another former member of Santana, sat in on guitar, bringing the total lineup to 17 musicians.) The band signed to Columbia Records and released its self-titled debut album in December 1972; it spent nine weeks in the lower reaches of the charts starting in January 1973.Azteca recorded a second album, Pyramid of the Moon, for release in the fall of 1973. By the time it appeared, Bill Courtial had replaced Vincent on guitar; Pat O'Hara had replaced Rowell on trombone; and John Brinck had replaced White on drums. The album failed to reach the charts, and personnel changes continued, with Coke Escovedo leaving the group, after which Columbia canceled its recording contract. Azteca continued to perform around the San Francisco Bay Area until disbanding in 1976, with Pete Escovedo's teenage daughter Sheila Escovedo (later known as Sheila E.) replacing Pantoja toward the end." - Al Music Guide
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  • OK so lets say you don't want to shell out for the 14 disc box set.  This 2CD set is culled from those shows and presents you with a complete concert experience. 
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  • Once you start dig you never know what you will find.  Searching through the time capsule known as the Internet I stumbled across an album by Fred Taylor that was categorized as privately released fusion.  Fred Taylor is a drummer/percussionist based out of Seattle.  He self-released Court Of Circe in 1981.  While parts of the album definitely fit into the fusion realm quite a bit of it would be closer to modal jazz/kosmigroov.  The 14 minute two part title track shows off Taylor's skills as a drummer.  Other soloists on the album include keyboards, guitar and soprano sax.  Vinyl copies of this album are starting to skyrocket in price as more and more people find out about it.  Turns out that Taylor released this on CD back in 2004 and was more than happy to hook us up at a great price.  If your tastes run towards the jazzier side of fusion you should check this out."... Spokane drummer Fred Taylor... has produced a more interesting jazz record... Featuring a dozen local musicians, its production is crisp and full. Taylor. obviously an organizer, has managed to get these dozen locals to play his sensible, stretched-out arrangements very well. "Flutterby's Waltz" skips in and out of tempo and features Taylor's sensitive cymbal technique, an appropriately meandering soprano sax solo by Craig Lawrence, and a Hammond organ solo, an unusual touch." - Seattle Weekly 
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  • "Some albums are immediate while others take a little longer to work their way into your subconscious. Blues rockers Kamchatka fell into the later category as, on first listen, I enjoyed ‘Long Road Made Of Gold’ but it was in a pile of stuff (If you can have such a thing as a digital pile) that was competing for my attention.  I’ve learnt over the years that the immediate album can burn out and fade away very quickly while the slow grower can stay with you for many years. This may well turn out to be the case as I find myself returning to the album on a regular basis, hence this belated review.‘Long Road Made Of Gold’’ is the sixth full length album from Kamchatka in a career that dates back over a decade. The Swedish power trio comprises Thomas ‘Juneor’ Andersson (guitar / vocals), Tobias Strandvik (drums) and bassist (Per Wilberg). Wilberg is best known for his time playing keyboards for  Metal act Opeth alongside stints in Spiritual Beggars and Candlemass which is pretty amazing as his bass work here is superb and very much an integral part of the Kamchatka sound. A rock trio will always require the rhythm section to stretch out and fill the sound when the guitarist takes a solo, if not; the result is empty dead air. Sonically the band draws on a range of influences with obvious power trio comparisons to Cream and The Jimi Hendrix Experience but mould this with a range of progressive and stoner influences. This range of influences found the band touring with highly respected blues / stoner act Clutch in Europe and the USA.Opener ‘Take Me Back Home’ throws the listener for an immediate loop with a banjo intro that leads into a heavy, intricate progressive blues workout blessed with a solid bottom end that brings to mind prime early Kings X. The complex ‘Made Of Gold’ is another winner with inventive musical dexterity as the song shifts 360 degrees for the solo section. The importance of the rhythm section I mentioned earlier is highlighted on ‘Rain’ where Wilberg steps up to double Andersson as the guitarist takes an extended solo. The quality of the musicianship might be lost without the clear warm production which was mixed and mastered by Russ Russell better known for extreme metal acts such as Napalm Death.The band seem equally happy with the infectiously catchy, both lyrically and musically, ‘Get Your Game On’ which was chosen as the first single from the album with its driving rhythm and short but sweet solo from Andersson. ‘Long Road’ shows yet another side of the band as Andersson adds slide guitar to the mix over rock solid, tribal drums from Strandvik with more than a little amusement to be had with the use of percussion.Kamchatka strove to make a record that owed much to their musical influences but was relevant in 2015 and with ‘Long Road Made Of Gold’ they have succeeded." - Red Guitar Music
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  • “Crazy French phenomenon Christophe Godin applies his nothing short of bonkers rock guitar abilities to this ferocious yet tongue-in-cheek display of post-Vai/Zappa composition and musicianship. Jazzy it ain’t, but full of immense playing technique and cool tones it most definitely is. Be afraid.” – Guitarist Magazine Brutal Romance is the fifth release from this intense French instrumental trio. Through extensive gigging in the US, this Morglbl has developed an ever expanding fanbase addicted to their crazy blend of jazz and metal. The band consists of Christophe Godin (guitars), Ivan Rougny (bass), and Aurelian Ouzoulias. All three members of the band are known around the world not just from Morglbl but as clinicians as well. Morglbl injects a dose of tongue in cheek humor into jazz rock laced with crushing power chords. They have a strong cross over appeal between fans of progressive rock, fusion, and metal. Morglbl has performed at festivals alongside Liquid Tension Experiment and Umphrey’s McGee. They have most recently toured the US as co-headliners with Sweden’s Freak Kitchen. Fans of shred and fusion Gods like Allan Holdsworth, Steve Vai or Freak Kitchen’s Mattias Eklundh will find this essential.
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  • The third album from Haken once again demonstrates why they are at the forefront of the progressive metal scene.  The first two albums Aquarius and Visions are quite different.  Aquarius is a much quirkier album - lots of twists and turns that kept you off balance through out.  It had more of a prog rock feel and some real oddball approaches that resulted in some reviewers referring to it as circus meteal.  Visions was quite different.  It was much more linear and clearly defined in terms of content.  It was a prog metal album and wonderful one at that.The Mountain is the first release for the band's new home at Inside Out.  The direction of the band takes a bit of a u-turn.  The music falls somewhere in between the first two.  There is a quirky, prog rock vibe but you get the heaviness and complexity of prog metal.  One particular track I keep going back to is "Cockroach King" which essentially pays homage to Gentle Giant's counterpoint vocals.  Regardless of which direction you preferred, The Mountain has enough diversity to go please everyone.If you want to keep track of where progressive metal is headed then climb the mountain - this is where its at.  Highly recommended.US jewel box edition with the same two bonus tracks included on the import digipak.
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  • "In what seemed like an eternity since the details on the second Darkology album surfaced in December 2013, the running joke was that the second album should be renamed “Fated to Never Be Released.” “Official leaks” of demo tracks surfaced ahead of a European tour “in support of the album” (and without Carptenter who had other commitments). The demos only served to deepen fan desire for the release, as they revealed vocalist Kelly Sundown Carpenter (ex-Firewind live, Adagio) absolutely KILLING IT with a sharpened buzz saw edge that makes Ripper Owens look like an absolute chump. Flash forward to 2015 and finally a release date through Prime Eon and/or Nightmare (depending on where you live) would happen in late Spring. Was it all worth the wait, agony and hype? You betcha it was.The album is a steamroller from start to finish – with some parts here and there that tend to drift slightly (the title track for one) – but it never disappoints. As evidenced in the demos, Carpenter proves why he should be a vocalist in demand as he drives home the heaviness with his ultra-sharp brilliant delivery. Unlike most singers who like to live in the rafters, Kelly pulls it off with zero annoyance. His shredding high end is absolutely essential given the musical assault of riffs (from the great Michael Harris of Thought Chamber) and pounding rhythms (from bassist Michael Neal and drummer Brian Harris) that back it up. Though not similar in style per se as total impact, “Fated to Burn” gives me the same feel as the first time I heard Winter’s Bane’s “Heart of a Killer” and Sanctuary’s “Refuge Denied,” where the first blush with both the young Ripper Owens and Warrell Dane were absolutely life changing. If you add a little dose of “Breaker” era Accept and a tiny drop of Symphony X you have just the tip of just how brilliant “Fated to Burn” truly is.The Harris brothers have struck upon an exciting formula of U.S. power and traditional with just a touch of progressive. In terms of comparison with 2009’s “Altered Reflections,” this album packs five times the punch and power, sure to please fans that prefer metal heavy, guitar driven, and with shredding vocals. The album is a flurry of amazing grinding riffs with Kelly’s lethal vox that make tracks like “Shadows of Oth,” “Quantum Genocide,” “Kill Me If You Can,” “21st Century Frankenstein (Nobot 2)” and personal favorite “Festival of Fear” sound, and in many ways exceed, “Painkiller.” In fact, Darkology is a Metal Church for a new generation – and “Fated to Burn” leaves such an indelible vibe of “The Dark” that I swear the spirit of circa-1986 David Wayne seems to have implanted itself inside of Kelly.In one of the most exciting and pure metal releases in well over a decade, “Fated to Burn” is well worth the wait. Darkology stakes its claim in a busy circuit and with one flap of burning wings created an album that can easily be labeled an instant classic, thus raising its stock as one of the best U.S. bands out there today. This isn’t a mere claim only to be dashed away by a short time – this is the real deal! If you call yourself a fan of metal than heed these words….”Fated to Burn” lives up to and exceeds any hype you may have for it. If you haven’t familiarized yourself with the band, then you picked the right time, because the album isn’t “fated to burnout” anytime soon. Darkology has arrived.Highs: One of the best pure metal albums in a decade, Kelly Sundown Carpenter shines.Lows: Some songs drift a little, but not by much.Bottom line: Darkology strikes back with an album that is "Fated to Burn" into the memory for a long long time." - Metal Underground
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