2112 (SUPER DELUXE CD/BLU-RAY)

SKU: B00174774700-2
Label:
Mercury
Category:
Progressive Rock
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Long awaited 5.1 remix of the classic Rush album in a limited  "super deluxe" edition comes housed in a hardbound book.  Here is what you get...

CD:

1. Remastered edition

2. 3 previously unreleased live tracks

BLU-RAY:

1 5.1 remix in 24/96 PCM and DTS-HD

2. Stereo mix in 24/96 PCM

EXTRAS:

40 page comic book by story artist Tom Hodges (Star Wars "The Clone Wars," The Simpson's "Treehouse of Horrors #17") and a 24 page book with expanded artwork, liner notes, lyrics and unreleased photos. New liner notes written by David Fricke, Rolling Stone.

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  • "Peter Frohmader is bound to his "Nekropolis" visions, by being both the ultimate artist, even when rich names and artists help around with composition ideas and groans or settle or diverse the mood of those vision, and the first in line to be absorbed by "Nekropolis"'s brand of imagination, impulse and histrionic character, launching and spiraling around the project for a lot of his rich and contentious desire and impact of music. The sense of "Nekropolis", coming from the physical choice and adventure of the bare project, helped him and disguised him as the artist very marked by avant-garde and experimental music, doing also a bit of jazz and hard rock, plus taking the progressive steps of complex music movingly literal - but, essentially, once he settled in electronic "mashterings" (the 80s's sunrise, most lately), it gives him the mask of a soundoholic artist, with lots of hard and hypnotic, technical and disturbed spirit in the genre. It is even an alluded thought that, among some clear and unmovable essential albums, the Nekropolis projects reflects a dynamic, endless and astounding part of Frohmader's artistic concentration and abscond psych-vision, throughout full sessions that may, at most, seem too undifferentiated (and without a complaisant feeling in them), nevertheless obtain a powerful music in a dark lock of genuine or dissimilar orientation.Nekropolis 2 is the first-rated and best to recommended from the early Nekropolis project and emphasis, one that included a first volume in 1981, plus four mini-sessions Frohmader made even before his classic debut. If the size of the Nekropolis project ambition becomes needless to describe, each album, and Nekropolis 2 most precisely, has an independent layer and focus - even if the tendency is to called Frohmader the dark sage or the sound-rash visceral artist in most of everything that makes sense in his music.The part extravagant part aleatory indite of Nekropolis 2 makes it an album of "soundtracks" and sound-forms, produced under a collaboration and a visual-motivation with H.R. Giger, who paintings celebrate (or must celebrate) the same dark affinity and rhetorical art as Frohmader's engines of electronic and improvised music. Similar to the whole idea of electronic nekro-vision and codification, we can relate how the grave artist Lustmord will combine the visual with the soundscape, the brutal flesh of a particular idea with the difficult sound of that idea's interpreted essence. Robert Rich and other ambientists try something in this particular movement too, but not so amazingly. As music, what I can't link is the classic scorches of artists like Kluster or Amon Duul, because it is simply of a different quality and a new homegrown effort. At least not by Nekropolis 2's chaotic and phantasmal installment.Nine pieces are squeezed in two sides of an LP (I don't know for sure how limited has this album become, but a second year of release, 2001, made a benefical treat), all nine treating, psychologically and exasperatingly, sound experiments, screeches of impulses and blind movements, independent tastes and difficult to compel umbers and embers of electronic poly-morphic expressions. This album becomes strong, even terrifying, to much of the valorous impressions, even considering those that experience the clash of kraut rock and noise amphitheatric constructions. The style oscillates madly between electronic, dark ambient, rock and even goth-impelled music personality, since a lot of instrument power is used, Frohmader adopting a multi-instrumental implosion: from Rhodes to guitars, from waves to machinist impulses, from vibrations to an actually absent but credited vocal-infliction. It's a sort of humongous contracting and contrasting work-load, creating the 'simple' arrangements of experimental and avant-demonic electronic moves.You can hardly associate the drastic music with anything but Frohmader's own neoplastic explosion of atonality and micro-experimentalism, under the heavy preach of electronic use and abuse. A few moments try some rhythm or some dubbed ambiance, but such thoughts are quickly forgotten, and the style returns to the blend of musical dark forces and electronic technical virtues. The best sounds are obtained not by finding the simplest experimental mix, but by actually building up a sinister monolith of musical flux and interference. The dark and impossible shrieks become a side of evil art Frohmader mostly resumes as electronic stability. Beyond the sugestive names (Hardcorps,Neutronen Symphonie), there is a continuous avalanche of rough and systematically incinerating sound systems, forcing the deepest mind to gasp an exclamation - or to collapse under the pressure.Nekropolis 2 is not one of the most essential and perfect Frohmader compositions, but it tends to dangerously play with the biggest details of his grandest styles, in a way that it actually is simply one project of dark-experimental electronic impeach from many others. Tonic and technically valorous, this, much like anything by the artist, goes for those lovers of unconventional and harsh art. It is, however,a good example of the electronic 80s not being flask, but having their own kind of absurdity and gloat-impressionable art." - ProgArchives
    $12.00
  • Its been quite some time since we've heard from Guy LeBlance and Nathan Mahl.  He's been busy touring with Camel and now having to deal with some serious health related issues.Justify finds Nathan Mahl with a reconstituted lineup.  Guy displays his prodigious keyboard abilities once again but this time he's also playing drums.  The new lineup features a twin guitar attack and bass.  For a keyboard player he sure as hell gives a lot of room for the two guitarists to stretch out and shred.  The album is split about 50/50 between instrumental and vocal oriented tracks.  You can tell his time in Camel has rubbed off on him - just check out the albums finale "Infinite Light".  It features a guest appearance on guitar and keys from none other than Andy Latimer!  Highly recommended.
    $15.00
  • This may well be the best DVD you ever buy in your lifetime.  Long circulating as a bootleg, A Token Of His Extreme finally sees the light of day as an official release.  It was originally a TV special put together by Frank Zappa and only aired one time on KCET on August 27, 1974.  Pieces of it were included in the Dub Room Special DVD but this is the first time its made available intact.The lineup is amazing:Frank Zappa (lead guitar, percussion, vocals)Napoleon Murphy Brock (tenor sax, flute, vocals)George Duke (keyboards, zil, tambourine, vocals)Tom Fowler(bass)Chester Thompson (drums)Ruth Underwood (percussion)The performance is amazing:1. The Dog Breath Variations/Uncle Meat2. Montana3. Florentine Pogen4. Stink-Foot5. Pygmy Twylyte6. Room Service7. Inca Roads8. Oh No9. Son Of Orange County10. More Trouble Every Day11. A Token of My Extreme Bruck Bickford's Claymation movie inserts are beyond amazing and will melt your synapses.  75 minutes of absolute brilliance.  BUY OR DIE! 
    $12.00
  • This is the over the top version for the diehard fan. You get the 2 DVDs plus the 2CD audio soundtrack of the Amsterdam gig. It comes with a 52 page booklet and each individual disc has its own slipcase. Yeah...this is the one I'm keeping for myself. This 2 DVD set from Pain Of Salvation is a long time coming and a real mind blower. The first disc is a documentary filmed during the band's 2005 world tour. Disc two is a concert performance filmed in Amsterdam at the Paradiso on March 2, 2007. Expect Daniel's usual outrageous theatrics but that doesn't blur the fact that the set list draws from all of the band's catalog with an emphasis on Scarsick (the album they were touring in support of). Totally over the top as we have all come to expect from this unique band. Highest recommendation.
    $34.00
  • "The second installment of our 20th Anniversary celebration, "Off the Floor 02" continues with more live-in-the-studio performances of staples from our live sets. Taken from the same sessions as "Off the Floor (01)," the track list draws from each of our five studio albums and includes a healthy dose of improvisation, a bit of re-imagining and even a little new music in the form of a bass & drums interlude.We won't repeat the "Brief History of Tiles" from the OtF (01) liner notes, but will take a moment to revisit the basic 'off the floor' concept. After much discussion about our "platinum" milestone (unfortunely not for sales!), we decided to do a live album using the somewhat non-traditional approach of recording live in the studio. This is actually what the phrase 'off the floor' means in recording lingo: to record a song as a complete performance without adding more parts (overdubs) later. We recruited a few friends to be our audience – for inspiration and to keep us on our toes.Having the controlled environment of a private 'soundstage' allowed us to focus on the music. We didn't have to haul a bunch of equipment into a club and deal with recording technicalities, show promotion and other business distractions. Although we were in a studio, "OtF 02" is still "live" – complete with the occasional less-than-perfect note and other minor imperfection. We did, however, take advantage of the relaxed setting and usually played each song twice, picking the best version for the CD. Occasionally we didn't need a second take, but a couple of times we needed a third take ("Patterns" oddly enough!).To offer a little something different, "OtF (01)" had a couple special guests plus an expanded arrangement of 'The Wading Pool.' For "Off the Floor 02" we dug into our archives and dusted off a few tunes from our appearance at the 2005 Rites of Spring Festival (ROSfest). We had recorded our entire 2-hour set, but filed the hard drive away with little thought it would see the light of day. Technical problems had dogged us the moment we hit the stage and left us feeling unsatisfied with our performance. Sampler and keyboard sounds would mysteriously reset and the bass amp would cut in and out. Figuring out why these intermittant problems were happening was made even more challenging by Jeff's state of exhaustion; even though it was a good kind of exhaustion caused by the birth of his daughter just four days before the show. Since the problems were on his side of the stage he had to play detective and keep up with the songs! Eventually, the issue was discovered and duct tape strategically applied to a loose electrical wall outlet – which worked just fine unless someone happened to use the side-stage walkway.Although tempted by the 12-minute "venting" version of "Capture the Flag," we didn't want to repeat any songs already included on either Off the Floor disc. Fortunately, "Facing Failure," "Ballad of the Sacred Cows," "Paintings" and "Window Dressing" were in all-around good shape. We only needed to drop in a couple missing samples and a keyboard part. By including selections from ROSfest as part of the Off the Floor project we get to acknowledge Pat Deleon, our drummer from 1997 to 2005, and present a complete live history of Tiles." - Chris Herin/TilesDisc One: Off the Floor 021. Patterns (4.38)2. Hide & Seek (8.09)3. Taking Control (5.14)4. Remember To Forget (5.00)5. Analysis Paralysis (5.18)6. Cactus Valley (7.01)7. Sacred & Mundane (6.30)8. Dancing Dogs (5.45)9. Safe Procedures (7.31)10. Another's Hand (6.26)Mark Evans: Drums & PercussionChris Herin: Electric Guitar, Keyboards, Backing VocalsPaul Rarick: Lead VocalsJeff Whittle: Bass Guitar, Keyboards, Backing VocalsDisc Two: Live at the 2005 Rites of Spring Festival1. Intro/Facing Failure (6.48)2. Ballad Of The Sacred Cows (7.24)3. Paintings (5.04)4. Window Dressing (17.03)Paul Rarick: Lead VocalsChris Herin: Electric & Acoustic Guitar, Keyboards, Backing VocalsJeff Whittle: Bass Guitar, Keyboards, Backing VocalsPat DeLeon: Drums, PercussionBonus Videos (from the Off the Floor sessions):1. Landscrape (4.27)2. Remember To Forget (5.00)
    $15.00
  • Steven Wilson's second solo album features a variety of interesting prog luminaries including Steve Hackett, Robert Fripp, Tony Levin, Trey Gunn, Theo Travis, and Jordan Rudess. Proggier than his first solo album and frankly recent Porcupine Tree. Lots of Mellotron bliss on this one. Exemplary production wraps up the total package.
    $16.00
  • "The 'Motor' of this concert was built from the core of the 'Mild Maniac Orchestra' with Volker Kriegel on guitar and Thomas Bettermann on keyboards. Completing the line-up are three extraordinary musicians: The Eberhard Weber on bass, Wolfgang Schlueter on vibraphone and Ralf Huebner on drums. Calm, pending sounds, sequences like movie soundtracks, artful swapping, virtuoso ending in swinging solos and finally far settling into melancholic prevailing moods with subliminal, quiet pleasure, which made everything Volker Kriegel did so distinctive."
    $17.00
  • "A new interpretation of a classic RPI title! This is quite an undertaking, but it comes off in an outstanding way, giving new life to old friends. In contrast to so many reworkings of old pieces that I've heard in recent years, this one does not leave me only wishing to listen to the original. Rather, the new work stands well on its own, not only helping me listen to the original with new ears, but also bringing new insights and experience.In 1972, Latte e Miele released their debut, an incredibly ambitious work based on the Passion of St. Matthew, "Passio Secundum Mattheum." This is one of the seminal titles of 1970s RPI and has rightfully stood the test of time. The band would never equal this album, although the subsequent title, "Papillon", came close. After that the band broke up for a time, until drummer Alfio Vitanza reformed the band, with new members including bassist Massimo Gori. Their only album, "Aquile e Scoiattoli", has its moments but is inferior to the first two, and the band disbanded a few years later after moving toward more commercial music.In 2008 the band reformed, including all three original members (Vitanza and songwriter/keyboardist Oliviero Lacagnina, as well as guitarist Marcello Giancarlo Dellacasa) and Massimo Gori, bassist from the second generation of the band. The quartet released "Live Tasting", an excellent live album that portended of the good to come. Their time together also produced a wonderful new album, "Marco Polo: Sogni e Viaggi" in 2009.Over the years, Lacagnina never stopped composing his masterpiece, his "Passio". Now the quartet has recorded anew their masterpiece, adding those "new" compositions into the narrative. For example, "Il Pane e il Sangue dell'Alleanza" has been inserted right after "Ultima Cena", and "Il Rinnegamento di Pietro" and "Il Prezzo del Sangue" between "Il Pianto" and "Giuda". Also, the ending has been fleshed out significantly, with four new songs, and the final song, "Come un Ruscello che..." includes the final themes previously entitled "Il Dono della Vita". Also of note, a solo organ piece entitled "Toccata per organo" is placed just before "Calvario"--this is special, as it is an original take from 1972!The instrumentation is true to the spirit of the 1972 piece, although with an updated sound. Ditto the choir, which sometimes on the 1972 version is muted and thin--here the choir parts are strong, lush, and vibrant. The majority of the pieces that were rerecorded for this edition also maintain their compositional structure, although there are a few changes inserted (notably in "I Falsi Testimoni", the new version of "I Testimoni" parts 1 and 2). There is nothing that violates that spirit of the original work, though it is impossible to duplicate its wonderful innocence.Another unique feature of this album is the presence of several prominent figures from RPI providing the spoken Evangelist parts. These include Alvaro Fella (Jumbo), Lino Vairetti (Osanna), Silvana Aliotta (Circus 2000), Paolo Carelli (Pholas Dactylus), Aldo de Scalzi (Picchio dal Pozzo), Sophya Baccini, Elisa Montaldo (Il Tempio delle Clessidre), Giorgio D'Adamo (New Trolls), Max Manfredi, Simonluca, and Paolo Griguolo (Picchio dal Pazzo). It's a nice touch that really rounds out the album.The CD comes in a jewel case with a lyric booklet. I'm told that the pending Japanese version will contain a newly recorded composition as a bonus track. But don't wait for that one--go out and grab this one. You won't be disappointed. Four plus stars (Gnosis 13/15).Edit: I can't stop listening to this! Though it's not quite as good as the original, it's very close. I'm bumping it up to Gnosis 14/15, which is five stars on PA." - ProgArchives
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  • Fourth album from this outstanding jazz metal band from Hungary getting outside exposure with their signing to IQ's Giant Electric Pea label.  Special Providence started out their career as a pure fusion band - not unlike Tribal Tech and Return To Forever.  With their third album, Soul Alert, the band injected a heavier metal presence primarily in the guitarwork.  Essence Of Change carries on from Soul Alert in terms of heaviness and the use of distortion but at the same time there is clearly more of a jazz/fusion emphasis in the writing.  This gives us a nicely balanced sound that has a lot of cross over appeal.  Liquid Tension Experiment and Morglbl fans will love this and I expect open minded fans of RTF and Mahavishnu will enjoy hearing the young kats update the sound they developed in the 70s.  Expect a non-stop assault of laser beam synth solos and blistering distortion laced guitar solos.  Yeah this one hits the sweet spot and after many future spins I suspect this will sit at the top of their already impressive discography.  BUY OR DIE!!
    $15.00
  • "This story began in 1973 when Museo Rosenbach recorded their magnificent debut album Zarathustra that still is one of the boldest and most beautiful work in Classic Italian Prog and in contemporary music in general. And now nearly forty years later this new Italian band Il Tempio delle Clessidre (name taken from one song on the Zarathustra suite) performs the Zarathustra album in its entirety and most importantly and luckily, they perform it with respect to the original feel with original (obviously true analog sound I guess) and don´t try to change it to today´s "standards" in any way, with exception of some jamming that features nice Moog soloing from the great Elisa Montaldo on Superuomo. She´s also a great vocalist and is another lead voice on the Zarathustra, with Stefano "Lupo" Califi the original voice in Museo Rosenbach. And yet the sound is their very own, it´s just a bit different in colour. Actually their performance of Zarathustra is so mature in everything that I couldn´t have had believed to expect. If an inexperienced listener doesn´t know Museo Rosenbach ever existed he/she would be completely fooled by Elisa & boys as playing their very own music, they are that good. Bravo ! What a nice surprise. The band gives the very best and Zarathustra revisited is a superb performance and does honor and does justice to legendary band Museo Rosenbach.Il Tempio delle Clessidre is an incredible debut album and for me is like a continuation to the Zarathustra epic, in a way. It represents the softer, female side of the subject, of course thanks to Elisa´s compositions and performance. Don´t get me wrong, it is far from mellow or dull passages. On the contrary, it contains some very heavy moments, like all great music does. The music of both Rosenbach and Clessidre have the power, grandeur and, most importantly emotion as the best Italian (prog) music always is so very special of. Clessidre is a bold evidence that RPI is very alive and kicking, so to speak. Because music is foremost and most importantly emotion, in the positive sense and that´s the essence of all .Oh yes, the second part of the show features they own songs from the superb eponymous first album. Elisa Montaldo is the main composer and I just can´t stop admiring her enthusiasm for classic Italian prog that is so clear in her compositions. She is the most important female instrumentalist and writer in Prog of today. There are many good prog bands in modern Italian scene but Clessidre is very hard to surpass, both musically and as a performing unit. They are unique in modern Italian rock and in Prog Rock in general, they create a universe of their very own. There are not so many bands lead by a woman, particularly in Prog and especially in Italian scene, aren´t there. With the vocalist of Museo Rosenbach, Stefano "Lupo" Califi and the lovely lady Elisa this is a magical line-up.Needles to say there´s no single dull moment. This is a fine document of a very special band in modern prog, namely the "Lupo" Califi era Clessidre. Alongside the Italian Prog Exhibition (4 DVD set from 2010) this the very best DVD release in modern prog rock music so far, obviously a very hard job for any band to make better, particularly musically. Il Tempio delle Clessidre nicely represents the New Generation of Italian Prog and reigns supreme.Another nice surprise, their very first live show, in Genova they hometown in 2009 with very good sound & picture quality is in the second disc.Italian is the perfect language for symphonic progressive music, it just suits beautifully. And it´s so great to see the veteran proghead enjoying performing with his young companions who respect and prefer the origins of progressive rock, the symphonic way. They seem to understand that it´s only the music who is the true protagonist. This is a perfect union of the old & the new. This is triumphant for new Italian Prog and music itself. This all is so wonderful and extraordinary beautiful. Thank you so much, Elisa & boys." - ProgArchives
    $26.00
  • 2 on 1 budget set combines the band's first and third albums.  All of their output was quality flute led Rock Progressivo Italiano but the third one for whatever reason was even a notch higher.
    $11.00
  • "Retribution” is the new album from Sweden’s Nightingale, the intended one-off project that refuses to die. Established by musical multi-talent Dan Swanö almost 20 years ago, the band is proof that good music can take on a life of its own, often when the artist least expects it.Known for his work both as a producer/engineer and with metal acts Edge Of Sanity, Bloodbath, Pan-Thy-Monium and most recently Witherscape, Swanö began his unplanned Nightingale journey in 1995 with “The Breathing Shadow”. It was a one-off goth-flavoured solo album heavily reminiscent of The Sisters Of Mercy, meant to satisfy his interest in the genre and then be put quietly to bed as Swanö moved on to other projects. The album was successful enough to warrant a follow-up according to his label at the time (Black Mark), but Swanö was, as he puts it "so over the goth thing.""I thought that if I was going to make a second record it had to reflect what I was listening to at the moment. I was going through a big revival of Gamma, Foreigner, Journey and all that super melodic AOR pomp rock stuff. It was a weird turn from the first record, so I decided to make Nightingale a home for music that I write in the moment, no matter what it is."Nightingale released five more albums between '96 and '07, slowly establishing a band line-up that began with Swanö's guitarist/keyboardist brother Dag in 1996 acting as a co-producer and session player on “The Closing Chronicles”. He officially came aboard in 1998 under his Tom Nouga moniker. The band was fleshed out by bassist Erik Oskarsson and drummer Tom Björn, who had their first rehearsal with the Swanö brothers on Christmas Day 2000. “White Darkness” from 2007 could well have been the last Nightingale album, as it featured very little songwriting input from Swanö due to severe writer's block. He decided to focus on his career as an engineer and chose to make music as a hobby. His creative side won eventually, however, as the urge to write and play again became irresistible."I bought a few instruments that would inspire me, and eventually the riffs started piling up," Swanö recalls. "I was collecting them for some kind of death metal release, and the other stuff that came out ended up being what could be used for a future Nightingale record."Originally titled “Bravado” in the working stages, “Retribution” offers up 10 songs steeped in uncomplicated '70s and early '80s-flavoured rock. Tracks such as 'Chasing The Storm Away', 'Forevermore' and 'The Maze' could have easily found a home on commercial rock radio 30 years ago, yet the album is completely relevant in 2014. Fans of Swanö's heavier works that are unfamiliar with Nightingale may be surprised the simplicity of the music and the band's non-aggressive approach."It's not easy to write simple stuff that's good," Swanö points out, suggesting people take a good long listen to “Retribution” rather than dismissing it.In Swanö's estimation “Retribution” succeeds because the songs "just kind of happened." He never set out to write any specific parts; the music is in fact a result of spontaneous moments, whether it was an accidental combination of notes on a keyboard that became an opening riff ('On Stolen Wings') or an odd guitar tuning ('Warriors Of The Dawn'). On top of that, the songs were hashed out in the rehearsal room before the band went into the studio, resulting in major changes to some of the music as it developed."When I listen to the record I don't want to have any regrets," explains Swanö. "There's no point in releasing a new Nightingale record if I don't think it's the best we ever did. That a pretty high standard to have, but if I don't feel that way when I listen to it the moment it's ready, it's got nothing to do with our back catalogue. That's the way I've felt with every record."Asked to sum up what “Retribution” means to him with regards to Nightingale's legacy, Swanö offers the following: "Classic rock with that pomp attitude really inspired me. I just wanted a good production that could hold up well against a band like Alter Bridge but still have a bit of the sonic charisma of the records from '79, which was a great year for music. The target was to make a timeless record with good, classy songs that the four of us can agree are really cool."Nightingale’s “Retribution” comes packaged in beautiful artwork courtesy of Travis Smith (Opeth, Nevermore, Katatonia, etc.) and should equally appeal to open-minded atmospheric metal and also to melodic prog rock supporters into bands like Rush, Marillion, Styx, Kansas, The Mission, Queensryche, Enchant, Threshold, Arena oreven Opeth and Katatonia."
    $13.00
  • Let me preface my observations of the CTTE remix by saying that I don’t put these classic albums on a pedestal.  If they can be sonically improved while remaining faithful to the original mix and maintaining musicality and the emotional content then I’m all for it.  In general I liked what Steven Wilson did with the King Crimson catalog.  I was particularly impressed by his reconstruction and resurrection of Lizard.  When I heard he was tackling the Yes catalog I was hopeful because if there was ever a band that could use some sonic wizardry its Yes.  Eddy Offord was never able to bring the magic to their mixes that he was able to give to ELP.So how did Steven Wilson do with CTTE?  I can only use one word to describe the new mix: “transformative”.  CTTE was an album cobbled together from various bits and pieces.  Its widely acknowledged to be the band’s best album (its certainly my opinion) but in terms of sonics it fell victim to the “too many cooks” syndrome.  The original mix was a bit of a mess.  Its all changed now.The one thing that is immediately apparent is the foundation provided by Chris Squire’s bass.  It reaches the pits of hell and if Mr. Wilson is going to take this approach with TFTO and Relayer he’s got my vote.  In general there is a veil of schmutz that has been wiped away.  All the instruments have more clarity and focus in the soundstage.  “I Get Up I Get Down” was chilling.  I found the soundstage consistently extended beyond the boundaries of my speakers.  The mix is warm, involving and there is a balance among the instruments that I found lacking in the original mix - primarily because of Squire’s bass being given a shot of adrenaline.  Jaw dropping stuff.  The bonus track of “America” had exceptional, dare I say audiophile sound.So the obvious question is - what sounds better - this mix or the SACD?  I dunno.  I can’t find my bloody SACD to compare…but here is my memory of the SACD.  When I got it I played it through.  It didn’t overwhelm me or disappoint me.  My thought was “its fine...it is what it is - this is the best it will ever sound in the digital domain”.  I was wrong.  BUY OR DIE!  FORMAT: 1 x CD/1 x Blu-RayCD:1  Close to the Edge2  And You And I3  Siberian KhatruBonus Tracks:4  America5  Close to the EdgeBlu-Ray:Presented in DTS-HD Master Audio– Album mixed in 5.1 Surround– New Album mix– Original Album  mix (flat transfer)– New Album mix (instrumental version)– America original, new & instrumental stereo mixes & 5.1 Surround + further audio extras some exclusive to Blu-Ray edition• Close to the Edge is the first in a series of remixed & expanded Yes Classics• The classic album has been mixed for 5.1 Surround Sound from the original studio masters by Steven Wilson (Porcupine Tree) & is fully approved by Yes.• CD features a completely new stereo album mix by Steven Wilson• CD also features a new mix of America• CD also features an early mix/assembly of Close to the Edge• Blu-Ray features 5.1 DTS-HD Master Audio Surround (24bit/96khz) mixed from the original multi-channel recordings.• Blu-Ray features the new stereo album mix in DTS-HD Master Audio (24bit/96khz).• Blu-Ray also features the original album mix & America in a DTS-HD Master Audio flat transfers from the original master tape source. (24bit/192khz)• Blu-Ray exclusively features instrumental versions of all new mixes in DTS-HD Master Audio stereo (24bit/96khz).• Blu-Ray also exclusively features a needle-drop of an original UK vinyl A1/B1 pressing transferred in 24bit/96khz audio.• Numerous audio extras appear in high-resolution stereo including single edits & studio run throughs of album tracks• Original artwork by Roger Dean who has also overseen the artwork for this new edition• Presented as a mini vinyl replica gatefold card sleeve with booklet containing new sleeve notes, rare photos & archive material.“Close to the Edge” is the first in a series of expanded Yes editions including 5.1 Surround mixes, new stereo mixes & High-Resolution stereo mixes of the original music along with a wealth of extra material. Acclaimed musician/producer Steven Wilson has produced the new mixes with the approval of the band, while Roger Dean reprises his role as art director/designer of the newly issued edition, making this the definitive edition of the album.When Yes entered the studio with Eddie Offord to record the band’s fifth studio album in mid-1972, their second with this line-up, the band was on something of a roll. “Fragile”, the band’s previous album, had taken Yes to a new level of international popularity with Top Ten chart placement on both sides of the Atlantic & yielding a hit single in the USA with ‘Roundabout’. The band was now established in the major music markets to an extent that was, perhaps, unexpected given the complexity of the music Yes performed. But with that popularity came a confidence that the expansive material of the two previous albums could be taken a stage further with the new recording. Rather than consolidating, Yes chose to innovate.Recorded during lengthy sessions at London’s Advision Studios, “Close to the Edge” is that rarity in recorded music, the sound of a band & its individual members writing, playing and recording at the peak of their collective abilities. The album was issued in Autumn 1972 reaching chart highs & platinum sales status of  4 in the UK, 3 in the USA & 1 in Holland, though such statistics only hint at the worldwide popularity of the album over a period of more than four decades. The three pieces of music, the title track which spanned the entire first side of the vinyl album with ‘And You And I’ & ‘Siberian Khatru’ on side two, have remained concert favourites since release, with the 2013 Yes line-up currently in the middle of a world tour stretching into the middle of next year that sees the album performed in its entirety.The album remains the favourite among many of the band’s legion of fans, a defining recording both for the band & for the progressive rock movement. It is also one of the most successful British rock albums ever released.Since this release of “Close to the Edge” was confirmed, the various websites dedicated to Yes, Progressive rock & high-resolution audio have been very active with discussions among fans keen to hear the new mixes & the existing material in its purest audio presentation. 
    $21.00
  • Debut release from this Danish offshoot of Oresund Space Collective.  Pure cosmic psychedelic bliss.  If you are a fan of Quantum Fantay or Ozric Tentacles you need to hear this one. Guitarist Magnus Hannibal offers of killer soloing over Ola Hansson's Crystal Machine sounding synths.  Remember when Ozric Tentacles was a great band?  You know - back before Ed fired everyone.  Think Erpland.  That's what this is like.  A non-stop lethal injection of space rock.  Highly recommended.
    $15.00