Hitchhiking To Byzantium

Now here is a beautiful slice of contemporary progressive rock.  Anubis is an underrated band from Australia - bands down under don't seem to get the attention they deserve.  Hitchhiking is their third full length album.  2011's A Tower Of Silence was a big hit around here and frankly when it arrived it came as a huge surprise.  This long awaited follow up reinforces that the prog rock world needs to take notice.  The music has a cinematic Floyd-like feel.  Vocals from Robert James Moulding are emotion driven and have plenty of impact.  This is not a band who's music is filled with tons of soloing but what's here is solid.  In other words this is not old school prog - its very forward thinking but with a modern sound.  Highly recommended.

"I have long dreamt of an Australian progressive rock album that would inspire me to click the repeat button, in order to drift through its world all over again, and I am happy to declare that Hitchhiking to Byzantium has been on constant rotation for weeks at this point. Bringing an enchanting blend of Floydian melancholy and the energy of Rush to the table, Anubis have come to stake their claim as heavyweights in the Oz scene with their third opus.

Whilst being equally impressed with their 2011 album A Tower of Silence (which I have only just heard recently also), I have found myself returning to Byzantium more to explore the subtle nuances contained within the album’s ten tracks. ‘Fadeout’ as an opening diddy is like riding a gentle breeze for just a short while before being swept up in all the drama and opulence of ‘A King with No Crown’, a reference quality track on every level, cinematic in scope and full of drama and tension and certainly an inspired choice as opening single for the album. ‘Dead Trees’ is a classic prog cut with all the bells and whistles sporting a vocal performance that harkens to a young James Labrie and a chorus that will have you by the balls from the first time you hear it.

I mentioned a notable influence from Floyd and Rush earlier, but if I was to be honest, I would love to ask them if they are fans of American prog band Tiles and those wonderful Brits Anathema, because both bands are called to mind on this album amongst others like Sweden’s Anekdoten. The title track is a sublime centrepiece and features a plaintive aura that is sent soaring when spine-tingling female backing vocals lace the chorus. It’s so hard to choose a favourite song when they are all so filled with creamy goodness, but any of these three  - ‘Blood is Thicker than Common Sense’ (a seductive groover), ‘Tightening of the Screws’ (a majestic slice of melancholia reminiscent of early The Pineapple Thief) or ‘Partitionists’ (a lyrical and musical marvel) - could easily take the title for this humble listener.

The final triptych features dark drama in ‘Crimson Stained Romance’, a song that reminded me most of a classic Floyd epic, the 15+ minute ‘A Room with a View’, which is nothing short of a sweeping symphony of moods and tones and the closing ‘Silent Wandering Ghosts’ sounds exactly like its title would suggest, haunting and transcendent with an outro to die for.

These seven talented lads are a gifted lot, with every performance of outstanding quality, enhanced by a jaw-dropping production that let’s every instrument tell its own little story and play its part in this emotionally resonant work that as the band state themselves: "I feel that there's more of us in there - the hurdles that life throws at us and the only way to feel true inner peace - by examining the love around you. It's certainly an introspective record - but it's real life. It's about you, it's about me, it's about all of us. Hitchhiking to Byzantium. That journey is life."

And somehow I believe them." - Loud Mag

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    $14.00
  • "With their 2013 debut “Back With A Vengeance”, MASTERS OF DISGUISE filled the musical gap left behind by the demise of Savage Grace almost 30 years previously. Two years later the successor CD “The Savage And The Grace” was ready, building on its predecessor in classical style and which again is sure to set the pulses of speed freaks racing. The album again honours the true Speed Metal spirit of the Eighties without sounding antiquated or dusty. Classic US Speed Metal, taken another step upwards by several typical, fast Euro-Metal characteristics make the eleven tracks a real ride through speed hell."
    $15.00
  • "ELO fans who found in Long Distance Voyager a new Discovery can be excused for thinking there's no Time like The Present. Just as ELO's follow-up to the sweeping Discovery seemed tame by comparison, so The Present failed to match the grandiose arrangements of the Moodies' previous record. It's still a solid effort, bolstered by strong songwriting and pleasant melodies, but as good as the opening "Blue World" is, its downbeat message is no substitute for the clarion call of "The Voice." The Present seems to make a conscious effort to scale back the arena-size sound of their previous album, returning to the warmly rendered ballads of old. Patrick Moraz, whose keyboards were a revelation on Long Distance Voyager, plays a diminished role here, as Justin Hayward's guitar takes more of the lead, suggesting a poor man's Phil Manzanera or David Gilmour. While it charted well and provided hit singles in "Blue World" and "Sitting at the Wheel" (again, it's John Lodge who provides the most invigorating track), The Present is a gift that listeners will need to warm up to over time. Only after several sittings do Hayward's lush ballads like "Meet Me Halfway" and "Running Water" sink in. Following the format of their last effort, the closing tracks are given to Ray Thomas, who once more proves a compelling presence (he's also the only good thing about "Going Nowhere"). "I Am" and "Sorry" amount to little more than love songs, but Thomas' sense for dramatic arrangements manages to elevate the musical discussion. Given the now infrequent release of new albums by the Moody Blues, more could have been expected from The Present, but less could have been achieved (as the disappointing Keys of the Kingdom demonstrated). If it's merely average by Moodies standards, at least The Present didn't bode ill for the future." - Allmusic
    $9.00
  • "Having morphed--some would argue devolved--into a predictable ballad machine by the '80s, it's good to be reminded of Chicago's original artistic ethos and vibrant promise. And what better place to start than their spectacular 1969 debut? This digitally remastered edition compiles the double album on a single disc that retains the original LP artwork and features a 16-page booklet with a retrospective essay (based on new band member interviews) by David Wild. Chicago weren't yet the '70s hit-singles factory they would shortly become, and CTA showcases a band whose muscular musicianship and creative restlessness fostered two LPs worth of music that was as aggressive and far-ranging as its singles were friendly and inviting. Tellingly, the hits showcased here--"Does Anybody Know What Time It Is?" "Beginnings," "Questions 67 and 68," and their rhythmically pumped cover of the Spencer Davis Group's "I'm a Man"--were often edited down from the original collection's suite-heavy structure. But those familiar cuts belie the downright progressive and angular nature of much of the rest, which fuses Terry Kath's neo-psychedelic guitar (which careens to noisy, feedback-laden Hendrixesque extremes on "Free Form Guitar") to one of rock's pioneering horn sections with enough experimentalism ("Poem 58") that it frequently overwhelms their undeniable genius with a pop song. Chicago would seldom sound so adventurous after this, one of rock's greatest debut albums." --Jerry McCulley
    $6.00
  • Third album from this Swedish stoner rock band takes equal parts Mastodon, Pink Floyd, and Baroness and jumbles it together.  Toss in a touch of retro-folk in places (I guess that would make it unequal).  It can get a bit sludgy at times and then turns around and blasts off into space.  All I know is I want what they're smoking!"New Keepers Of The Water Towers are a Stoner Metal Band who have been going since 2006 and have a loyal following within the Stoner Metal scene. They have released two well-received albums – 2009’s Chronicles and 2011’s The Calydonian Hunt.Their blend of high voltage Stoner Metal riffs mixed with Fuzz and a slight hint of Sludge Rock made these hugely talented Swedes a band to look out for. Well things are about to change big time for the band thanks to their stunning new album – Cosmic Child.For the 3rd album – the band have went under a spacey transformation of sorts. Cosmic Child sees the band incorporating huge elements of Progressive Rock and Space Rock into their already set great sound.So if you’re a fan of Pink Floyd and Mastodon then your surely going to dig this like I did. Cosmic Child is the band’s creative and most daring work to date. They are a band reborn. This is New Keepers Of The Water Towers like you have never heard before. The band has reflected this in the 47 minute running time. An almost epic length by their standards.First track – The Great Leveller – is the perfect 6-minute introduction to show you the bands new sound and outlook on all things Stoner Metal. Blending Progressive Rock riffs with Space Rock shows you this band have taken a more direct Sci-Fi vibe to their music. What else would you expect with the excellent album cover and cool title?Imagine if NASA wanted the world’s finest Stoner Metal bands to record an album about Space Exploration then The Cosmic Child would be that awesome result. New Keepers have created an astonishing album that will take you to different galaxies and dimensions without ever leaving the comforts of your own home.2nd track – Visions Of Death – might start as a cheerful Space Rock opera but listen to the lyrics and you find something dark and mysterious lurking in the background. Before the album takes you off for an epic journey into the cosmos. 9 mins on show here feel like light-years instead of mins. However, you will not know the difference as you will be enjoying the ride too much. Just more action-packed riffs to show you that New Keepers Of The Water Towers have evolved as musicians and writers since their last release. Wait until the 5:30 minute mark before an amazing Space infused Stoner Rock riff comes out of nowhere.3rd Track – Pyre For The Red Sage – is another magical epic journey through Time and Space. Well 12 minute to be precise but you get another outstanding track, which takes time building the listeners emotions before letting rip with more top-notch Space Rock riffs. Throw in great vocals and lyrics and this album is now firmly in the realm of brilliance. This is a love letter to Pink Floyd as it contains some highly recognisable rock passages that legendary band were known for.I had the feeling when listening to the album that the band had been reading or watching 2001 – A Space Odyssey or other philosophical sci-fi classics as some of their ideas on the album might actually need a degree of some sort to fully understand. However, the riffs contained on the album will keep fans happy for many years to come.The last 3 songs follow the same path as the first 3 songs. More epic progressive space rock riffs blended with sublime Stoner Metal riffs. 18 more mins to keep you transfixed from start to finish.Best track of the remaining 3 is the 12:32 minute instrumental epic – Lapse – which showcases some of the bands finest instrumental work to date. Ambient noises have been beautifully added to create a world that is unnerving as it is exciting. Damn – this track is a work of art at times. Moods and atmospheres collide with intent and purpose. Just close your eyes and let the riffs take you on another great journey into the vastness of space.All in all – The Cosmic Child – is a wonderful album for everyone to experience. It has soul and heart like you would never imagine. It’s expertly produced and played by all involved.The Cosmic Child is going to launch New Keepers Of The Water Tower onto another level within the Stoner Metal scene.Excellent and Highly Recommended." - The Sludgelord Blogspot
    $14.00
  • ""It is a rare thing these days for a post-metal band to break the mold. So many bands play sludgy, lurching, epic metal that it can be hard to tell what band is trying to sound like Isis this time. This brings me to the breath of fresh air that is Secrets of the Sky.The Oakland based sextet takes what is a great but tired genre and adds a dash of black metal and a bit of prog. Imagine if you tossed Neurosis, more recent Immortal, and Porcupine Tree into a blender. Sounds like a fucked up mix, right? It's an awesome fucked up mix though.The Sail Black Waters consists of 4 tracks that are rooted in sludge, that manage to take twists and turns throughout it's all-too-short forty-one minute run-time. There are moments of dreamy soundscapes, harmonized clean vocals, and crescendos aplenty.A band they bring to mind is the Australian black-metal-with-a-violin band Ne Obliviscaris. They don't necessarily sound alike, especially because Secrets of the Skysimple aren't playing as fast, but their progressions are quite similar. Also, Secrets happen to employ a violin as one of the several talents of vocalist Garett Gazay. Their use of it is much more subtle than Ne Obliviscaris to the point where it becomes a game listening for it.In short, a phenomenal debut." - Metal Injection
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  • Beautiful, haunting experimental metal from this Icelandic band.  Like some other extreme metal bands (think Ulver and Opeth) they have evolved into something very different.  If Sigur Ros recorded a black metal album it might sound like this.  If you like to be challenged by metal outside the norm this is highly recommended."I’m a prime example of being caught in a rat race, a cog too much a part of the corporate clockwork and maybe that’s why on some basic level I identify so strongly with the timeless concept behind Sólstafir‘s fifth and much anticipated release. Ótta comes three years after the release of Svartir Sandar, with the concept of the album staying close and personal to their Icelandic roots. So much so that that the album flows according to an old Icelandic form of time-keeping similar to the monastic hours or Eykt (one eighth of a solar day), And so, Ótta consists of eight tracks, beginning with a representation of midnight, moving through each Eyktir in the day, coming to a close in the period between 9 pm and midnight. Hardly a riveting concept on paper, but thought provoking nonetheless.Much like the post-metal genre being built on rising crescendos, so “Lágnætti,” “Ótta,” “Rismál” and “Dagmál” are the slow and steady climb before you reach the boiling point of “Middegi” and “Nón,” only to have their power stripped away quite dramatically with “Midaftann” and “Náttmál.” Now stop for a moment, close your eyes and feel “Lágnætti” (low night) wash over you. The intro rises up, uncoiling with slow deliberation, pure atmosphere at first, culminating in an isolated and memorable piano melody that along with frontman Aðalbjörn Tryggvason’s vocals, would fit right in on Coldplay‘s Viva La Vida. “Lágnætti” quickly settles in and gives you that familiar feeling that Ótta is indeed the next logical progression from Svartir Sandar. The album grabs hold of and builds on the very same subtleties and charm, the same enveloping moodiness and even the same delicate eccentricities of the earlier release, rather than following on with the bolder adolescence like Köld and Í Blóði og Anda (In Blood and Spirit).Aðalbjörn Tryggvason’s vocals have been perfectly matched to each track and at times it’s tough to imagine it’s the same vocalist. For much of the front-end of Ótta and then again towards the back-end, our intrepid frontman dabbles in the same instrumental, minimalistic style he used on Svartir Sandar. In “Lágnætti” and the title track, he could take the place of Chris Martin fronting Coldplay, and then in “Rismál” and “Midaftann” he creates a new and fantastical beast seemingly from leftover parts of Shining and Katatonia. Giving the release more time to soak in, you’ll find hints to the glory of the past, like his screamy shouts leftover from Köld‘s “Love is the Devil (and I am in Love)” and then in “Middegi” and “Nón” there are hints of the glory locked and loaded in Svartir Sandar‘s “Þín Orð.”Instrumentally Ótta feels like a swirling melting pot of flavours, colours and textures. The title track stands out, surely competing with Ulver‘s “Not Saved” as one of the most addictive pieces of music I’ve come across, all thanks to its bluegrass-like banjo frivolity playing with the violins. And while I have no idea whom to credit for the piano arrangements on “Lágnætti” and “Midaftann” and they don’t don’t hold quite the same dizzying quirk of Svartir Sandar‘s “Æra,” they’re beautiful, melodic, well played and hold just the right amount of tragedy and atmosphere. Aðalbjörn Tryggvason, Sæþór Maríus Sæþórsson and Guðmundur Óli Pálmason go minimalist on the guitars and drum lines, only playing what’s absolutely necessary. The guitars are delivered with a tasty distorted fuzz that takes away from the cleanliness of the album, and while solos are used sparingly, stand-out moments do filter through on “Nón” and “Miðdegi.”The production used on Ótta sounds largely like what worked so well on Svartir Sandar, and if it ain’t broke don’t fix it. There’s enough fuzzy warmth and focus of dynamics to keep the album an interesting and comfortable listen. What more can I say here, I’m unable to find fault with this album. It’s not one you’re going to skip around and listen to in bits and bites and needs to be experienced as a whole. Ótta is a serious piece of art and yes, it does indeed stop time!" - Angry Metal Guy 
    $12.00
  • 12 audio tracks culled from the band's 2DVD set recorded on the Dystopia tour.
    $4.00
  • "The news of Angela Gossow stepping down as the front of ARCH ENEMY is still fresh as the band launches their latest album, "War Eternal". The new record features THE AGONIST's Alissa White-Gluz on the mike and former ARSIS guitarist Nick Cordle, who gets his first album representation following the 2012 departure of Christopher Amott.Change often sucks, but hardly in this case. The new blood in ARCH ENEMY has propagated a tremendous creative spark in Michael Amott. Simply put, "War Eternal" is the best ARCH ENEMY album in years. Though Angela Gossow held her post with honor, the songwriting under her tenure fell into a script that's observed on occasion here, but stepped well beyond."War Eternal" captures immediate attention with an overture opening featuring harpsichord and choral lines, "Tempore Nihil Sanat (Prelude in F Minor)" before ripping straight into "Never Forgive, Never Forget". The latter yields the same structuring as most ARCH ENEMY songs during the Gossow years with bombastic thrash-grind lines melded with modified slowdowns. Overall, the song is a scorcher and it comes with guitar solos that are dealt at a zillion notes they're worth backing up.Afterwards, the title track jumps in with an excellent shredded intro and retains a harmonious curve all the way through its mid-tempo stamp. This and the gloriously anthemic "You Will Know My Name" are the closest "War Eternal" get to accessible and the strident focus of the band puts these songs at peaks of near-perfection, once again bringing active, detailed solo sections full of jerked strings and fret dances. The solo on "War Eternal" needs to be shaved by about ten seconds, but otherwise, that track is one of the most affecting tunes ARCH ENEMY's written in some time."As the Pages Burn" is completely savage on the verses, but the stepped-back choruses that make an attempt at neoclassical-based melody does the headstrong thrash a slight disservice. Still, the song's a cooker. Speaking of neoclassical, Michael Amott and Nick Cordle lead and fill the steady crusher "No More Regrets" with scales galore and the fret garnishments assume a stately flair beyond the song's gruesome double hammer and fierce breakdown. By this point, it's evident Michael Amott and ARCH ENEMY mean to outdo themselves on this album.The brief guitar interlude, "Graveyard of Dreams", is a nice set-up for the heavy thrust of "Stolen Life", which the shredding lines and Alissa White-Gluz's spit-flung delivery keep the energy level of the album from faltering. The lullaby opening to the massive "Time is Black" is the perfect opener as the song rolls through a symbiosis of classical lines and progression that jack up in both intensity and elegance.Suffice it to say, the concentration upon Bach and Mozart behind Michael Amott, Nick Cordle and Sharlee D'Angelo's intricate lines becomes a theme on "War Eternal" and the method elevates the band beyond their powers. Once more incorporating harpsichord and symphonic strings for the intro and the fills of the headbanging groove on "Avalanche", the opportunity for auxiliary grace is capitalized intuitively.The band's tireless performance on "War Eternal" is comparable to a veteran baseball team with a powerful batting lineup giving a new pitcher a seven run lead to break in with. Blue-coiffed Alissa White-Gluz can rip esophagi with them best of them and she's a natural fit for ARCH ENEMY. She possesses excellent pentameter even in ralphing mode and she sounds like a demoniac on "As the Pages Burn". It doesn't hurt to have her predecessor looming in the background as the band's new manager. Gossow must be feeling proud, if bittersweet that ARCH ENEMY hits a higher level of craft on "War Eternal" than they have in a long time. There are transitional moments in a band, but this is a veritable catharsis." - Blabbermouth.net
    $12.00
  • If you don't care about the video presentation this is the set for you - just the audio on 2CDs."Dutch symphonic rock band WITHIN TEMPTATION are thrilled to unveil a new live DVD/Blu-ray/2CD. ‘Let Us Burn – Elements & Hydra Live In Concert’ is set for release on November 14 and features two of WITHIN TEMPTATION’s most talked about arena shows ever. The two dates are 2012’s resplendent 15th birthday ‘Elements’ concert and the final night of the ‘Hydra’ European arena tour at Amsterdam’s Heineken Music Hall in May 2014. When it comes to the live experience, Within Temptation’s status is of a league extraordinaire. These two performances showcase every nuance of their fierce reputation plus stunning imagery and special FX, including even giant fire-breathing dragons!In November 2012, WITHIN TEMPTATION challenged themselves to create one of their most impressive arena shows ever, to celebrate the band’s 15th birthday. The result was the one-off symphonic ‘Elements’ show, held at the Sportpaleis in Antwerp. A dazzling event with 15,000 fans, the band’s dream came to life. Newly inspired, the group went forth to write their critically acclaimed sixth studio album ‘Hydra’.In early 2014, WITHIN TEMPTATION unleashed ‘Hydra’. This monster record claimed more than 10 European Top-10 chart positions, a #2 position in the iTunes World Charts, and the band’s highest US Billboard Top-20 chart position to date. The album success was followed by a 33-date European arena tour, selling out noted venues like Wembley Arena in London, Le Zenith in Paris, and the legendary Heineken Music Hall in Amsterdam (twice).Over 15,000 fans joined the ‘Elements’ show celebrations and more than 120,000 fans witnessed the ‘Hydra’ beast on stage in Europe, but WITHIN TEMPTATION is far from done. The ‘Hydra’ world tour is currently in full swing in North America. With South America and Japan still to come, more than half a million fans will have seen WITHIN TEMPTATION by the end of this year.WITHIN TEMPTATION is renowned for releasing impressive live DVDs. Previous release, the best-selling ‘Black Symphony’ DVD, helped make them one of the most popular bands in their genre. At their recent Awards show in Berlin, Metal Hammer Germany presented WITHIN TEMPTATION with the prestigious Best Live Band Award. The new DVD underlines this title.‘Let Us Burn – Elements & Hydra Live In Concert’ will be released in four formats – DVD + 2CD, Blu-ray + 2CD, 2CD, and digital album. The DVD and Blu-ray contain 34 live audio visual tracks in HD, mixed in 5.1 Dolby Surround. The 2CD and digital album comprise 32 live audio tracks. The two shows have a running time total of approximately 170 minutes. ‘Let Us Burn – Elements & Hydra Live In Concert’ is a treat for rock fans all over the world."
    $15.00
  • "The Elements Of King Crimson is a special limited edition 'tour box' created exclusively for sale at King Crimson's concerts and via the band's official online outlets.The set contains a 24 page tour booklet and two CDs containing extracts, elements from studio recordings, alternate takes, live tracks, rehearsals and finished recordings from 1969 - 2014 (much of it previously unreleased on CD)."CD I:1) Wind Extract (1969, London) (From ITCOCK recording sessions).2) I Talk To The Wind (23/07/1969, London) From ITCOCK recording sessions.3) Cadence and Cascade (03/02/1970, London, Greg Lake Vocals) From Poseidon recording sessions.4) Cirkus (guitar extract) (11/09/1970, London) From Lizard recording sessions. Previously unreleased on CD.5) Cirkus (10/08/1971, Live at the Marquee) From forthcoming release, Collectable KC Vol. 7.6) Hoodoo (extract) (May, 2014, Elstree band rehearsals) - Previously unreleased.7) Sailor's Tale (08/09/1971, London) From Islands recording sessions. Previously unreleased on CD.8) The Talking Drum (October, 1973, London) From LTIA recording sessions. SW alt mix.9) LTIA (extract) (May, 2014, Elstree band rehearsals) - Previously unreleased.10) LTIA (extract) [David/Jamie] (16/01/1973, London). From LTIA recording sessions.11) Fracture (23/11/1973, Amsterdam). SW 2014 mix.12) Fallen Angel (extract) [RF harmonics] (08/07/1974, London). From Red studio sessions - Previously unreleased on CD.13) Fallen Angel (July, 1974, London). From Red studio sessions.14) 21 Century Schizoid Man (30/06/1974, Providence). From USA live recordings.15) Starless (extract) [Mark] (08/07/1974, London). From Red studio sessions. Previously unreleased on CDCD 2:1) Discipline (1981, London). From Discipline recording sessions. Alt take.2) Three Headed Doom (part 1) (May, 2014, Elstree band rehearsals) - Previously unreleased.3) Manhattan (Neurotica) (23/11/1981, Live at The Roxy, LA). From forthcoming release, Beat 40th anniversary CD/DVD-A.4) Neal and Jack and Me (extract) (17/03/1982, London). From Beat recording sessions. Previously unreleased on CD.5) Sleepless (Bearsville) From TOAPP recording sessions (Steven Wilson mix). From forthcoming release, Three Of A Perfect Pair 40th anniversary CD/DVD-A.6) Sex, Sleep, Eat, Drink, Dream (rec session) (27/01/1994, Bath) - From THRAK recording sessions and on forthcoming release, THRAKBOXX.7) THRAK (30/06/1996, Live at Shepherd's Bush) - Previously unreleased on CD.8) Venturing Into Joy (edit) (May, 2014, Elstree band rehearsals) - Previously unreleased.9) The Deception Of The Thrush (1998, USA) From West Coast Live, The ProjeKcts box.10) Heaven & Earth (early edit) (14/05/2000, Nashville). ProjeKct X, TCOL recording sessions - Previously unreleased on CD.11) Level Five (07/08/2008, Chicago, Live at Park West) - Previously unreleased on CD.12) The Hell-Hounds of Krim (May, 2014, Elstree band rehearsals) - Previously unreleased.13) Separation (edit) (2010, Berkhamsted) Jakszyk, Fripp, Collins sessions - Previously unreleased.14) A Scarcity Of Miracles (2010, Berkhamsted) Jakszyk, Fripp, Collins sessions. Alt take.
    $27.00
  • There is no denying that Nemo's JP Louveton is one hell of a guitarist. His staunch commitment to having French lyrics with Nemo's music has stiffled the band's exposure within much of the progressive rock community. Wolfspring is a new project he has put together - but with English vocals. The music isn't particularly symphonic like Nemo. Instead he goes for a contemporary guitar driven sound that rocks hard. Nemo keyboardist Guillaume Fontaine is also a member of the band but he definitely takes a supporting role. Louveton's guitar takes center spotlight through out.
    $3.00
  • In the late '90s, Nemesis quickly rose to the top of the Hungarian progressive metal scene with their two albums "Nemesis" and "Abraxas". Frustrated by an inability to cross over into the Western metal arena the band briefly dissolved. After reforming with a new lineup the band decided to re-record and re-arrange their old material but with a major difference: this time around they would sing in English. The band recorded two albums, "Eden?" and "Psychgeist". "Eden?" demonstrates the band's ability to create dark and moody progressive metal laced with heavy riffing, keyboard driven spaciness and an exotic Eastern vibe. Influences of Dream Theater, Fates Warning and Pink Floyd are present but the combinationis unique and clearly defined as Nemesis' own sound. Sensory will follow up the release of "Eden?" in six months with "Psychogeist".
    $4.00
  • "The Allman Brothers Band's fifth live release in 25 years, cut during 1994 in Raleigh, NC, and at the Garden State Arts Center in New Jersey, is a high-water mark in their Epic Records catalog. If anything, they're even better here than they were on the earlier Evening With the Allman Brothers Band, the old material getting fresh new approaches -- the band was on for both nights, and presented sets, including an acoustic version of "In Memory of Elizabeth Reed" and "Jessica" (which won a Grammy Award), that soared and flowed, especially Dickey Betts and Warren Haynes' guitars. What's more, the clarity of the recording and the volume at which it was recorded make this a most rewarding 70 minutes of live music on a purely technical level -- you can practically hear the action on the guitars during the acoustic set. It won't replace Live at Fillmore East or the live portions of Eat a Peach, but it deserves a place on the shelf not very far from them." - Allmusic
    $5.00