Earn 1 Loyalty Point With Every $1 Spent!

Access denied

You are not authorized to access this page.
Laser Pic

customers also bought

SEE ALL
  • "Hi Fiction Science comprises former members of Suncoil Sect and Fuzz Against Junk. Guitarist James McKeown is also known for his solo work released by Fruits de Mer and Reverb Worship. Following their self-titled debut album on own label Negative Drive and a 7" on Fruits de Mer, Hi Fiction Science have signed to Cherry Red offshoot Esoteric Antenna. Curious Yellow, their first release on this label, is a truly amazing synthesis of late 60s/early 70s-style electric folk, psychedelia, and electronica. Think Trees, Liege and Lief era Fairport, Pentangle, or any number of bands on the Erewhon History of UK Underground Folk-Rock compilation albums, combined with vintage electronica and ambient music; as bizarre as that description may sound, it really is a winning formula. Elsewhere they introduce elements of angular art-rock and intense psychedelic guitar work (Vapour), wordless vocal and electronic soundscaping (Komorebi), and in Curious Yellow they set a medievalesque song to mesmerisingly repetitive psychedelic instrumentation. This is a really exceptional album from a band I will definitely be looking out for more from in future." - Bliss/Aquamarine
    $17.00
  • Love the Mellotron?  Well have we got an album for you...Many years ago we reissued the 1971 release from this British progressive band.  Originally released on the RCA Neon label it achieved mythic status because there were 3 Mellotron players listed (turned out to be one Mellotron and a few of the band members played it).  Prices for original albums soared into the stratosphere.  We set out on our quest to bring Spring into the digital age.  As it turned out it was actually quite easy and we had the full participation of the lead singer Pat Moran.  For many years it was one of our most succesful releases but ultimately went out of print.  Since then it has reappeared on various labels - all using our CD as their source materials.Now we have a new visitiation by Esoteric Recordings who have not only gone back to the original source tapes but have successfully done what we were unable to - they have uncovered the tapes for the unreleased second album.The second album featured a slightly different lineup.  The Mellotron was gone and largely subplanted with organ.  Even still it was obviously Spring through and through.  So you now have the complete works of Spring: the first album, three non-lp tracks, plus a complete second album.  Of course expect the usual great booklet filled with all kinds of unknown facts culled from the late Pat Moran's diaries.Highest recommendation.  BUY OR DIE! 
    $18.00
  • Hyperdrive marks a new era for Knight Area.  The long running Dutch progressive rock band had previously released four studio albums and toured Europe and USA extensively, performing at all major prog rock festivals.  1n 2012 the band welcomed guitarist Mark Bogert as well as legendary bassist Peter Vink (Q65, Finch, Ayreon) into the fold. With these newcomers onboard, Knight Area introduced a heavier element and fuller sound to their repertoire.  All the classic symphonic rock traits of their previous albums are still clearly evident but the songs on Hyperdrive are more immediate and concise.The band invited noted prog guitarist Arjen Lucassen (Ayreon, Star One) to participate as a special guest on one track.  Joost van den Broek, who is known for his production work with Epica, Mayan, and After Forever, mixed the album.   Rounding out the package is startling artwork by Gustavo Sazes.
    $6.00
  • Second album from this superb Italian gloom and doom band.  Resonance Room model their sound after Katatonia, early Anathema and Opeth with some progressive nods to bands like Porcupine Tree and Riverside.  All clean, angst driven vocals with grinding guitars and more riffing than you can shake a stick at.    If the Swedish moody gothic sound is your thing you need to check it out.  Highly recommended.
    $17.00
  • New 2018 more dynamic remastering of the band's sixth album.  Now with 3 bonus tracking including a previously unreleased version of "Well I Think That's What You Said?".  This was the band's last album for Cyclops, before they jumped over to KScope.
    $12.00
  • Though they were a product of the beat group age, Group 1850 were the Netherlands’ first progressive band — in every sense of that word. Constantly changing, constantly evolving, Group 1850 were musical extremists on a do-or-die mission to explode all expectations. Sparks flew, ideas flared, feedback swirled through misty nights, the dead walked, skeletons danced, flies buzzed, mountains fell, words rained fire from angry purple skies. Group 1850 raised all kinds of Hell. My god, were they good.Although the group made two deservedly revered albums, Agemo’s Trip to Mother Earth (1968) and Paradise Now (1969), some of their best work can be found on their singles, where their borderline insane hyper-creativity was focused into highly-concentrated, radically potent three-minute songs like Misty Night, Mother No-Head, Zero, We Love Live (Like We Love You), Don’t Let It Be (We Have to Do It Now), and the magnificent Have You Ever Heard. The A- and B-sides of all their singles can be found on this unique CD in their original mono mixes, mastered from the original tapes. A number of previously unreleased demos are also included. Mother No-Head: Their 45s comes packaged in a breathtaking digipack cover with rare archival photos, memorabilia and liner notes by Ugly Things’ Mike Stax.Track listing1. Misty Night 3:29 – mono 2. Look Around 2:34 – mono3. I Want More (Finger Tips) 2:03 – mono4. I Know (La Pensée) 3:11 – mono5. Mother No-Head  3:25 – mono6. Ever Ever Green 3:17 – mono7. Zero 3:28 - mono8. Frozen Mind 3:39 – mono9. We Love Live (Like We Love You) 4:28 – mono10. Little Fly 4.17 – mono11. Don’t Let It Be (We Have To Do It Now) 3:13 – mono12. Sun Is Coming (So We’re Calling You) 3:00 – mono13. Fire 2:30 – stereo14. Have You Ever Heard 3:34 – stereo15. Mother No-Head 3:29 – French version – stereo16. Mother No-Head 3:36 – instrumental – stereo17. 1.000 Years Before 2:37 - stereo18. Dream Of The Future 2:33 – stereo19. Sun Is Coming 3:06 – demo - mono20. Don’t Let It Be 3:08 – demo - mono21. Falling Mountains 3:34 - demo – stereo22. Liar 2:31 – demo - stereo23. Dream Of The Future 2:51 – demo - stereo24. 1.000 Years Before 2:39 - demo - stereoTracks 19 – 24 previously unreleasedTotal Playing Time: 77:00
    $13.00
  • "Esoteric Recordings are pleased to announce their next release in the continuing series of reissues of the entire catalogue by the legendary classical rock band Sky. Unavailable for over 20 years, "THE GREAT BALLOON RACE” has been newly re-mastered and the original album artwork is fully restored. The booklet features a new essay."
    $15.00
  • Italian avant rock label AltRock has spun off a new label specializing in symphonic progressive rock. The first release is a winner. Ciccada hails from Greece. Fronted by the ethereal vocals of Evangelia Kozoni, Ciccada incorporate many prog influences of the 70s. Canterbury, folk and symphonic rock are the order of the day. Flautist/keyboardist Nicolas Nikolopoulos makes his presence felt through out (yes - the holy Mellotron his here!). The music reminds a bit of White Willow without ever quite hitting on their heavy pyrotechnics - this one is more of a slow burn. Subtle and beautiful. A fine debut - these guys may be one album away from greatness. Highly recommended.
    $16.00
  • 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
  • "Alternative Rock is not a genre that graces my ears very often, but as always, they are open; as is my mind. The funny thing is, any time I am exposed to something I wouldn't normally find myself listening to, there is always something about that band that has my wanting attention for one reason or another, be it the sound of the vocalist, the mixing, or those infectious hooks in the chorus. For its genre, the ANNEKE VAN GIERSBERGEN (formerly AGUA DE ANNIQUE) is perfectly postulated and is a leading act, with their non-repetitive writing (something I hear too often in commercial rock), excellent vocals and songs leaving you burning with an urge to sing along.Their latest release, "Drive", is no exception; as an album, it proves to be versatile, with no two songs sounding identical, but every song keeping the rhythm and mood to make the album fit piece by piece. "We Live On" feels like a typical pop-rock track, upbeat and driving, with an extremely powerful vocal performance in the choruses by Van Giersbergen. "Treat Me Like A Lady" does not want to be treated like a lady, and takes a noticeably heavier tone, brimming with attitude. "She" begins ever so modestly, making us think we're brought back to some level of calm, but explodes into an incredibly fast-paced chorus for such a Rock band, and includes yet another infectious chorus; something that is fast becoming an obvious highlight. "Drive" – I adore the sound of the bass in this song, the way it is dislocated from the drums, adds another dynamic. Van Giersbergen's even more stellar performance in the chorus demonstrates her large vocal range and versatility. Save for electric bass, "My Mother Said" is an entirely acoustic song and is the softest, most heartfelt song on the album; the band's namesake flawlessly demonstrates her ability to fit her voice around any song to emote any mood wants. "Forgive Me" is especially different, demonstrating unusual chord progressions, totally different instrumentation, and revealing even more, the extent of control that Van Giersbergen has over her range. "You Will Never Change" is upbeat and punchy, through-and-through with an – okay, let us just assume that every song on this album has an infectious chorus; definitely one of my favorites on the album. "Mental Jungle" begins with a strange, Arabic-sounding vocal melody, also featured on the chorus; I do indeed also love this chorus, as well as the interesting chord progressions. Quite easily the most unique song on the album, it strays from the pipeline rock sound that this record has been purveying. "Shooting for the Stars" takes the cake for the 'radiorock' track on the album, where every note, every beat, every lyric, screams commercialism and airtime. Not necessarily a bad song, but not the most interesting on the album. The album closes with "The Best Is Yet To Come" which makes me thing, Anneke has even better music to offer us in the future? The song itself takes first place on the album for me; the presence of the overdriven guitars and bass compliment her voice perfectly to create a powerful and catchy, yet Heavy Rock track, with interesting and unpredictable licks and hooks.Van Giersbergen and her band are quickly cementing themselves as one of Europe's currently most powerful and gorgeous-sounding rock groups, whom don't necessarily always cling to the commercialized, radio cliché sound, although no doubt perfectly suited to long air time. Coming from a metal head who listens to a fair share of female singers, I believe she could sing anything she wanted to, and the band of musicians that have got together and recorded this organic album with her have done so masterfully, and I'm not sure if the best is yet to come." - Metal Temple
    $14.00
  • Its been some time since we've heard from Syndone.  This Italian symphonic band has come out with a new release and I have to say its most impressive.  The core band is simply a trio - Nik Comoglio (keyboards), Riccardo Ruggeri (vocals), and Francesco Pinetti (vibraphone).  They are rounded out with a couple of well known ringers - Marco Minnemann (drums) and John Hackett (flute).  First off Ruggeri has a wonderful voice.  While he doesn't have quite the same range as the late, great Francesco Di Giacomo he's definitely cut from the same cloth.  The keyboards of Comoglio drive the train and he's quite a talent.  I'm going to make the assumption that he's the main composer.  There is a symphonic element that transitions well with some fusion interludes.  Beautiful delicate classical passages are a key component.Overall this is one of the examples of "Rock Progressivo Italiano" I've heard in years.  Highly recommended.
    $15.00
  • "Nefertiti, the fourth album by Miles Davis' second classic quintet, continues the forward motion of Sorcerer, as the group settles into a low-key, exploratory groove, offering music with recognizable themes -- but themes that were deliberately dissonant, slightly unsettling even as they burrowed their way into the consciousness. In a sense, this is mood music, since, like on much of Sorcerer, the individual parts mesh in unpredictable ways, creating evocative, floating soundscapes. This music anticipates the free-fall, impressionistic work of In a Silent Way, yet it remains rooted in hard bop, particularly when the tempo is a bit sprightly, as on "Hand Jive." Yet even when the instrumentalists and soloists are placed in the foreground -- such as Miles' extended opening solo on "Madness" or Hancock's long solo toward the end of the piece -- this never feels like showcases for virtuosity, the way some showboating hard bop can, though each player shines. What's impressive, like on all of this quintet's sessions, is the interplay, how the musicians follow an unpredictable path as a unit, turning in music that is always searching, always provocative, and never boring. Perhaps Nefertiti's charms are a little more subtle than those of its predecessors, but that makes it intriguing. Besides, this album so clearly points the way to fusion, while remaining acoustic, that it may force listeners on either side of the fence into another direction." - All Music Guide
    $7.50
  • "With a concept about the Greek goddess Persephone, the Andorran band Persefone deliver probably the musical equivalent of a Greek epic in form of a melodic and progressive death metal album named Core. It should be noted that this album is seventy minutes long and have only three songs. Listening to this album in one sitting the first time hearing it, is not recommended, despite that the music is interesting. But regardless of that, how can Core be described? Broad, one way or another, it should at least have something that appeal to most. That does not mean it is recommended for most. But enough of that. What is going on here?The first thing you will hear is a piano, or keyboard more correctly. To be honest, there is not much to say about it. It adds some flavor to a lot of sections throughout the album, but could perhaps be left out without damaging the music overall too much. The piano parts however, are the only thing the keyboard should be doing, the rest feel a little tacky. The guitars pick the pace up, and creativity. These can go from chugging to spastic and alternating riffs, be fast or slow, and help color the music a lot, setting a specific landscape for everything else. The bass guitar is another thing that cannot be said so much about, once in a while, it can be heard, but for most of the time, it seems nonexistent. But when heard, it seem to follow the lead of the guitars. Nothing very impressive, but nothing too bad either. The drumming however is great. There is a lot of force behind them, and the general playing is nothing less than laced with rhythms, sometimes complex and sometimes just simple. But overall, they add a dynamic feel to the music that is vital. Finally are the vocals, that come in a variety of styles, from screaming, growling, roaring and just clean singing. In addition to these styles, are also the female vocals that drop by sometimes, and these are the most enjoyable as they break the monotony of the rawer male vocals.With the mixing, things are overall very good. But the the biggest problem is the drowned bass guitar that can barely be heard in the middle of everything else. The production is fairly good, but can perhaps be a little too gritty for this type of music. As for the musical delivery, it comes in an array of emotions to set the mood, going from aggressive assaults to mournful funerals, along with more hopeful feels. The songwriting is quite good, with each song loaded with sections that demand your attention, whether being aggressive or slow, catchy or perhaps a little jazzy. And yes, that happens a couple of times, with some jazzy delivery, but these are spaced out far too uneven than say the more aggressive sections. There are however some places in between here that really lack anything noteworthy. And those, while they do not occur too often, are quite dragging.But speaking of the length of the album again and the number of tracks, it is hard to imagine Core being a nine track album, but with so few tracks divided on such a length, it can become a little tedious and bothersome. So as mentioned, you should not listen to the whole album in one sitting. Give it time and be patient, and it will pay off.Persefone have done a tremendous job with Core. It is through and through entertainment, though it does lack a little from time to time. But in the end, it does deliver a rather impressive narrative." - Metal Archives
    $17.00
  • "Soft Machine were one of the greatest UK avant/jazz-rock bands of all time and their work, whether their earliest performances as a psychedelic band, who were contemporaries of, and shared stages with Syd Barrett's Pink Floyd and the Jimi Hendrix Experience, all the way to being one of Europe's best known 'fusion' bands, their work continues to be name-checked by today's hip experimentalists.By mid 1973, Soft Machine had gone through a tremendous amount of personnel turnover and a shifting in their sound over the previous year. The band now consisted of founding member Mike Ratledge (electric piano, synthesizer), Karl Jenkins (electric piano, piano, sax, oboe), Roy Babbington (electric bass) and John Marshall (drums and percussion). Having already collaborated with a guitarist, Gary Boyle (as documented on NDR Jazz Workshop), upon meeting guitarist Allan Holdsworth, then in the early stages of his professional career, in November, the group invited him to join the band, which he did, becoming the first guitarist to join the band in over 5 years!With the addition of a musician of Holdsworth's prowess, Soft Machine decided to take a fresh start and develop material that would feature their virtuosic new addition in a fitting manner. Jenkins and Ratledge composed a whole new repertoire which was road-tested on extensive tours of North America and continental Europe in the first half of 1974 and which would ultimately make up the Bundles album, widely acknowledged as a jazz-fusion classic alongside the best exponents of the genre worldwide.On July 4, 1974, Soft Machine were invited to perform at the prestigious Montreux Jazz Festival in Switzerland, sharing the spotlight with such headliners as Billy Cobham’s Spectrum, Larry Coryell’s Eleventh House and the Mahavishnu Orchestra. This alone was evidence of the band being a dominant presence on the now widely popular jazz-rock scene, which had evolved out of the unique and edgy sound that the band had pioneered a few years before. Switzerland 1974 is this performance, captured just a couple of weeks before the studio sessions for Bundles. The hour-long set is the only available visual document of the Ratledge-Marshall-Jenkins-Babbington-Holdsworth line-up, and it includes live versions of the entire album, most notably the classic “Hazard Profile” suite, augmented with individual showcases for each member as well as a collective improvisation and brief snippets from Six and Seven. As well as retracing Soft Machine’s transformation into one of the leading exponents of jazz-fusion, it provides a rare chance to witness the genesis of Allan Holdsworth’s unique, innovative and unbelievably fluid and dexterous playing, before he went on to universal acclaim with Tony Williams’ New Lifetime, the prog-rock ‘supergroup’ U.K., Jean-Luc Ponty, Bill Bruford and ultimately his own electric fusion groups.Caveat: Due to the age of these tapes and how they had been previously mixed, edited, used, and stored, there were multiple visual and audio sources of this show in varying lengths, each with their own flaws. While significant flaws could not be completely eliminated, very special thanks are due to our engineers Doug Moon and Udi Koomran, who worked from these multiple copies in order to make the final result as good as it can possibly be." 
    $19.00