Known/Learned (2CD)

SKU: SR3072
Label:
Sensory Records
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“Known/Learned’ is the third album from this thought provoking progressive band from Brisbane, Australia.  It’s a sprawling 2CD collection of themes and moments, captured between recurring characters. While never explicitly told in the traditional vein of the ‘concept album’, the imagery of Known/Learned depicts fragmented moments in the lives of a father and his daughter, their loss, their love, their journey. A bittersweet love song for life.

Occupying a unique place in the Australian progressive music scene, Arcane’s transcendental live performances and 2009’s critically acclaimed, dark and enigmatic concept album 'Chronicles Of The Waking Dream' have earned them a inimitable reputation as one of Australia’s premier progressive rock bands.

Sharing stages with artists as diverse as Anathema (UK), Soilwork (Swe), Queensryche (USA), Dead Letter Circus, Ne Obliviscaris and hundreds more, Arcane's live show, often accompanied by a backdrop of staggering visualizations, is a vast sensory experience.

Arcane's immersive sound, and the vocals of Jim Grey quickly found favor throughout Australia, headlining the annual Progfest tour, providing touring support for Ne Obliviscaris, and performing to capacity crowds at Sonic Forge Festival in Melbourne. 

A crowd funding campaign in July, 2013 heralded the 2015 release of 'Known/Learned' a 16 track conceptual double album. 

Arcane blends the technicality of progressive metal with the atmospheric intensity of bands like Tool, Riverside and Anathema.  The world is about to discover what their Australian fan base already knows – that Arcane is a rising star in the world of progressive music.

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  • One night of the band's two-week "Controlled By Radar" tour found Scott McGill, Michael Manring, and Vic Stevens booked into a jazz club in Boston. The fusion trio quickly adapted, adding some choice jazz standards to their set list…but with a twist. They performed these classsics their way – a mixture of straight up jazz, fusion and skronk. The crowd was blown away by the originality and the band's audacity. As the band continued their tour the list of standards in their set grew and the response was always overwhelming. It was decided that the band's third album would be a collection of contemporary jazz standards done the MMS way. These are three virtuoso musicians that had individually and collectively already made their mark in the world of fusion. Why not go back to their roots? If the band was going to cause a fissure in the fabric of the jazz community why not go all the way? Noted guitarist and texturalist producer David Torn (Jeff Beck, Kaki King) was asked to mix the album. The man behind the Splattercell project was given free reign to take the unmixed session tapes and "do his thing" and that is exactly what he did. The results defy all the standards of what a jazz album should sound like. It's a mutated soundscape that will make the trio villains to some and hopefully heroes to many. John Coltrane, Miles Davis, Bill Evans, Wayne Shorter, Herbie Hancock, and Sonny Rollins, among others, composed timeless classics that have been ingrained into the souls of jazz listeners for a generation. "What We Do" takes these compositions, breaks them down and reconstructs them both musically and sonically. It offers a unique and controversial interpretation of these tunes that is pure MMS. What We Do is a punk jazz manifesto for a new generation of jazz fans around the world.
    $7.00
  • New digipak edition of the rarest Italian prog album its certainly also one of the strangest... "This is one weird album indeed. Even more weird when you consider some of the musicians involved. For example you got keyboardist Charles Tiring. He was not your typical twenty-something like you usually expect in prog rock bands. At the time this album came out, he was said to be 68 years old (not likely alive these days) and married to an 18 year old, which meant that didn't exactly endear himself to the rest of the band (he left after this album and they became Antonius REX). The rest of the musicians included Anthony Bartoccetti on guitar, bass and vocals, Doris Norton (known as Fiamma Dello Spirito on this album) on vocals, violin, and flute, and someone named Franz Parthenzy conducting the medium. What's also weirder was they were exploring the occult, performing under séances. While other prog rock bands simply used keyboards like the Hammond organ, Charles Tiring went totally hog wild on the pipe organ, although he used the occasional Moog for sound effects, and harpsichord and piano on occasions. There are times that it's really difficult to call this prog rock, because it's not rock, and pipe organ is sometimes the only instrument used. The album opens up with "U.F.D.E.M." which is often regarded as the album's high point. Here you get pipe organ and harpsichord, with Doris Norton singing in Italian, sounding a bit like an Italian Anna Meek (of CATAPILLA fame). "Praesentia Domini" is largely pipe organ, but near the end comes some chanting in Latin, obviously a séance. "Jacula Valzer" is a nice, pleasant jazzy piece with that atmosphere of a bad early '70s horror film. This one features some nice flute and piano. "Long Black Magic Night" is another worth mentioning. Violin and flute dominates, and Doris Norton chants in English, and comes to demonstrate just how lousy her English is. This song even more just screams "bad horror film". Listening to this, you can just imagine the cobwebs, vampires, and a pipe organ. The last piece, "In Old Castle" is the most pointless piece, as it's all pipe organ and nothing else. "Tardo Pede In Magiam Versus" is a truly like or hate it album. Some just call this a bunch of Satanic nonsense, others call it spooky and Gothic. I can be certain GOBLIN had heard their share of JACULA and Antonius REX in their lifetime, especially since GOBLIN was best known for scoring gory Dario Argento horror flicks (luckily GOBLIN went for a more conventional prog/fusion direction, with normal instrumentations, even though they sometimes used pipe organ). The original LP of "Tardo..." isn't easy to come buy, but Mellow Records reissued it on CD, if you can find a copy for cheap, get it, for a curiosity, but I bet you that you'll probably be waiting for Halloween to play this. Weird album indeed that might scare a few people away." - Progarchives.com
    $16.00
  • My Soliloquy is a British band formed in 2002 by multi-instrumentalist Pete Morten.  Since then the band has released a number of demos, gaining traction in the metal underground. The band had a number of notable support shows with Pagans Mind, Power Quest, Oliver and Rick Wakeman, and Threshold, as well as a second-to-headline set at Bloodstock 05 and a showcase at 2007’s ProgPower UK II.Since 2007, Morten has been an active member of British prog metal legends Threshold.  His membership has raised awareness (and created anticipation) for My Soliloquy’s long awaited debut.The essence of My Soliloquy is pure forward thinking metal – symphonic keyboards, shredding guitar leads, soaring vocals – all finely woven together with a blend of intricacy and melody.  The Interpreter was mixed and mastered by Rob Aubrey who has been a mainstay of Marillion’s camp for many years.
    $5.00
  • "This 1971 release also went gold, here with an unreleased live version of Travellin' in the Dark (to E.M.P.) ."
    $5.00
  • "When cooking up one of your favorite old recipes, sometimes adding different spices and/or ingredients to the usual mixture will excite your taste buds, and in the end, bettering the original formula. The same can be said for music, and CRYSTAL BALL is a perfect example. As one of Europe’s hard rock mainstays for better than a decade, after the release of their 2007 album, “Secrets”, the band took a break from recording for a few years. They returned in 2013, after adding a new vocalist to the mix, with the album “Dawnbreaker”, and their musical recipe was perfected. And now in 2015, with renewed energy and passion, along with a brand new album, they are set to prove that some things only get better with time.On their 8th studio album, “LifeRider”, CRYSTAL BALL has masterfully blended in a bit more AOR presence with their usual dose of Melodic Heavy Metal and pounding Power Metal elements, creating a hybrid sound that is crafted to please the Metal masses. Consisting Scott Leach on guitar, Markus Flury on guitar, Cris Stone on bass, and Marcel Sardella on drums, and Steven Mageney on vocals, this seriously talented band is offering up, what I believe to be, their best album to date.The opening track, “Mayday”, is a true rock anthem, and with its big infectious chorus, this one will be stuck in your head for days. “Eye To Eye” (featuring the great Noora Louhimo from BATTLE BEAST) is a track that displays all of the elements that have made this band great; power metal guitar chords, massive melody, and powerful lead vocals. On the song “Hold Your Flag”, I picked up a lot of DIO influences; heavy rhythmic guitars and dark melodies, and Mageney’s vocals really shine, summoning a strong “Sacred Heart” vibe. Speaking of Ronnie Jame Dio, they’ve included two songs made a famous by the great one himself, “Sacred Heart” (DIO) and “Sign of the Southern Cross”(BLACK SABBATH), and to be honest, these classic covers gave me chills. But by far, my favorite song on this album is “Gods of Rock”. Opening with a bluesy groove riff, this is one of the heaviest Traditional Heavy Metal songs on this offering (along with “Rock of Life” and “LifeRider”) and will definitely leave you with a stiff neck after just one listen. They do show their softer side on “Bleeding”, an AOR style ballad that showcases Mageney’s lower register to perfection. Great song! There is not a weak moment anywhere to be found on this 15 song release and should, without question, solidify CRYSTAL BALL’s headliner status.“LifeRider” was one of the releases I looked forward to the most in 2015, and it did not disappoint. CRYSTAL BALL will definitely gain traction with this release and should be playing to massive crowds whenever they take the stage. Sometimes there are questions when a successful band changes faces, especially the lead singer, but with two great albums under their belt, and “LifeRider” being one of the best I’ve heard this year, the future looks brighter than ever for this amazing band. If you’re a fan of AOR, Melodic Heavy Metal, or Power Metal, this album comes highly recommended." - Metal Temple
    $16.00
  • 2LP 180 gram vinyl in gatefold sleeve.  Magenta's latest finds them returning to an overtly progressive rock sound and the music is all the better for it.  The Twenty Seven Club is a concept album based around famous rock stars that died at the age of 27 (Janis Joplin, Jim Morrison, Jimi Hedrix, Kurt Cobain, ao).  The core lineup is Rob Reed, Christina Booth, and Chris Fry.  For this album the band is rounded out by guest drummer Andy Edwards of IQ.  Reed's keyboard work is back in the fore and Fry's Howe-isms on guitar always bring a polish to the music (and grin on the face).  Christina Booth's voice is a real gift and she shines as always.  Overall the music makes some overt references to Yes and Genesis so you get that old school flavor that the band hasn't offered in many years.
    $39.00
  • "On March 25th, 2014, Dream Theater performed at the Boston Opera House with very special guests from the Berklee College of Music orchestra and choir. Filmed and directed by Pierre and François Lamoureux, and mixed and mastered by Richard Chycki, Breaking The Fourth Wall (Live From The Boston Opera House) is over 2 hours in length, complete with special bonus features." 
    $21.00
  • This is the new 40th anniversary edition.  The CD features the expanded set and given a new mix courtesy of Robert Fripp, Tony Arnold, and David Singleton.  The DVD-A features a hi-rez (24/96) stereo mix and hi-rez (24/48) versions of the 2005 mix as well as the 30th anniversary remaster.  You also get a 24/96 vinyl transfer.  I think Robert has definitely beaten this one to death.  Once you have this version there isn't anything left.
    $21.00
  • This is one of the better prog rock albums I've heard to come out of Germany in some time. Second album from Invertigo is modern sounding - I guess this is what neoprog has evolved into. Normally I don't go for this sort of thing but its really well done progressive rock that occasionally touches on an old school vibe. Fans of Sylvan will go nuts for this band. Check out the 22 minute closer "The Memoirs Of A Mayfly" - some nice echoes of The Flower Kings and Genesis creep in. If you are into a more contemporary progressive rock sound there's a good chance you'll find this one essential and probably one of your favs for 2012.
    $15.00
  • "There are some bands that have a feel of “going through the motions” when releasing new albums, either relying on successes of previous efforts or generally uninspired by the process. Then there are bands that put every bit of energy, heart, and soul into each and every album driven by a desire to create stronger material, never lazing under the notion that albums “can’t get any better than ‘x’ release.”Ever since 2003, Swiss folk metal act Eluveitie has been captivating with every release, as if the word “monumental” was ingrained in the band's genes. It’s not simply because of its Celtic roots, or the combination of melody with that splash of extreme, or the use of what seems like hundreds of instruments (most of which you can't pronounce), but also the amount of blood that runs through the songs like veins inside each album. There is energy with every album that transcends the boundaries of just being music….it’s a blanket that warms, a beer that satiates, a lover that satisfies, a book that creates worlds, and music that emotes. “Origins” might just be the best album in the band’s history and clearly is a top contender for 2014.Eluveitie also has the distinction of being one of the few groups that has the ability to inspire fans to delve deeper into the historical content of each release, especially after witnessing a live performance. It’s one thing to live in the comfort of a well-produced album with the ability to perfect the sound, but once you see this band in a live setting – meticulously re-creating the sound of the recorded masterpiece note for note, instrument for instrument with deadly precision – the true beauty shines through. Only by visualizing this culmination of what must be a motherload of practice and effort that has led to perfect timing and execution will you then have complete appreciation for how much this band gives a shit about its craft. Calling it extraordinary seems so ordinary.“Origins” expounds upon the formula blazed in “Helveitos,” but harkens a bit back to the days of “Slania,” with much higher production values. I was a bit perplexed by a backlash from some critics of “Helveitos” who cited a rather startling “lack of originality,” so it wouldn’t be a shock to see “Origins” met with similar caterwauling. More astounding is trying to comprehend exactly what the expectation level is given the history of Eluveitie since “Evocation” was released in 2008. With “Origins” you can brace yourself for much greater Celtic “origins,” more bagpipes and flutes, and more participation from Anna Murphy, who has now become just as indispensable as Chrigel.There is plenty of “Slania” here to keep the “trve fans” satisfied – check out “Inception,” “King,” “Carry the Torch,” or “The Silver Sister.” For those that also love intricate and pulse generating Celtic melodies with more flutes, tin whistles, and Gaitas than you will ever find at a Riverdance show, all reinforced by Chrigel’s death grows and interlaced with Anna Murphy’s astounding voice – look no further than tracks like “Celtos,” “From Darkness,” “The Nameless,” “Sucellos” and what sounds like the sequel to “A Rose for Epona” – “The Call of the Mountains.” The only chink in the otherwise perfect armor is the swiftness that this album passes, even though it clocks in at 52 minutes, not including intros (58 with). I suddenly wished for an hour and a half, knowing it will probably be too long.In the end, Eluvetie raised it's stock higher, carving a greater niche and ascending a crowded folk metal scene. In what will surely be a fiddle fight death match with bands like Elvenking and Equilibrium, Eluveitie may just be the strongest contender this year, barring no subgenre. “Origins” will astound the faithful as well as garner more critics desiring “something different.” The fact remains….what Eluveitie does is in of itself “something different” and “Origins” may be the best effort yet." - Metal Underground
    $16.00
  • Everyone has their favorite Rush album...this one is mine. "A Farewell To Kings" is a pure masterpiece of progressive hard rock. Their use of dynamic shadings on this record are outstanding, most notably on "Xanadu". Essential prog.  Remastered edition.
    $5.00
  • Obscure rarity from 1971.  Takeshi Inomata is a legendary drummer in the Japanese jazz scene.  Early in his career he had some albums that crossed over into rock and jazz rock territory.  Innocent Canon is easily his wildest.  It features Kimio Mizutani on guitars and he's killing it.  Totally lethal.  Toshiaki Yokota is here contributing spacey flute and some kat named Shigeto Ohara on keys.  Ohara is totally unknown to me but his use of organ and electric piano is pretty much as over the top as Mizutani.  This is one weird album.  There is some weird narration that crops up but it isn't really too much of a distraction.  Easily one of my favorite Japanese albums.  Highly recommended."One of the matchlessly eccentric sound kaleidoscopes - even in Japan every reviewer called him as a musician with a warped soundscape. Yes, he might be a confuser (in a good sense). Amazingly, Takeshi promoted Noriaki KANOH, a young and promising photographer, to a narrator (free talker?) in this album. Such a strategy we could not find in another one in 1971. Anyway, 1971 was a golden year for Japanese progressive rock scene, as I've mentioned again and again ... and the credit of Kimio MIZUTANI can be found on lots of album sleeves in that year. Even in 'Innocent Canon', Kimio's aggressive guitar solo can lead all instruments and all listeners. And yeah, Takeshi's strict drumming absolutely can support this 'air' and 'ground'. The narration by Noriaki (currently he's called 'Tenmei' though) is sometimes lazy, sometimes unique, and sometimes ardent. Mysteriously, for me his talk was boring previously, but to listen to this stuffs again and again has interested me in his fuzzy fascination for music.This album cannot be discussed only under the category of jazz-rock, though Takeshi was (and is) a renowned Japanese jazz drummer indeed. Kimio's heavy guitar and ethnic sitar, Toshiaki YOKOTA's mind-altering flute, and especially Noriaki's flat narration - all elements can make these songs more psychedelic and more avantgarde. Listen to the first track "Introduction" directly ... heavy, headaching, hypnotic riffs and enthusiastic but level narrations are very typical upon Japanese psychedelic progressive rock scene in the early 70s. In the next "The Death Of Janis" (dedicated to Janis Joplin) Toshiaki's flute solo is very mind-blowing, in spite of Noriaki's sensitive talk. The third "Go For Nothing" has violent 'NO!' voices and at the same time a delightful, pleasant jazz ensemble ... this contrast is wonderful. "Alone", the sixth, is very impressive with Oriental fragile mood by Kimio's sitar. We feel impulsive tension even in the last song "Epilog", where Atsushi SUZUKI's whistle be very comfortable indeed.Highly recommended as a very strange footprint on Japanese music scene." - ProgArchives"Takeshi Inomata is almost legendary Japanese jazz drummer. This, second album of his Sound L.T.D. band isn't jazz of jazz fusion though. Released in 1971 it contains weird music - very eclectic mix of psychedelia, jazz, heavy rock and avant-garde.First unusual thing is waiting listener at the very beginning - there is no vocalist on this album, but there is narrator ( speaking voice). But the music is far not a down tempo saga for such vocals! Album's opener "Introduction" is heavy rock guitar filled organ passages based energetic composition with speaking vocals on English and Japanese! Heavy psychedelic version of early Deep Purple or Uriah Heep."The Death Of Janis", dedicated to Janis Joplin, is spacey down tempo aerial composition, mostly based on synth sounds (with some speaking vocals in Japanese as well)."Go For Nothing" is jazz composition with sax soloing. Still spacey and slightly psychedelic. At the end of it there most strangest screaming voices are added. Absolutely weird atmosphere!"Child And I " is brass-rock composition flavoured with sax and guitar soloing, electric keyboards and speaking vocals. "Blue " is blues rock with soloing flute. "Alone" sounds as Miles Davis influenced complex free jazz with post-bop elements and soloing sax."Epilog", the last album's composition opens with sea waves noise and contains very optimistic melodic pop tune. So - now you can imagine all these different genres with freaky vocals (voices?), placed on one album? But most important - all this eclectic mix is very professionally played, and sound very attractive!Great and unusual album, somewhere between psyche, avantgarde and jazz. Recommended!" - ProgArchives
    $21.00
  • Japanese SHM-CD mini-lp sleeve."The true birth of thrash. On Kill 'Em All, Metallica fuses the intricate riffing of New Wave of British Heavy Metal bands like Judas Priest, Iron Maiden, and Diamond Head with the velocity of Motörhead and hardcore punk. James Hetfield's highly technical rhythm guitar style drives most of the album, setting new standards of power, precision, and stamina. But really, the rest of the band is just as dexterous, playing with tightly controlled fury even at the most ridiculously fast tempos. There are already several extended, multi-sectioned compositions foreshadowing the band's later progressive epics, though these are driven by adrenaline, not texture. A few tributes to heavy metal itself are a bit dated lyrically; like Diamond Head, the band's biggest influence, Kill 'Em All's most effective tone is one of supernatural malevolence -- as pure sound, the record is already straight from the pits of hell. Ex-member Dave Mustaine co-wrote four of the original ten tracks, but the material all sounds of a piece. And actually, anyone who worked backward through the band's catalog might not fully appreciate the impact of Kill 'Em All when it first appeared -- unlike later releases, there simply isn't much musical variation (apart from a lyrical bass solo from Cliff Burton). The band's musical ambition also grew rapidly, so today, Kill 'Em All sounds more like the foundation for greater things to come. But that doesn't take anything away from how fresh it sounded upon first release, and time hasn't dulled the giddy rush of excitement in these performances. Frightening, awe-inspiring, and absolutely relentless, Kill 'Em All is pure destructive power, executed with jaw-dropping levels of scientific precision." - Allmusic
    $16.00
  • European import expands on the US edition. This is Within Temptation's one-off "Black Symphony" concert. The band was backed by the Metropole Orchestra as well as a dance company. This deluxe edition comes with a bonus DVD with a bonus concert performance, music videos, documentaries and the typical "stuff". Also included is the audio soundtrack of the complete performance, contained on 2 cds.
    $50.00