Lights Out

SKU: 2963-2
Label:
Nuclear Blast
Category:
Hard Rock
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Stunning third album from these Swedish 70s hard rock revivalists.  Graveyard delve into the same gene pool as Witchcraft but the music is more Yin than Yang.  More Led Zeppelin than Black Sabbath.  Some blues driven psychedelia laced with a bit of phat analog keys drives the point home.  If these guys were around 40 years ago they would have been at the top of the heap. Yeah...they're that good.  Highly recommended.

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  • The Japanese jazz scene is finally getting the attention it deserves.  Long written off as just a scene filled with copycats of American and European artists, jazz fans around the world are now discovering that there was some amazing music being created there.  Some of the musicians like Terumasa Hino and Masabumi Kikuchi crossed over into the world jazz scene but for the most part many of the musicians there only gained popularity in Japan.  One of the most important Japanese jazz labels from the 70s was Three Blind Mice.  It was started in 1970 by producer Takeshi "Tee" Fuji.  The label adhered to strict audiophile standards and all of the releases on the label featured exemplary sonics.  The music of Three Blind Mice tended to fall into three facets of jazz (they would crossover from time to time).  Some of the artists play very traditional straight ahead jazz.  Frankly while this stuff appeals to audiophiles its not that appealing beyond the sonics.  There was also an experimental side to the label featuring a lot of free jazz blowing.  The third aspect, which to my ears is the most interesting, is the area where the label explored modal jazz, often with an electric element.  Very little of it would be hardly be called fusion, but a rock element would sometimes be present.  This falls into the realm that has been broadly tagged as "kosmigroov".The label only existed in the 70s and the rights to the catalog has now passed over to Sony Music.  Think Records in Japan has started a limited ediiton reissue campaign of the Three Blind Mice label.  They arrive in mini-LP sleeves and are manufactured using Sony's proprietary Blu-Spec process.  We are cherry picking titles we think should have your attention.  More will follow in the near future.This was actually the very first release from the Three Blind Mice label back in 1972.  It is also the first album from alto/soprano saxophonist Kosuke Mine.  He had previously played with the great Masabumi Kikuchi but this was his first recordings in which he led his own ensemble.  The quintet also included the amazing Takahask Mizuhashi on bass, Hideo Ichikawa on electric piano, Takashi Imai on trombone, and Hiroshi Murakami on drums.  The album consists of 4 long modal jazz explorations filled with some incredible soloing.  A stunning album that will take you to another dimension. 
    $29.00
  • "When Jethro Tull released Benefit in 1970, it signaled a new, more progressive musical direction for the English band. It also became one of the best-known albums of their career, which is going strong more 60 million records and 40 years later. The Grammy winning group is revisiting that pivotal album with a 2-CD/DVD-Audio collector s edition.The 2-CD/DVD collection comes loaded with a massive amount of music recorded by the band, which at the time featured: multi-instrumentalist frontman Ian Anderson, guitarist Martin Barre, drummer Clive Bunker, pianist John Evan, and bassist Glenn Cornick.The first disc contains the album s 10 original tracks, plus five bonus tracks that include both the U.K. and U.S. stereo versions of "Teacher. " All the songs are newly mixed by Steven Wilson and approved by Ian Anderson. The second disc includes newly remastered versions of rare tracks and singles recorded around the same time as Benefit, such as "Sweet Dream" in both stereo and mono.The audio-only DVD, which is available exclusively with this version, is packed with 58 tracks, including the album and bonus tracks in 5.1 surround sound. It also contains the U.K and U.S. versions of the album. The American version was sequenced differently and replaced the U.K. track "Alive and Well and Living In" with "Teacher. " In addition, the set also comes with a handsome booklet filled with rare photographs, an essay by Martin Webb, and interviews with band members."
    $28.00
  • The Japanese jazz scene is finally getting the attention it deserves.  Long written off as just a scene filled with copycats of American and European artists, jazz fans around the world are now discovering that there was some amazing music being created there.  Some of the musicians like Terumasa Hino and Masabumi Kikuchi crossed over into the world jazz scene but for the most part many of the musicians there only gained popularity in Japan.  One of the most important Japanese jazz labels from the 70s was Three Blind Mice.  It was started in 1970 by producer Takeshi "Tee" Fuji.  The label adhered to strict audiophile standards and all of the releases on the label featured exemplary sonics.  The music of Three Blind Mice tended to fall into three facets of jazz (they would crossover from time to time).  Some of the artists play very traditional straight ahead jazz.  Frankly while this stuff appeals to audiophiles its not that appealing beyond the sonics.  There was also an experimental side to the label featuring a lot of free jazz blowing.  The third aspect, which to my ears is the most interesting, is the area where the label explored modal jazz, often with an electric element.  Very little of it would be hard card fusion, but a rock element would sometimes be present.  This falls into the realm that has been broadly tagged as "kosmigroov".The label only existed in the 70s and the rights to the catalog has now passed over to Sony Music.  Think Records in Japan has started a limited ediiton reissue campaign of the Three Blind Mice label.  They arrive in mini-LP sleeves and are manufactured using Sony's proprietary Blu-Spec process.  We are cherry picking titles we think should have your attention.All Right! is an unusual set from noted Japanese bassist Isao Suzuki.  First off he doesn't play bass on the album!  He concentrates on electric keyboards and cello.  His quartet consists of himself, Kazumi Watanabe (guitar), Osamu Kawakami (bass), Shinji Mori (drums).  This time they are augmented with electric bassist Akira Okazawa.  Its a hot plugged in set, with Suzuki playing Hammond organ, electric piano and cello.  Kazumi is given lots of room to solo.  There is one sort of lame track with Suzuki singing but its thankfully short and somewhat redeemed with Watanabe's sublime fretwork.  Yet another hot one from Three Blind Mice!
    $29.00
  • "The title isn't really a joke, actually. Machine Head do take some chances on their second album, The More Things Change..., expanding their brutal attack with gothic flourishes and prog rock pretensions without ever abandoning their blistering thrash metal roots. And that's good -- few bands have the appealing, gut-level visceral attack of Machine Head and The More Things Change... proves they are among the more vital metal bands of the latter half of the '90s." - Allmusic Guide
    $6.00
  • "David Rhodes has released his second solo album. Not a solo album, actually. Things are a bit different than with Bittersweet. The core musicians who were with David in 2009 and went on tour with him later have formed the trio that recorded the new album. They are David Rhodes himself on guitars, Ged Lynch on drums and Charlie Jones on bass. When they found all other names either lacking in or overflowing with meaning they settled on "Rhodes" and also gave the album that name.The sessions at which they recorded the songs in early 2013 were paid for through crowdfunding via the PledgeMusic website.  Though that took a slow start it soon took off and the required sum was made up quickly. Many Genesis fans contributed, as did the genesis-news.com themselves. No wonder that the GNC folk paid special attention as to how the project came along – after all, they were personally involved, as it were...With this support the band recorded a dozen songs, ten of which made it to the album. In Rhodes it is David Rhodes alone who wrote the songs and the lyrics. The music is much tighter than on Bittersweet, though. There is only bass, guitar and drums – no keyboards, no strings, no frills.What has been carried over from Bittersweet are the depth and the quality. Strength and magic are probably good terms to describe the poles between which the music moves on Rhodes. There are straight rock numbers as well as a melancholy waltz and groovy guitar pop.  David Rhodes' instrument plays a central role, of course. It is put to use in lots of different ways (frequently very loudly so) and receives the typical Rhodes tinkering. The rhythm group is at times energetic, at others sensitive, and Tchad Blake's accomplished mix adds that subtle special bit to the individual moods.The lyrics have something of the thoughtful way of remorse and of picking oneself up again that we know from Bittersweet, but here they are a bit less striking. David Rhodes' phrasing seems quite unusual at times; the phrase „slipping by squeeze between the glass“ is pronounced contrary to all usual stress patterns. That actually makes it all the more interesting.The album cover is another interesting thing – it shows a cow wearing a strap-on elephant trunk. David Rhodes explains it as a playful and surreal motive that brings up the question of identity: Can  identity be changed? Are all attempts to do so merely a camouflage? Perhaps cows do dream of the savannah and the elephant's trunk is how they live out their dreams. In any case he wanted something colourful that would catch the eye.If I Could Empty My HeadThe opener is a quick rock number with a light and driving rhythm and guitar lick, strong overdubs and a howling solo in the middle. The lyrics are vaguely self-contemplatory. The song showcases much of what the listener will encounter elsewhere on the album.Grinding WheelThe second song is a grooving complaint, though the lyrics read more like a set of instructions. The rhythm track fits well to this; it is a bit aseptic, subdued and cool, while the guitar solo on the other hand saws loudly.Ship Of FoolsAn eerie sequence of harmonies – it lulls you in comfortably yet it is subtly disconcerting at the same time. This is countered by an almost unrestrained chorus. The lyrics tell the familiar story of the ship of life that will sail into destruction without a helmsman. Rich atmospheres make the song very engaging.You Are The North WindThe strong trio can do sensible, too. Demure instrumentation, a clever rhythm line and word associations paint a broad picture of easy, passionate longing. Acoustic, percussive, warm.Monkey On My BackThe straightest rock number on the album. Big grooving guitar and staccatos from both the bass and the drums drive this piece forward. It is almost hypnotic in its simplicity. As far as the content is concerned, Monkey On My Back continues Monster, Monster from Bittersweet to a certain degree.Waggle DanceDavid Rhodes played this song on the Bittersweet tour. A swinging foundation gets your feet a-tapping and takes you into a sexy chat-up number. The lyrics knit amusing double entendres that fit the bees' waggle dance as well as human mating rituals.TimeA gentle waltz. Acoustic guitars. Despite rather remorseful lyrics about a "time" that was "not on our side" the music exudes much imperturbability. With a regretful undertone. A confusing song that wins over its listeners perhaps even because of its inner calm.Three Is EverythingThis may well be the song on Rhodes where David contemplates his own life. He sings about a family growing, about years passing – and the enduring dream of a place full of peace and comfort. Add playful choir embellishments and gently advancing, simple guitar sounds. Three Is Everything is the song on Rhodes that has the most grace, placidity and acceptance of life.My Blue BalloonA less flamboyant song. The blue ballon is to fly around the world and tell of the things it sees. It does so with static melodies and a chorus that does not stand out much from the verses. In the middle the song almost explodes.Be MineA thoughtful piece at the end that still exudes shy optimism. Tentative and choppy verses are followed by a longing, gently rocking chorus that moves into a brute guitar solo with which the album ends. The last thing you hear is the guitar being unplugged from the amp.All in all...The album is more recalcitrant than its predecessor, but Rhodes offers a big range of moods and thoughts. Reducing the music to a trio has directed it in the direction of Wave. Those who found Bittersweet Gabriel-ese in a way will now fall silent." - Genesis News
    $15.00
  • "Blues-Rock veterans, the Stoney Curtis Band, returned to the studio in Las Vegas this summer in follow-up to their 2012 double-live release. The resulting CD, Halo Of Dark Matter, is a high-energy collection of guitar-oriented jams, that recalls the stadium guitar heroes of the 70's. This fifth record in Stoney's discography takes things up a couple of notches as his songwriting and soloing skills ascend to yet a higher plateau. The Stoney Curtis Band has been working the clubs between Los Angeles and Las Vegas, for over 10 years, honing their own brand of psychedelic Blues-Rock, readying their show for the road ahead. Over the past few years the band has done a number of USA tours and six European tours as well. Heavily steeped in 60's/70's Psychedelia, the Stoney Curtis Band has translated the energy of their phenomenal live show into an incredible new studio disc containing over 70 minutes of full tilt Blues-Rock."
    $15.00
  • "Just under two years ago, at ProgPower USA 2012, the first single and video for the new track “Web of Lies” was premiered. Now all the blood, sweat ,and tears that Halcyon Way put into what would become the next album “Conquer” has finally come to fruition. Shortly after the release of the EP “IndoctriNation,” the seeds of “Conquer” were sown. Since that release and the last full-length album “Building the Towers,” the band went through a couple of lineup changes. However, the core remained the same and the end result is a testament to the will of guitarist Jon Bodan, vocalist Steve Braun, and drummer Ernie Topran’s unyielding desire to succeed. “Conquer” is by far the best offering from the band, incorporating a depth of influences that cross genres to the point where you can only call it “progressive.”There is much more to the concept of “Conquer” than the underlying message. Where there has always been great maturity and strength in the songwriting, the band has incorporated some of the most muscular riffs in its history, making this release by far its heaviest material recorded to date. Melody mongers need not fret, as the soulful whims of a hard rock band lurk deep inside the madness. The best way to describe the performance on “Conquer” is “armor-plated Saigon Kick with industrial tentacles.” Knowing much of the influences that each member brings into the fold, I can easily envision a death match where the old hard rock roots being pummeled and distorted by the modern meat mallets of Monster Magnet and Samael.The title track paves the way with Braun’s impassioned chanting equipped with sharpened blades. It’s a nasty little combination that leaves him open to take it in any direction. For tracks like “Conceived in Torment” and “Hatred is My Cause,” Braun ratchets up the edges aided by Bodan’s death grunts for lethal brutality. Lessor “evisceration” comes in the form of “Home” and two of the album’s most expressive tunes “Save Your Tears” and “The Poisoned Apple.” At no time does the album succumb to that programmed standard album formula: heavy, heavy, mid-paced, power ballad, heavy. It has too many moving parts that keep the sound fresh and modern.Some of the strongest offerings come in the relentless attack riffs in “World Comes Undone,” the equally destructive but faster paced “King of Ruin,” and the on par closer “Eviscerate the Morning Sun.” Personal favorites include the long released “Web of Lies” and its “you can’t hold me back” chant, and the brilliant modern metal classic “Militant,” which is the aggregate of what you will hear on the entire release. At the risk of sounding like a broken record, the production and sound aspects of “Conquer” can be summed up with the same two words that have graced many a review from yours truly in 2014: Lasse Lammert. I shall not further expound upon this man’s knob turning talent any more than has been stated in the past.“Conquer” may have been the logical choice for an album title. You can point to the many themes throughout the lyrics and extract all sorts of meaningful impressions. However, the true meaning of “Conquer” is that Halcyon Way has struck a chord of near perfection with an in fallible modern metal sound, which keeps the listener off guard with the unexpected…yet ironically with the same comfort level expected from a band with the maturation, talent, and songwriting ability of 13 year veterans." - Metal Underground
    $12.00
  • "This is an interesting crossover in that this album is reflective of a storyline that runs in the lyricist's recently published allegorical fantasy novel, The Edge of the World. Based on two opposing religions that consider the same city as a holy element, they agree to sign a peace treaty. But, as strife will have it, this ends in the literal burnt ashes of the city as an all consuming fire destroys the city setting both religious sides against each other yet again. The author was drawn into a music rendition of his story and supplied all lyrics while a coterie of prominent Prog Rock and Symphonic Rock form to create a band to present this story. Most prominent is the music-writing for the Anderson/Moesta lyrics supplied by Erik Norlander of Rocket Scientists. Vocally, the chores are shared between heavyweights like James LaBrie (Dream Theater), Lana Lane (a remarkable Ann Wilson sound-alike with a powerful voice, who has sang for many bands, and who is married to Norlander), Michael Sadler (Saga), and John Payne (later period Asia). The vocalists take on characters and throughout the album sing the appropriate parts. Musically, this band known as Roswell Six, have created a fine Prog/Symphonic effort named Terra Incognita: Beyond the Horizon. The clear influences are here. You'll hear Yes in the mix as well as the sounds of ELP, Kansas, Freedom Calls, and other usual suspects. The lean is toward symphonic rock with plenty of violin performed by David Ragsdale (Kansas), cello by Mike Alvarez, and flute by Martin Orford. The results are often grand. The works heard on Terra Incognita do the genre justice and are recommended for fans of such music. But when you bring such talents together, you're going to get great music. There are thirteen high-grade songs, two of them instumentals. The booklet is filled with enticing art, all lyrics, and a connecting storyline that brings the book and album together for those that want the full experience." - Matt Rowe/MusicTap.net
    $3.00
  • "Power metal. A genre overpopulated by a tonne of bands that all sound the same as one another, with no real substance to their music and thin, weedy vocals that have no power – which is kind of ironic, given the name of the genre. But then there’s Persuader, who have smashed all boundaries and have brought life to this tired genre with their brand new album The Fiction Maze.It begins strongly enough with some good melodic guitar-work but it’s only when the vocals kick in that it becomes apparent that this is no ordinary album. The amount of sheer power and energy behind them just blow you away and it truly is a standout performance from frontman Jens, right from opener One Lifetime to closer Falling Faster.The album just has so much substance and it really does deliver from start to finish because you won’t find any filler tracks or songs that are simply ‘okay’. Particularly strong offerings are the striking opener One Lifetime which will be stuck in your head before you know it and the fast-paced Heathen that slowly builds up into a wildly catchy tune before you even know what’s hit you. Then there’s the title track The Fiction Maze (arguably one of the best on the entire album) which lulls you into believing it’s a slower, more laid-back track with its acoustic intro before smacking you in the face with heavy guitars and hammering drums. Absolutely amazing stuff!Persuader are onto a winner here with The Fiction Maze and it’s a perfect example of how to do power metal RIGHT. It stands out from the crowd in the best possible way and if you haven’t got this band in your life yet, then what on earth are you waiting for?" - Soundscape Magazine
    $14.00
  • Long awaited 5.1 remix of the classic Rush album.  Here is what you get...CD:1. Remastered edition2. 3 previously unreleased live tracksDVD:1. Video section has 5.1 and stereo remix in 24/482. Audio section has 5.1 and stereo mix in 24/963. Digital comic book, lyrics, liner notes and photo gallery
    $26.00
  • "A never before released full length concert album from one of the greatest undiscovered gems of 70s rock, Captain Beyond!Formed in 1971 by members of Deep Purple, Iron Butterfly & Johnny Winter s band, Captain Beyond is heavy, spacey and most definitely FAR OUT!This show was recorded just after the release of the band s second album, Sufficiently Breathless, during the their tour with King Crimson!Liner notes by noted rock historian Dave Thompson!"
    $15.00
  • The Japanese jazz scene is finally getting the attention it deserves.  Long written off as just a scene filled with copycats of American and European artists, jazz fans around the world are now discovering that there was some amazing music being created there.  Some of the musicians like Terumasa Hino and Masabumi Kikuchi crossed over into the world jazz scene but for the most part many of the musicians there only gained popularity in Japan.  One of the most important Japanese jazz labels from the 70s was Three Blind Mice.  It was started in 1970 by producer Takeshi "Tee" Fuji.  The label adhered to strict audiophile standards and all of the releases on the label featured exemplary sonics.  The music of Three Blind Mice tended to fall into three facets of jazz (they would crossover from time to time).  Some of the artists play very traditional straight ahead jazz.  Frankly while this stuff appeals to audiophiles its not that appealing beyond the sonics.  There was also an experimental side to the label featuring a lot of free jazz blowing.  The third aspect, which to my ears is the most interesting, is the area where the label explored modal jazz, often with an electric element.  Very little of it would be hard card fusion, but a rock element would sometimes be present.  This falls into the realm that has been broadly tagged as "kosmigroov".The label only existed in the 70s and the rights to the catalog has now passed over to Sony Music.  Think Records in Japan has started a limited ediiton reissue campaign of the Three Blind Mice label.  They arrive in mini-LP sleeves and are manufactured using Sony's proprietary Blu-Spec process.  We are cherry picking titles we think should have your attention.  More will follow in the near future.This is the final part of a trilogy of albums coordinated by label founder Tee Fuji.  Its a bit of an all-star jam with members of the TBM roster.  Once again it features 2 side long free wheeling sets of prime electric kosmigroov."Richly layered sounds from this wonderfully sensitive group – an ensemble from 70s Japan who really seem to find the best sort of way to allow each individual a special role in the music, while still also moving forward strongly as a group! As with other albums by the combo, the instrumentation here is really compelling – a mix of flute and clarinet from Kenji Mori, tenor and bass clarinet from Takao Uematsu, piano from Masaru Imada, 12 string guitar from Masayuki Takayanagi, tabla and percussion from Yuji Imamura, and cello and bass from Nobuyoshi Ino. The cello, tablas, and flute sound especially wonderful – working out some beautifully sensitive sounds amidst a bolder lineup in the lead – and the album features two long tracks, "A Tree Frog" and "Spanish Flower". 
    $29.00
  • New reworked edition of the band's first album - from back when they were originally known as Witsend.  This new version features remastered, resequenced tracks, bonus tracks, new artwork and liner notes.  It might have been their first album but it was certainly one of their best!  Highly recommended.
    $12.00
  • October Equus are one of the more interesting bands on the so-called "avant-prog" scene.  Their music has a dark energy that often evokes the spirit of Present and King Crimson.  A lot of this is due to the angular stylings of guitarist/leader Angel Ontalva.  The clarinet, sax and keys infuse jazz rock elements.  This is their complete live performance at the R.I.O. Festival 2014.  Apparently this was a controversial performance among the attendees.  Not sure why.  Listening to this I hear a band burning with fire.
    $13.00