Vietato Ai Minori Di 18 Anni (Mini-LP sleeve)

Phase - Midnight Madness is the third release in our limited edition Modulus series.  Pressed in an edition of 500 copies, it comes housed in a old school style tip-on mini-LP jacket.  A 12 page booklet features detailed liner notes from the members of the band.Phase was a New Jersey based quartet formed in 1978.  It featured Regan Ryzuk (piano, Moog, Celeste), Dave Anderson (electric and Anscor stereo guitar), Carl Scariati (Carl Thompson electric bass), and John Hvasta (drums/tympanis).  All members were young but highly accomplished musicians with a serious interest in jazz, classical composition, and progressive rock.  Their high energy instrumental music clearly demonstrated these influences.  The music of Phase can easily be classified as fusion but there are strong undercurrents of progressive rock that weaves its way through the album - not just in terms of the instrumentation or playing, but the compositions as well.The band signed a deal with QCA/Red Mark Records in Cincinnati.  The band left New Jersey and heading out to Ohio to record Midnight Madness.  The album was recorded and mixed very quickly.  It saw a release in 1979 and unfortunately sank without much of a trace.  Keyboardist Regan Ryzuk reissued the album two years label, rebranding and repackaging the release under the Fusion Quartet moniker.Hearing this music for the first time was quite a revelation.  I was blown away to say the least.  When I'm asked to describe the music I typically reply "Return To Forever meets Emerson Lake & Palmer".  Not only did this quartet have chops from hell but the compositions were challenging as well.  If you are a fan of RTF, Mahavishnu Orchestra or the prog giants ELP, Yes, Zappa, and PFM you will find much to enjoy here.Please keep in mind that when this edition sells out it will be gone forever.   

"Easily the “odd-duck” of the major Cardiacs records, the most controversial, and probably the hardest to get into at first. Some fans actually think this is an outright failure. Tim Smith has been quoted calling it his favorite record! The album’s fumbled release is part of the it’s weird reputation – it was the first full-length by the new stripped down line-up (already grounds for fear in the hearts of fans), and it was set for release on Rough Trade. But the label tanked and the album sat in the vaults for years until Smith’s label eventually released it with a different master. When I first heard it, I wasn’t sure what to make of it. The sound is definitely way different from “On The Land..” (though if you’ve heard “Sing To God” first it won’t be a huge surprise). The production is odd and harsh and obviously put together in the late 80s/early 90s. The songs are often really violent and complex, with a lot less breathing room than even before. But like all this band’s work, the compositions started to reveal themselves, and now I have very few bad things to say about any of these tunes. Is this my favorite Cardiacs record? No. But it’s cram-packed with amazing tracks and ideas. The opening track is a Cardiacs staple – the majestic anthem “Home of Fadeless Splendour.” Done entirely as a large-group-chant, it sort of sounds like a German political rally song, albeit one with Smith’s patented melodic style. It’s a genius tune. Next is the crazy and head-dizzying “She’s Hiding Behind The Shed,” one of my favorites. There seems to be a more trashy sound to some of these songs – the energy and thrust taking precedence over melody and intricacy (that’s particularly true on “Shed” as well as the pedal-to-the-metal “Anything I Can’t Eat”). “Goodbye Grace” is another trashy poppy standout. There’s another side to the record as well – a psychedelic 60s pop vibe represented by “Day Is Gone,” the absolutely beautiful ballad “Helen And Heaven,” and the incredible indescribable haunting closer “Snakes-A-Sleeping.” That last track has the best psych-out ending I’ve ever heard on a record – just hilarious and terrifying!!! I’ve come to appreciate every track here, though it definitely took some repeat listens and a push through the unappealing production  (“Core” has a fantastic vocal melody, “For Good And All” and “Bodysbad” are both insane and magical Smith-ian wonders). Not the best place the start, but a wonderful one to end up at!" - Madnest

Fourth and final studio album from the original lineup. Still plenty of good stuff here but marred a bit by an attempt at English vocals.

Its been quite a long time since we've heard from Magic Pie.  They went through lots of trials and tribulations getting this album finished but now its finally arrived.  If you are not familiar with this band here's the deal: Magic Pie are a Norwegian band with a retro 70s sound.  The music is a bit of a high wire act balancing the neo-prog sounds of The Flower Kings with the heavier elements of classic Uriah Heep.  They also seem to be the darlings of Rosfest having played there multiple times."It's hard to believe it's been 10 years since these proggers from Norway released their promising debut "Motions of Desire". At that time, their music struck me as an enthusiastic combination of classic prog and classic hard rock. (Think Deep Purple for the hard rock side of that equation.) At their best, they offered memorable passages and pieces that sounded like they very well could have been long lost recordings from many years ago. At their worst, they sometimes fell short of filling the big shoes of the legendary bands whose music they strove to emulate. That's actually not bad for a debut album from a new prog band. I found much to like and looked forward to hearing from them again in the future.Checking back in on them a decade later, I must say that I am very impressed with how they have developed and matured. No longer do I get the feeling that certain sections of songs are direct homages to any particular band from any one particular decade of prog's illustrious history. Their influences, while still very present and valid, are now more varied, including a greater percentage of modern reference points. More importantly, their influences are just that--merely influences rather than templates or even primary reference points.The sound quality on "King for a Day" is superb thanks in large part to the enlistment of sonic genius Rich Mouser (whose resume includes similar work for prominent contemporaries like Spock's Beard, Transatlantic and Dream Theater).Keyboardist Erling Hananger is an excellent addition to Magic Pie's recipe. His keyboard parts are expressive, dynamic and integral to the music. When appropriate, his leads seamlessly blend, harmonize, and work synergistically with electric guitar.The lyrics have a melodramatic and somewhat tragic flair this time around, but this is prog so you should be accustomed to the musical ride including a few tragic tales from time to time by now, right?OK ' so it's time for the "magic" question... A decade after their debut album, how has my impression of Magic Pie changed?On "King for a Day", I now hear a band which has found "its own voice", one that resonates confidently in the space somewhere between classic arena rock of yesteryear (on prog-steroids of course) and modern melodic prog of the 21st Century (like Spock's Beard and The Flower Kings). Add a few dashes of modern prog-metal to taste and you, my friend, have baked up a very nice confection indeed... MAGIC PIE!If you love modern prog anthems with big harmonies and 'sing along' choruses, give "King for a Day" a listen! I'm glad I did!" - ProgArchives

First album from this Italian band featured a heavier sound not to far from Deep Purple.  There are prog and psych moves so if you want to call it "proto-prog" you wouldn't be far off the mark.