In The Wake Of Evolution

SKU: INO 05192
Label:
Inside Out Music
Category:
Progressive Rock
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Keyboardist Hans Lundin is the only original member of this Swedish symphonic rock band. Notable members of this incarnation are Jonas Reingold on bass and Morgan Agren on drums. When vocalists Patrik Lundstrom and Aleena Gibson harmonize they sound quite a bit like Jon Anderson (kind of weird actually). Happy, upbeat prog!

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  • 40th anniversary vinyl edition of this classic Czech prog album. Flamengo existed in the late 60s as a singles band. This was their debut album, originally released in 1972. The Czech government felt the lyrics were to controversial so the album was withdrawn. The jazz undertones and blasts of sax remind of Colosseum but King Crimson comes to mind as well. Great slashing guitar leads and a big organ based sound. A bit dated sounding (it is 40 years old from a country that was about 10 years behind the rest of the world) but still has plenty of killer moments. 
    $18.00
  • 130 minute DVD packed with great live set as well as all kinds of bonus material. 5.1 Dolby Digital sound is reported to be awesome (I don't have a surround setup so I can't confirm).
    $18.00
  • AlieNatura is the second album from this superb band playing in the classic "rock progressivo italiano" style.  The band is led by keyboardist Elisa Montaldo, who is as impressive on the ears as she is on the eyes (pardon the sexist comment).  One of the strong points of the band's debut was the inclusion in the lineup of former Museo Rosenbach vocalist Lupi Galifi.  With MR reforming he's left Il Tempio Delle Clessidre.  The obvious concern is who could fill his shoes?  Apparently the unknown Francesco Ciapica.  Truth is he does a fine job.  The guy can sing.  He has that expressive style that fits this music so perfectly.  Beautiful symphonic keyboards, liquid guitar runs, phat Moog solos - this band has the sound down pat.  The Italian scene seems to be burgeoning with new RPI bands and I would classify Il Tempio Delle Clessidre right up there with La Maschera Di Cera.  That's saying something.  BUY OR DIE!
    $16.00
  • Tiger Moth Tales is the working name for British multi-instrumentalist Peter Jones.  Mr. Jones has great facility on all instruments and all the more impressive considering he is blind.  He's also a fine vocalist, having had a run on the British X-Factor competition.Cocoon is a conceptual piece based around the four seasons.  The album has a contemporary sound but there are some obvious old school references.  Genesis, Steve Hackett and Anthony Phillips solo work seems to be an influence as is the carnival elements of Haken.  In many ways I'm reminded of Big Big Train - one would think they drank from the same well.  Take something old and create something fresh.  No metal here although some flashes of heavy guitar now and then which work well against the acoustic bits.  Hackett vs. Phillips.  Not sure what it is about the British prog musicians but every once in awhile they create something that has a certain peaceful, tranquil vibe.  I often refer back to that old "Rain" album.  Long on mood and maybe short on chops.  Here we have the mood but Mr. Jones has injected the chops as well.  Highly recommended.
    $14.00
  • 2nd concept album is subtlely more straight ahead than their debut but is still light years beyond most bands in terms of originality and complexity. Compared by some to Faith No More.
    $15.00
  • Second album from this Swiss band draws very heavily from the Katatonia musical gene pool.  Melancholy metal that actually has a groove.  Some of the proggier bits remind of Tool.   
    $13.00
  • Second full length album - this one produced by Steve Albini has a more angular feel. The music is a little more towards the dissonant side and veers a bit away from the Crimson vibe that was on No Interference.
    $12.00
  • "Tracer release their new album ‘Spaces In Between’ on October 3rd (UK release) on the Cool Green recordings label.  The Australian desert rockers, who are based in Adelaide, comprise of brothers Michael and Leigh Brown and Andre Wise. They have had success with two previous independent releases, but ‘Spaces In Between’ will I feel launch Tracer to new heights.Tracer’s blend of 90’s stoner and 70’s classic rock is steeped in epic guitar sounds, clever hooks and raw, uncompromising vocals.I hope (and imagine) that Tracer can reproduce live on stage the intensity and passion and raw rock n roll that is so evident in this album. With the UK tour coming up I think we should all go and check out these Aussie contenders!“So what’s the album really like?” I hear you say.   The album starts with ‘Too Much’ and a great start it is. A guitar riff straight from the 70’s classic-rock bible. A solid, constant rhythm throughout. A very catchy rock song, which is understandably the first single from the album.Check out the video belowTrack two; ‘Push’ has a more laid back feel. It still rocks, but in a groovier kinda way. If Jimi Hendrix and Paul Rodgers had a lovechild, it would sing like this!‘Walk Alone’ continues the 70’s rock vibe. A solid drum beat throughout which has a simple yet traditional guitar riff over the topThe fourth track, ‘Louder Than This’ is stoner rock at its finest. Distorted vocals over a solid pounding drum beat, with guitars turned to eleven. There is almost a Slade vibe to this song. I can imagine Noddy Holder belting this out in the 70’s.The next track ‘Devil Ride’ goes back to the rockier tempo of track one. Definitely the catchiest chorus on the album so far.  I have a feeling that ‘Devil Ride’ might just be the next single.Track six is another thumping tune. ‘ The Bitch’ is the song which will get the crowd going wild in the mosh-pit, although they will still sing along to the chorus, with devil-horns flying high.The seventh track, ‘Voice In The Rain’ has a much slower pace than most on the album. The Paul Rodgers comparison to Michael Browns vocal is most evident here. A great performance.The album’s title track ‘Spaces In Between’ is the stand out track. The bass line complements the raw guitar sound and you find yourself singing along to ‘The Spaces In Between’ line of the chorusTrack nine is ‘Dead Inside’. This starts slow and Bluesy, rocks in with screaming vocals and guitar solos, slows back down again then totally rocks out towards the end. A clever song, which highlights the bands musical talents.‘Save My Breath’ is another pulsating rocker with some nice stop/start moments and even a little psychedelic middle eight!‘All In My Head’, the eleventh track, is a mellow rocker with another catchy chorus.The album closes with ‘Won’t Let It Die (Run Mary)’. A shot of Bad Company, a dash of Led Zeppelin and topped up to the brim with Jimi Hendrix.  Get the idea? A laid back song but with great guitar work, especially the solo. This will have you singing along by the end." - I Review Rock
    $12.00
  • "There’s plenty to say about the sonic gulfs that separate Yellow & Green from Baroness’ past work, but the primary difference here is in attitude. Blue Record was a concentrated draught of snarling triumph; this (double) album brings the actual blues. Yellow & Green unwinds an arresting array of rock and roll algorithms, each stamped with the hallmarks of Baizley/Adams era Baroness. Every minute of its execution, however, is drenched in dysphoric longing. Stepping back and evaluating the album is difficult; Yellow & Green’s heavy-hearted undertow drags you down without asking permission.Yes, heaviness has gone by the board and yes, Yellow & Green is a rock album at heart. But Baroness haven’t written a happy mainstream monstrosity; Yellow & Green’s wistful tonality goes hand and hand with the band’s “softening”. There’s an undeniably raw and genuine character to these songs that just might resonate with your tangled mortal coil.Songwriting is the name of the game on Yellow & Green. John Baizley and Peter Adams have taken a risk, putting their voices in the forefront of the music, working alone or in concert to harpoon your consciousness. No attempt has been made to spit-polish the vocals; strangely dissonant moments can be found amongst the soaring heights and sing-along choruses. There are more than a few spots where Mr. Baizley sounds charmingly flat. For many listeners, enjoyment of Yellow & Green will hinge entirely upon the singing. I was already a fan of the Baizley/Adams partnership; this unadulterated, sullen explosion of emotion hits the spot for me repeatedly.Southern rock proclivities permeate and paint the proceedings, percolating most obviously in the fuzzed out guitar tones and superlative solos. Every bit of somber, melodic songwriting is backed by ridiculous guitar intricacy. Well-worn rock devices manifest in the beats, in the song structures, and in the vocal patterns. Allen Blickle gamely picks up each thread of rhythmic diversity, mastering everything from thundering peals to 2/2 hops to poppy shuffles. Considering Summer Welch’s departure from the band, a curious amount of the music is driven by magnificent, pushy bass lines.I suspect every listener will walk away from Yellow & Green citing a different set of comparative allusions. I hear strains of Elvis Costello in the vocal lines and Pink Floyd repeatedly in the riffs, repetition and ambience. An obsession with processed guitar tones is quite obvious, manifesting in Radiohead-like moments of abstraction. Dour, streaming leads and clean guitar histrionic evoke airs of Peter Gabriel’s solo work. There’s a lot to absorb here.Baroness are quite dedicated to Yellow & Green’s melancholic ethos. Stabs at their own previously victorious bombast are only feints, almost mocking the listener with squawking triumphal tones that are quickly subsumed. This downcast devotion unifies Yellow & Green, despite the disparate elements that have infiltrated the band’s sound.In the end, I prefer the concise musical statement of Blue Record. Having said that, I wouldn’t sacrifice a single one of Yellow & Green’s 75 minutes; the album is a consistent front to back to front to back listen for me every time. Be prepared; Baroness have a whole lotta low to lay on your ears." - Metal Injection
    $13.00
  • "This onslaught of ever-shifting double-bass and extreme guitar riffing is considered by many to be an essential (if not the premier) example of Deicide's world-class death metal. While bassist/vocalist and bandleader Glen Benton never accepted the categorization, his band helped define the early '90s death movement with their somewhat complicated, ultra-heavy music and low, growling vocals. Legion stands out as a musically complex but familiar offering from the band. Live favorite "Trifixion" is indeed one of the better cuts from the release, but it's easier to consider this disc (and most records like it) as a whole. Deicide's compositions and performances are solid and serious throughout, but Benton's outspoken anti-Christian beliefs and admitted Satanism are what first brought the group attention, and what ultimately separated them from secondary contributors to the genre. This radical philosophy is stated emphatically within the lyrics of Legion -- just in case fans weren't paying attention to interviews and onstage rants. Listeners who admire death and extreme metal in all its forms are generally aware of Deicide's abilities and outspoken antisocial beliefs, so newer death metal fans will do well to start off their collection with Legion." - Allmusic Guide
    $9.00
  • Legendary first album comes with 4 unreleased bonus tracks. Now available at a great price.
    $5.00
  • 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
  • Simply one of the greatest Italian progressive rock albums of all time. Brilliant keyboard work in the grand tradition.  Really one of THE defining albums.  If you don't own this one you should feel embarassed and do something about it.  Seriously.
    $15.00