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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  • 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
  • "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
  • Metal Mind has repackaged the jewel box editions of Changes and Moonshine together in a slipcase and made it available at an attractive price.
    $16.00
  • This is the eighth album from the Pennsylvania prog band and first in three years.  2 LP vinyl edition in a gatefold sleeve.Echolyn's music has never been about complexity - although there is plenty of it.  They are all fine musicians and when the song calls for it they ably step out front and show off their chops.  No...this is a band who's music packs an emotional wallop - I dare say almost a spiritual nature.  Credit this to the vocals of Ray Weston who really is able to drive it home with the listener.  So a good Echolyn album is one that connects with the heart and the mind.  I Heard You Listening achieves both and perhaps in a better way than any of their previous efforts.  BUY OR DIE!
    $32.00
  • "The story gets kind of complicated, so stick with me. In 2010, then-Iowa-based psych/prog five-piece Mondo Drag released their Alive Naturalsound debut, New Rituals (review here), which was full of ’70s-style lysergic serenity, open spaced guitars and heady vibes. It was, in short, a winner. The next year, Mondo Drag‘s labelmates Radio Moscow — who also have their roots in Iowa — imploded. It was the stuff of viral video. Radio Moscow bassist Zack Anderson and drummer Cory Berry moved home shortly thereafter, to Iowa, and got together with Mondo Drag vocalist/keyboardist John Gamino, guitarist Nolan Girard (also synth), and guitarist Jake Sheley. At the same time they were recording as the new rhythm section of Mondo Drag, Anderson and Berry were also putting together Blues Pills with Swedish vocalist Elin Larsson. That band took off, and the bass player and drummer moved to Sweden as a result, but not before Mondo Drag had recorded — mostly live — the seven tracks of their self-titled sophomore outing, which also found Gamino taking the vocalist role, using a host of vintage gear and analog tape to further play into a classic feel. After the departure of the rhythm section, the remaining three members of Mondo Drag picked up and headed for the West Coast, where swing-drummers and warm-toned bassists looking for psych rock acts to join rule the land, and in Oakland, California, they met up with bassist Ventura Garcia and drummer Andrew O’Neil, who along with Gamino, Girard and Sheley, comprise the current lineup of the band.Got all that?When you whittle down all the complexities of comings, goings and relocatings, what you’re left with is the fact that Mondo Drag‘s Mondo Drag (released on wax by Bilocation Records) captures a very special moment in the life of the group. It’s a credit to Mondo Drag that it exists at all, and not just because Anderson and Berry would go on to attain a higher profile in Blues Pills (Berry has since left that band as well), but also for the cohesion they managed to make out of all that flux. With ultra-organic atmosphere across the board — guitar, bass, keys, drums, vocals — the seven-song/35-minute run of Mondo Drag is gripping on side A, hypnotic on side B and wonderfully progressive throughout. Later moments like the penultimate instrumental “Pillars of the Sky” call to mind a wash of keys Astra might be able to conjure, but the analog spirit of the recording is relentless, and the album winds up with its own character, warm and welcoming. No need for pretense here, whether it’s the key-led fade-in and shuffle of “Zephyr” or the organ-soaked build of side A closer “Plumajilla,” which comes brilliantly to an instrumental head after swinging verses and choruses that foreshadow the sleazier side B finale “Snakeskin,” the guitars providing a highlight solo to transition into the quiet start of the build. Second cut “Crystal Visions Open Eyes” brings Gamino‘s vocals forward to create an immediately memorable impression, moving quickly through verses of subtle intricacy toward a descending instrumental finish in an early showing of how well the guitar and synth work together throughout, and of course how well that work rests atop the rhythmic foundation of the bass and drums.Some jabbing starts and stops pervade the three-minute “The Dawn,” but nothing about its garage psych roll is abrasive or interrupting the overarching flow, a boogie solo and run emerging in the midsection to help ease the way into “Plumajilla”‘s two-movement run, which in linear form — i.e. digital — makes a fitting centerpiece solid transition into the second half of the record, which slips into more exploratory material with the tense undercurrent of synth and bass on “Shifting Sands” and the interwoven lines of keys and synth on “Pillars of the Sky,” which follows, taking the best of pre-noodling progressive heavy psych and topping it with a bluesy-but-not-overdone plotted guitar lead. A peaceful mood emerges, the song in conversation with the back half of “Plumajilla,” and the richness of Mondo Drag‘s layering becomes a hook unto itself, despite no actual chorus present. Closer “Snakeskin” arrives quietly but unfolds a Doors-style throb given bluesy fervor not unlike the echoing output of Maryland’s The Flying Eyes, but perhaps more atmospherically dense. A final reaffirmation of swagger at the heart of Mondo Drag‘s Mondo Drag only makes the album more impressive, both in the actual listening experience and in context when one considers how quickly such fluid chemistry emerged between the five players involved, two of whom would soon enough be gone. As Mondo Drag was recorded in 2011/2012, and since the band has moved to the fertile psych ground of the West Coast, one can’t help but wonder what conjurations they may have come up with since these songs were written, and when those might appear and follow-up the lush but humble resonance of this self-titled. More important right now, however, is the achievement Mondo Drag managed in capturing this fleeting incarnation of the band, which will be plainly evident to any among the converted whose ears it reaches." - The Obelisk
    $14.00
  • "The amazing musicians from Uzbekistan are back with “Sodom and Gomorrah,” a concept CD that features the acclaimed original FROMUZ line-up of Vitaly Popeloff (guitars), Albert Khalmurzaev (keyboards, guitars, vocals, harmonica), Vladimir Badirov (drums), and Andrey Mara-Novik (bass), plus Evgeniy Popelov (keyboards, vocals).“Sodom & Gomorrah” was originally composed by multi-instrumentalist Albert Khalmurzaev as the soundtrack for a theatrical musical production of the same name at the Youth Theatre of Uzbekistan. Reinterpreting the Biblical tale of “Sodom and Gomorrah” as a conceptual foundation, it tells the story of our modern world, ravaged by global addictions and vice that can only be remedied through a change from within the very heart of the human condition.This concept is conveyed through the well-established passion and incendiary musicianship that has become the hallmark of FROMUZ.  This is modern progressive rock at its very finest.FROMUZ originally performed “Sodom and Gomorrah” live over the course of three years, starting in 2004, actively working with the Youth Theater in Tashkent, Uzbekistan, as well as performances at prestigious theater festivals in St. Petersburg, Russia, the International Chekhov Festival (Moscow, Russia), and more.  The band recorded the soundtrack during this time-frame, but it wasn’t until 2012 that the decision was made to return to those tracks, editing, mixing, and mastering them for an official release."
    $12.00
  • The band gave Terry Brown the boot as producer. Peter Collins came in and kicked the band's ass a bit. The tunes are a bit more progressive sounding but radio fodder like "The Big Money" made these guys trillions.  Remastered edition.
    $5.00
  • "Legendary rock band Rush have unveiled details of its highly anticipated 2012 album, Clockwork Angels. The recording of Clockwork Angels began with Grammy Award winner Nick Raskulinecz (Foo Fighters, Deftones) who collaborated with the band on their 2007 studio album, Snakes and Arrows - and Rush co-producing. Lyrically, Clockwork Angels chronicles a young man's quest across a lavish and colorful world of steampunk and alchemy as he attempts to follow his dreams. The story features lost cities, pirates, anarchists, exotic carnival, and a rigid Watchmaker who imposes precision on every aspect of daily life. With more than 40 million records sold worldwide and countless sold-out tours, Rush - Geddy Lee, Alex Lifeson, and Neil Peart - is not only one of the most inventive and compelling groups in rock history, but remains one of the most popular."
    $17.00
  • "History will undoubtedly enshrine this disc as a watershed the likes of which may never truly be appreciated. Giant Steps bore the double-edged sword of furthering the cause of the music as well as delivering it to an increasingly mainstream audience. Although this was John Coltrane's debut for Atlantic, he was concurrently performing and recording with Miles Davis. Within the space of less than three weeks, Coltrane would complete his work with Davis and company on another genre-defining disc, Kind of Blue, before commencing his efforts on this one. Coltrane (tenor sax) is flanked by essentially two different trios. Recording commenced in early May of 1959 with a pair of sessions that featured Tommy Flanagan (piano) and Art Taylor (drums), as well as Paul Chambers -- who was the only band member other than Coltrane to have performed on every date. When recording resumed in December of that year, Wynton Kelly (piano) and Jimmy Cobb (drums) were instated -- replicating the lineup featured on Kind of Blue, sans Miles Davis of course. At the heart of these recordings, however, is the laser-beam focus of Coltrane's tenor solos. All seven pieces issued on the original Giant Steps are likewise Coltrane compositions. He was, in essence, beginning to rewrite the jazz canon with material that would be centered on solos -- the 180-degree antithesis of the art form up to that point. These arrangements would create a place for the solo to become infinitely more compelling. This would culminate in a frenetic performance style that noted jazz journalist Ira Gitler accurately dubbed "sheets of sound." Coltrane's polytonal torrents extricate the amicable and otherwise cordial solos that had begun decaying the very exigency of the genre -- turning it into the equivalent of easy listening. He wastes no time as the disc's title track immediately indicates a progression from which there would be no looking back. Line upon line of highly cerebral improvisation snake between the melody and solos, practically fusing the two. The resolute intensity of "Countdown" does more to modernize jazz in 141 seconds than many artists do in their entire careers. Tellingly, the contrasting and ultimately pastoral "Naima" was the last tune to be recorded, and is the only track on the original long-player to feature the Kind of Blue quartet. What is lost in tempo is more than recouped in intrinsic melodic beauty." - Allmusic Guide
    $6.00
  • Many years ago Sieges Even recorded a live album that was never released (the band had dissolved). Now the band has two studio albums under their belt with the latest lineup it was time to finally give us a live disc. Playgrounds features material from Paramount, The Art Of Navigating The Stars, and A Sense Of Change (!!).
    $12.00
  • "Mystic Prophecy is one of the best up and coming metal bands coming out of Germany. It’s hard to believe that Killhammer is the bands eighth studio album and the third with the current line up of RD Liapakis (vocals), Markus Pohl (Rhythm guitar), Laki Ragazas (Lead guitar), Connie Andreszka (Bass), and Tristan Maiwurm (Drums). The band straddle the fine line between energetic thrash, power, and classic heavy metal with finesse and have been cranking out albums since 2001. The band are just beginning to hit their stride, playing ProgPower USA metal festival in 2012.The title track kicks things off with a blast of sinister metal aggression in the tradition of early Black Sabbath. Vocalist RD Liapakis’ gritty delivery fits the song perfectly. Armies of Hell takes things up a notch with pounding double bass drums of Tristan Maiwurm and blistering guitar riffs from lead shredder Laki Ragazas. The chorus is a raise your horns in the air shout-a-long. Their latest single/video for To Hell and Back is a sing-a-long mid tempo rocker with a melodic verse and a powerful memorable chorus with soaring harmony vocals. Kill the Beast is another fast paced high-octane metal anthem with a heavy verse and an almost thrash metal shouting chorus. Hate Black begins with a middle-eastern flair and kicks into a headbanging Metallica inspired mid tempo guitar riff reminiscent of the title track of their last album Ravenlord. A shred-tastic guitar solo by Ragazas. The next song Children of the Damned (no not the Maiden song!) is a pounding heavy and melodic metal skullcrusher. This is the type of song that the band excels at, a blend of heaviness and melody with a strong chorus.The band shows their penchant for writing powerful thrash metal anthems with the blitzkrieg of 300 In Blood, which judging from the lyrical content, is based on the graphic novel/film 300. Angels of Fire is a power groove of a metal song with RD’s growling yet melodic vocals taking no prisoners during the chorus.The boys take on epic fantasy war metal subject matter on Warriors of the Northern Sea and Set the World On Fire. The last track, a cover of the Ozzy classic Crazy Train, while well done, is unnecessary to cover such a renowned song and could have been left off the album to make way for another original song or to have a more cohesive effort with ten strong tracks. In comparing Killhammer with the bands previous effort Ravenlord, I found many similarities in the writing style between the two albums. The band knows their sound and they don’t try to push boundaries by incorporating different styles or genres into their music. Killhammer is exactly what it sets out to be, no frills, balls out heavy fucking metal, and there ain’t nothing wrong with that!" - Lady Obscure 
    $15.00
  • 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
  • "Black Symphony was a unique concert at Rotterdam's Ahoy Arena on February 7, 2008 sold out months in advance. Within Temptation performed to 10,000 fans with the 60 piece Metropole Orchestra and a 20 voice classical choir, as well as on stage stilt performers, costume changes, and an array of stunning pyrotechnic and lighting effects." US edition of Black Symphony arrives with the main DVD and CD from the performance...but its NTSC version. If you want the longer versions with the extra discs you will have to settle for PAL editions at a much higher price.
    $24.00
  • 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