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  • MY BROTHER THE WIND is an improvisational cosmic rock collective consisting of members of widely known Swedish acts Makajodama, Magnolia, Animal Daydream and most notably Anekdoten, one of the more widely recognized names in the 1990s prog rock revival.Recorded live in the studio with no overdubs during a single day in January 2013, Once There Was A Time When Time And Space Were One captures the collective's progressive soundscape qualities with incredible analogue studio production. The band utilized 6 and 12 string acoustic and electric guitars, Mellotron, flute, bass, drums, congas and more to complete the task. Expect 45 minutes of the band's most succinct material to date, recorded deep in the snowy, forested, Swedish wilderness.In 2013, MBTW expanded into an even wider fanbase, having been invited to play the mighty Roadburn Festival in Tilburg, Holland, as well as at Duna Jam in Sardinia.  At the invitation of Opeth’s Mikael Okerfeldt, guitarist Nicklas Barker returned to Roadburn to perform an improv set with Dungen guitarist Reine Fiske.Those who frequent the works of Popol Vuh, Amon Duul, Sun Ra, Träd, Gräs Och Stenar, Albert Ayler, Ash Ra Tempel, Gong, Pink Floyd and other visionary, psychedelic rock artists are advised to investigate this act. "Lush and instrumental for its duration, My Brother the Wind‘s third full-length, Once There was a Time When Time and Space were One (released by Free Electric Sound/Laser’s Edge), rolls out of the speakers much easier than its title rolls off the tongue, though both title and the work itself satisfy rhythmically. The Swedish four-piece — they now seem to be a bass-less trio with Nicklas Barker (Anekdoten) and Mathias Danielsson (Makajodama) on electric/acoustic 12-strong guitar and Daniel Fridlund Brandt on drums, but Ronny Eriksson plays bass on the album — reportedly recorded live to two-inch tape on a vintage machine, and the passion they put in bleeds readily into the nine-song/45-minute outing, fleshed with liberal splashes of Mellotron courtesy of Barker to play up a ’70s prog feel in a piece like the 12-minute “Garden of Delights.” That’s hardly the only point at which those sensibilities emerge, but even more than that, the primary vibe here is one of gorgeous heavy psych exploration, the band adventuring and feeling their way through the material as they go.On peaceful moments like the title-track, which arrives as the penultimate movement before “Epilogue” leads the way back to reality — accordingly, “Prologue” brings us in at the start — that exploration is positively serene, the 12-string complemented by spacious electric tones spreading out across vast reaches, but Once There was a Time When Time and Space were One offers more than drone and psychedelic experiments. Subtly pushed forward by Brandt‘s drums, pieces like “Into the Cosmic Halo” and even “Epilogue” enact classic space rock thrust, and even “Song of Innocence Part 1,” the first part of the journey after the backward atmospherics of “Prologue” introduce, has some cosmic feel amid its echoing solos. Its subsequent complement, “Song of Innocence Part 2,” swells to life on an even more active roll, waves of amp noise up front while drums and bass groove out behind, waiting for the guitars to catch up, which they do in a suitably glorious payoff, relatively brief but masterfully engaging, setting a momentum that continues well into “Garden of Delights,” a focal point for more than its length.Because the songs flow so well one to the next, some directly bleeding, others giving a brief pause, and because later cuts like “Thomas Mera Gartz” — named in honor of the drummer for ’70s Swedish proggers Träd, Gräs och Stenar — and the title-track have a quieter take, it’s tempting to read some narrative into the shifts of Once There was a Time When Time and Space were One, but with the material not being premeditated, I’m not sure that’s the intention so much as a signal it’s well arranged. In any case, the album offers an immersive, resonant listen, with tonal richness to spare and the presence of mind to keep a sense of motion even in its stillest parts and a balance of organic elements — Danielsson‘s recorder and Brandt‘s percussion on “Misty Mountainside,” the 12-string, etc. — amid a wash of effects and swirling psychedelia. This attention to sonic detail makes Once There was a Time When Time and Space were One more than just a collection of jams, and adds further purpose to the already worthy cause of My Brother the Wind‘s thoughtful musings, wandering and not at all lost." - The Obelisk
    $13.00
  • After a 10 year absence Enchant are back.  The band started in 1993 making them one of the earliest prog metal band.  Actually they are sort of an interesting band in that they seem to exist in both the prog rock and prog metal realms.  Some metal fans think of them as a bit lightweight and some prog rock fans think they are too heavy!  One thing is for sure they are wildly successful.  This is definitely prog but it never loses sight of the melody.  Fronted by the great Ted Leonard (who is now doing double duty with Spock's Beard) this one is a no-brainer - whether you are metal or prog head.  "irst impressions are the similarities to Spock’s Beard. Hardly surprising since Ted Leonard has been singing with them since 2011. He’s been with Enchant longer; their first CD came out in 1993. And familiarity doesn’t breed contempt here, fortunately.Bay area progressive rockers, they steer a straight course composing guitar-structured songs that they extemporise over. Guitarist Douglas A Ott is also the band’s main producer, with The Great Divide having been recorded at his own studio, but if in the past the band’s followed his direction they’re now more involved after a ten year gap working on other projects. Also, while integral, Ott doesn’t dominate Enchant’s sound but flows in and out adding a hard rock bias to their generic musical flavouring. Drummer/percussionist Sean Flanegan and bassist Ed Platt have the solidity of early Kansas and musically there are some pretty snazzy and often too brief keyboard solos from Bill Jenkins.A rolling cyclical bass line forms the basis of opening number ‘Circles’ with Leonard pondering life going round well, like a circle – while the lyrics aren’t profound they feel right and though this isn’t a concept album, despite the band stating otherwise, there are common themes concerning the human condition in a loosely existential manner. Mainly straight verse and choruses ‘Circles’ breaks out into more complicated time signatures before an acoustic comes to the fore, vocals return, an electric guitar take over and it concludes with a nicely warm keyboard solo. ‘Within An Inch’ follows with a steady rock backbeat over which Ott’s playing echoes Camel’s Andy Latimer interrupted briefly by some John Ellis punk-styled sirening. ‘The Great Divide’ follows suit in a more epic manner, the arrangement akin to Genesis in their golden period.Enchant don’t play with the fairies, despite what their name suggests. If anything they’re two steps removed from an AOR sound leaning in towards early Asia with some latter day Beatles thrown in, and a less grandiose take on Spock’s Beard. One might refer to them as technically proficient rather than emotionally overwrought, meaning there is a heartfelt flavour to their songs, and they tend to grow on you.The subdued opening to ‘Life In A Shadow’ throws a brief curveball echoing the Canterbury sound of Hatfield & The North before a heavy chorded chorus takes this into a rocking tune with soulful harmonies. ‘Deserve To Feel’ pours on the technical drumming and dribbling triplet bass figures with some flashy pyrotechnics predominantly on guitar but with keen keyboard flourishes, moving into a more intricate musical score as Jenkins and Ott trade inspired lines towards its conclusion. Likewise, ‘Here And Now’ builds reflectively moving towards emotional drama.Finely composed, played well, Enchant’s The Great Divide might not have you falling under its spell, but you may well be surprised how you find yourself being drawn to playing it." - The Midland Rocks
    $13.00
  • So here's an album that I suspect would be seated on many 2023 Top 10 lists were it not for the fact it was released in the final days of the year.Ten years in the making is the second album from Philadelphia area prog band The Twenty Committee.  The band is led by keyboardist Geoffrey Langley who has been a member of Renaissance for quite some time.  In fact I was tipped to the band by previous Renaissance (and Camel) keyboardist Jason Hart who is a friend of Geoffrey.  I'm glad he did.  This is a futuristic conceptual work - you don't get more prog than that.  Langley's keyboard work is on display and he's an obvious talent but that doesn't overshadow the skills of the rest of the band.  Plenty of nice soulful guitarwork that adds an edge where needed in parts of the album.  The 13 minute title track features a welcome guest appearance from none other than Annie Haslam!  Its probably the heaviest song Queen Annie has ever sung on and it works perfectly.  Here and there the album reminds me of Echolyn but with a more overt prog side, particularly when Langley shows some flashy keyboard work. I suspect there repeated listens with reveal more intricacies.  I'm up to the challenge.  BUY OR DIE!“It is one of the most impressive debut albums I have ever heard and I can see why it found a place on many of the ‘best of’ lists of 2013. It is in turns inspiring, moving and uplifting and will stay with you for a long time to come. It left me wanting more and that happens on fewer and fewer occasions nowadays.”That was my conclusion (when writing for Lady Obscure Music Magazine) of the debut album, ‘A LifeBlood Psalm’, from New Jersey, USA residents The Twenty Committee. That album was released ten years ago and it is only now that they are releasing ‘The Cycle Undone’, the band’s sophomore release and I am so happy that this talented bunch of musicians (with a couple of changes) are back on the scene, and back with an almighty bang!The band’s current line up consists of Geoffrey Langley on lead vocals, keyboards, synthesizers, and organ, Justin Carlton on background vocals, acoustic guitars, electric guitars, and additional keyboards, Joe Henderson on background vocals, drums, and percussion, Jeff Bishop on lead guitar and background vocals and Richmond Carlton on bass, harp, and background vocals. We also have Laura Langley guesting on autoharp and the legendary Annie Haslam of Renaissance dueting on lead vocals on the album’s title track.Way back in 2015 I was chatting with Geoffrey about the prospect of album number two and he told me this, “We’re working as quickly as possible. I think I’ve told you before that I also do a lot of work in the musical theater world. We had our first Twenty Committee practice since January today. No Broadway yet but I’m getting close. Anyway, this puts the band on hold. All I can tell you is there will be another album and everyone that’s heard the new stuff say it sounds like a modern version of “Power and the Glory”. Hope that gets you pumped for album number two.” So, eight years later that promise has finally arrived.According to the band, the album is ‘a sci-fi dystopian tale of sentient robots, flawed humans, out-of-control technology, morality, and how those four things reconcile each other.’ To be honest, after quite a few listens, it’s the music and the heart and soul of this record that really resonates with me.The album opens with the epic twelve minutes of Recodified, a song whose opening reminds me of the fantastic prog/jazz fusion of Snarky Puppy but delivered in The Twenty Committee’s signature cultured style. I just get the feeling that the band had a blast while writing and performing this track. Geoffrey’s intricate keyboards and the effortlessly cool bass and drums of Richmond and Joe blend together perfectly while Jeff and Justin’s fizzing flashes of guitar add real panache, this intro really had me buzzing from the off. The track then opens up into definitive The Twenty Committee territory with Geoffrey’s gorgeous vocals flowing over the uber-smooth keyboards, chiming guitars and elegant rhythm section, it’s just gloriously textured and as polished as you like. Sparks In The Mind does a good job of following the opening masterpiece and is high energy, upbeat and shines with a vitality that positively lights up the place. There’s strong hints of early Ben Folds Five to my ears although the great vocals really do shine here. Now let’s get into Embers, a wistful, almost mournful piece of music that has beauty deep in its soul. Geoff’s vocals are sublime and full of passion and longing and the music just seems to add a plaintive and melancholy edge. The guitar bleeds emotion and a powerful yearning and just sends a shiver down my spine, what a superb piece of music it is. A Star in The Eye carries on the reflective, wishful feel and starts quite gently with the subdued vocals and restrained delivery of the music. There’s longing and hunger in the powerful chorus but this graceful song is calm serenity personified. It’s on tracks like this that you really appreciate the skill of the musicians, they are all particularly wonderful but Geoffrey’s keyboards can really stand out at times.Forevermore is a musical delight, the intricate play between the guitar and keyboards is genius and the whole band are at the top of their game. Calm, reflective vocals give the foundation for what is almost a piece of musical theatre. Deeply thoughtful and introspective yet with a brooding intensity waiting to break out, a hidden intelligence almost. Sometimes you have to just stop and listen to the music and that’s what this song, and album is all about. The second epic on the album, and title track, The Cycle Undone is truly majestic, a prog epic in the best sense of the word. Intricate sections, calm, reflective moods, resplendent overtures, virtuoso musicianship and incredible vocals, this track has it all. The tastefully muted opening feels mystical and magical at the same time, building the story for the listener and holding you rapt in attention. A soulful guitar then takes up the refrain, soaring and diving with an emotive edge before Annie Haslam adds a brief touch of class. A brilliant Lenny Kravitz style guitar riff then lights a fire under the song and we are off on a 70’s rock style musical journey aided and abetted by some wonderful keyboards. Then Annie really gets to strut her stuff and deliver a superb vocal performance, duetting supremely with Geoffrey, as guest appearances go, they don’t get much better than this. Robot Death is all that’s great about The Twenty Committee distilled into six and half minutes of musical wonder. A calming piano and touching vocal really touch the heart strings before the stylish guitar and rhythm section add their skillful touch. This sumptuous song then plays out to the sounds of some pretty fantastic guitar playing, quite a compelling statement indeed. The album then closes with the delicate piano led Dust Returned, a contemplative sixty-four seconds to finish off this amazing musical performance.With ‘The Cycle Undone’ The Twenty Committee have not only returned triumphant, they have also delivered one of THE musical experiences of 2023. Highly emotive songwriting allied with musicianship of the utmost quality, the band’s sophomore release builds on the enormous promise of their debut all those years ago. It may be ten years after but, boy, what a way to make a comeback!" - ProgRadar[[{"type":"media","view_mode":"media_large","fid":"23839","attributes":{"alt":"","class":"media-image"}}]] 
    $12.00
  • "“Mirror your World through my Touch…Set me Free, oh Set me Free”These words, from the song Colours on Magenta’s new We Are Legend album, are about Vincent Van Gogh, but they could also describe the feelings engendered by this imaginative and impressive release from the premier Welsh Progressive Rock band. We Are Legend underlines Magenta’s outstanding musical credentials, but they have far more than just great technique, imbuing their songs with melodies to stir the soul and stories to fascinate the mind.In a recent interview with Peter Jones on his Progzilla Radio show, Tales from the Tiger Moth, Magenta main-man Rob Reed revealed that he wanted this Magenta album to be “different”. Since their last album, The Twenty Seven Club in 2013, Magenta have overcome some issues, including illness, but Reed revealed that he had struggled in writing a new Magenta album after the peaks he felt they had achieved. As a result he channelled himself into his own excellent Mike Oldfield inspired solo Sanctuary projects and helping Christina Booth complete her fine emotional solo album The Light. The results of this break have clearly refreshed Reed as We Are Legend projects Magenta into a new trajectory, fizzing with energy and creativity.Magenta have never made compromises in their music, ever since Rob Reed decided to stop trying to pursue mainstream success and produce exactly what he wanted to – a truly epic and distinctly ‘uncool’ double debut album Revolutions in 2001 shamelessly referencing his 1970s Prog heroes, Genesis and Yes in particular. Magenta went on to develop their own distinctive sound built around the trademark triad of the pyrotechnics of Chris Fry on electric guitars, Christina Booth’s pure, luminescent vocals and Rob Reed’s mastery of the Piano, Hammond and Moog. However, when considering the new album Reed initially felt restricted by that template and felt he did not want to re-tread old ground. Therefore, he decided to channel what he felt was ‘negativity and angst’ about the direction of the next album, similar to his frustrations prior to Revolutions, and decided to “make a record for me – I will use whatever I want on it”, leading to an album which includes distinctly ‘un-Magenta’ elements such as drum loops, sequencers, dashes of dance music rhythms and heavy guitars as Reed and the band stretch their boundaries. But long-term Magenta fans should have no fear, they are still recognisably Magenta, but noticeably reinvigorated with energy, sounds and an edge, showing a band that does not compromise and wants to move on in terms of its expression and imagination.In a break from previous albums, there is no overall ‘concept’ around this release. Magenta have chosen to present three distinct songs with separate narratives and atmospheres, but there is a cohesive feel to the whole album. In a throw back to vinyl days there is one epic ‘side long’ track and two shorter songs (both in the region of ten minutes) echoing the layout of classic Yes albums Close to the Edge and Relayer, but let’s be clear, Magenta are no ‘Prog by numbers’ clones and have produced a remarkable and vibrant progressive rock album.The epic opening track, Trojan, starts atmospherically with synths which then explode with squealing guitars over a juggernaut of bass and drums, immediately evoking a sense of science fiction. Steve Reed, lyricist and Rob’s older brother, has shared that the theme of this piece was initially suggested by the opening few minutes of the music alone, presented to him by Rob, the musical ideas helping to inspire Steve’s lyrics towards a peculiar yet interesting sci-fi story. In short, huge robots emerge from the sea and initially appear to be benign, but ultimately act as ‘Trojan horses’ to take over the world for a long forgotten and banished human species that took to living beneath the seas and have now returned to reclaim the Earth!If you think that’s bonkers then wait until you’ve heard the music which sounds like some sort of spectacular soundtrack for a Japanese Manga or Studio Ghibli cartoon. This is pulsating music. sweeping across the narrative in a range of distinct parts. Rob Reed revealed that he was influenced by Marillion’s Misplaced Childhood suite, which has the reputation for being epic in length, but is a series of linked songs. Similarly in structure but not in style, Trojan is a series of song sections over 26 minutes ‘sewn together’ (as Reed puts it), although you can hardly see the joins, such is the skill of Reed and the band.Following the opening cinematic section, Chris Fry kicks in with a heavy guitar riff and Christina Booth, over shimmering dance inflected keyboards, chants the early panic of those on land confronted with the slow, emphatic progress of these strange new conquering robots. The atmosphere changes to the gentler perspective of a little girl in Japan who thinks of the robot as a ‘Tin Man’, with imagery akin to Ted Hughes’ Iron Giant. Booth shows great vocal versatility as she switches from the softer vision of the small girl to more dramatic parts of the narrative as the story develops. The music flows descriptively – you can visualise the slow, inexorable march of the robots as Magenta interweave sinuous dance inflected keyboards, reminiscent of Faithless, with passages of fluid, dreamy blues tinged guitar at some points. Pastoral guitars underpin a peaceful passage with Booth’s soft vocals before distorted guitar breaks in, possibly to indicate that the ‘paradise’ of ease brought by the robots will be ultimately destroyed.I hope you’re keeping up!!!Don’t worry, Magenta’s imaginative music carries you along and you may not always understand (or even care!) exactly what is happening as you dive into the rich multi-layered elements that make up the epic sound and story. Steve Reed has always sought to look at subjects from unorthodox and differing perspectives, such as the ‘glutton for punishment’ angle of the classic Gluttony from Seven. Similarly, in Trojan he seemingly shifts from the fate of the land civilisation to the perspective of the long exiled species of undersea dwellers held within the Trojan Robots, looking forward to hopefully reclaiming their world. A beautiful acoustic guitar led section of hope emerges with Christina singing beautifully;“The light it fades, When you all will sleepWith love to share, Anger drifts awayAs the hurting stops, With the time to findPaths to tread in this world…I see the need inside your soulThe love that’s in your heart.”Such poetic and touching lines perfectly match the emotive music as Fry’s languid guitar flows along before ascending into a brief transcendent solo, characteristic of his more restrained performance throughout the album. It’s remarkable that amidst this science fiction complexity they can skilfully insert a song of such delicacy and feeling, underlining that for Magenta the priority is always melody and emotion, not the sterility of mere technique without feeling. Jonathan ‘Jiffy’ Griffiths shows his versatile and subtle percussive skills alongside Fry’s eerie, expressive guitar as the piece sinisterly shifts towards the treachery of the robots as they turn against the land dwellers. The whole composition comes full circle as the dramatic robotic fanfare from the intro re-emerges with soaring guitars over pulsing synths and as one civilisation falls another rises from within the Trojan robots with hope:“At the break of day, As the silence roarsAnd the dust it falls, Open up the doorsWhen we’re stepping out, Walk into the light, Man’s re-birth.”Both musically and through the narrative, the opening track is quite a ride! Definitely a piece that, like most great tracks, pays repeated listenings with a strange story that reveals itself more over time.Legend is another imagined narrative song with a post-apocalyptic sci-fi feel, partly inspired by the films Omega Man and I am Legend, and the intro certainly sounds cinematic as weird sounds throb and pulse before a crunching combination of drums, bass and guitar puts us firmly in the stark post-apocalyptic setting. Dan Nelson, long time live bassist, has now fully joined the band and with new member Griffiths’ fine rhythmic work on drums they underpin this album with precision and power, particularly on the leviathan that is Legend. Christina Booth sings powerfully as this driving song describes the fate of one of the last men on Earth, before Reed’s synths and Fry’s weird distorted guitars intertwine in a nightmare musical depiction of the vampiric state into which humanity descends. A strange but captivating song, it concludes almost elegiacally with the last human trying to hang on to the final vestiges of his humanity as the vampires hunt down the weak and vulnerable, even amongst themselves. Perhaps it’s a comment on the self-consuming and self-destructive nature of much of our society… or just a dramatic but depressing story about zombies and vampires!! Who knows, but the journey is compelling.Colours is another remarkable song about the tortured and tragic soul of an artist. It starts with a beguiling musical box intro before erupting into an intense passage with staccato and textured sounds underlying Booth’s manic vocals. The evocative and multi-layered music conveys images of the artist, on the edge of sanity, passionately and frantically applying his paint to the canvas. Apparently Rob Reed presented the music to lyricist Steve by simply saying “It’s about Van Gogh”, but he had no words, making it remarkable that Rob was able to so fully evoke the musical images of a complex and tortured individual obsessively daubing paint onto canvas to try and express his innermost thoughts and feelings. Flute-like melodies move through to subtle blues inflected guitar, a short fluid Hammond Organ passage followed by a soaring guitar vignette by Fry, with Nelson in fine form, constantly changing the colours of Magenta’s musical palette. Van Gogh perceived everything in swirling vibrant colours, mirrored by the music as the impetus picks up with insistent synthesiser, orchestral keyboards and driving guitars, Steve Reed adding one of his best lyrics to reflect the power of the music and convey the artist’s sad decline in a maelstrom of creativity which he cannot sustain. The music and lyrics combine so well in this remarkable offering, building darkly to an intense finale with Rob Reed excelling, culminating in intensely sung and chilling lines:“Save me, love me, Gun in your hand and I’m waiting to dieSky bright, sun shineField like the sea, I’m wanting the endDarkness, silence, Near to the end TheoPlease set me free, set me free.”The ending is rather enigmatic, but there is a suggestion that Van Gogh’s brother Theo shoots him to put an end to his suffering in an act of mercy. Whether fact or not, it is certainly an evocative and emotive song which displays the combined talents of Magenta. A real showcase for the band, particularly Booth, as the song builds to its dramatic ending, it has already become rather a live favourite, no wonder as it combines the music and lyrics so well.In We are Legend Magenta have created one of the best albums of their career by daring to stretch and express themselves with great integrity and dazzling imagination. This will be regarded as one of THE progressive rock albums of 2017 – Magenta have definitely added to their own ‘Legend’." - The Progressive Aspect
    $14.00
  • Moon Safari’s illusive comeback album following a decade of silence. Almost 70 minutes of no nonsense symphonic rock spread over nine tracks filled with soaring vocals, explosive guitars, thunderous low-end and those unwaivering romantic lyrics fans have come to expect. Mixed and Mastered by Rich Mouser.1. 198X (Heaven Hill) (3:55)2. Between the Devil and Me (10:38)3. Emma, Come On (3:19)4. A Lifetime to Learn How to Love (8:28)5. Beyond the Blue (2:12)6. Blood Moon (5:44)7. Teen Angel Meets the Apocalypse (21:03)8. Forever, For You (10:08)9. Epilog (3:22)
    $16.00
  • Following the release of 2021’s ambitious studio album ‘The Absolute Universe’, progressive-rock supergroup Transatlantic present ‘The Final Flight: Live At L'Olympia’. A document of the bands triumphant show in Paris, the last night of their tour in support of their most recent studio album, it sees Neal Morse, Mike Portnoy, Roine Stolt & Pete Trewavas (along with Ted Leonard) performing the entirety of „The Absolute Universe (The Ultimate Version)”, before returning to the stage to perform some of their extensive back catalogue. A night as special as they come, this audio/visual document presents the band at their most majestic. 
    $27.00
  • 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.   
    $27.00
  • "Islands is the new double album by progressive rockers THE FLOWER KINGS. After the group’s much celebrated return in 2019 and the highly successful “Waiting For Miracles”, creative mastermind Roine Stolt (Transatlantic, The Sea Within, Anderson/Stolt etc.) now presents 92 minutes of brand-new music with his competent line-up also featuring Hasse Fröberg, Zach Kamins, Jonas Reingold, Mirko DeMaio and special guest Rob Townsend. Due to the Covid-19-pandemic the album comes out quite a bit sooner than originally planned as Roine explains: “All shows and festivals were cancelled and the future didn’t really ‘unfold’ itself like we had hoped. To sit out the pandemic with no activities was not an option for us. We cannot be stopped by an evil virus. With members living in the USA, Italy, Austria and Sweden the only way was to use the magic of the ’net’ sending files and start building, what now became, a double album of 21 songs.” The 92 minutes long “Islands” features artwork by legend Roger Dean (Yes, Uriah Heep etc.) and all trademark sounds and melodies, the band is known for. From vintage keys to epic guitar solos, from odd drum patterns to symphonic elements, THE FLOWER KINGS present a superb, playful and complex record."
    $18.00
  • NOTE: THE MEDIABOOK CONTAINS TWO BONUS TRACKS"Norway’s inventive Rock mavericks LEPROUS return with their seventh studio album, “Aphelion”. Although unmistakably the work of the same band that made “Pitfalls” in 2019, “Aphelion” immediately stands out as a radical statement: Veering from some of the most intense material of their career to some of the most delicate music in the LEPROUS career, “Aphelion” is an album of beautifully crafted and meticulously arranged mini-masterworks. Recorded at three different studios (Ghost Ward / Sweden, Ocean Sound Recordings / Norway and and Cederberg Studios / Norway), mixed by Adam Noble (Placebo, Biffy Clyro, Nothing But Thieves) and mastered by Robin Schmidt (The 1975, Placebo, The Gaslight Anthem, etc.), "
    $8.00
  • "Southern Empire were formed by keyboardist Sean Timms following the dissolution of Unitopia.Influenced by the likes of Dream Theater, IQ, Transatlantic, Karnivool and Steven Wilson, Southern Empire bring a harder, more edgy sound to their music whilst displaying a knack for catchy songs and great melodic hooks."Southern Empire is Australia's newest, most exciting progressive rock band:    Sean Timms - Keyboards/Vocals/Saxaphone    Danny Lopresto - Lead Vocals/Guitar    Cam Blokland - Guitar/Vocals    Brody Green - Drums/Vocals    Jez Martin - Bass/VocalsSean Timms: After a 17 year stint as main song-writer, producer and keyboard player with Unitopia Sean was looking to bring the finest musicians together in one band. He feels he’s achieved that with Southern Empire.Danny Lopresto: A seasoned performer with a huge vocal range, mad guitar skills and many years of live and studio experience, Danny’s work with nationally renowned band Clearway and the highly successful sold out Queen/Zeppelin Show sees him regularly playing to packed houses.Cam Blokland: Lauded nationally as one of Australia’s premiere guitarists, Cam was the face of the 2014 Adelaide International Guitar Festival, sharing the stage with some of the world’s finest guitarists including Guthrie Govan.Brody Green: One of a rare breed of drummers, Brody is not only great at hitting things with sticks, but also a stunning vocalist with a supersonic range, guitarist, keyboardist and song-writer.Jez Martin: A highly in-demand bass player, Jez can be seen and heard with the Bill Parton Trio, Lather (The Frank Zappa Tribute Band), The Dream Theater Tribute Show and many musical theatre performances.
    $16.00
  • 2CD+BluRay. Co-headlining the legendary ProgPower Festival, Redemption's "Alive In Color" captions the perfect musicianship of all members in the band, making this concert a real treat for fans of Progressive Metal! Combining unapologetic melodies and hooks with technicality, complexity and thundering riffs, the band occupies a unique place with it's powerful, heavy, intelligent and deeply emotional music. "Alive In Color" captions the perfect musicianship of all members in the band, making this concert a real treat for fans of Progressive Metal!- Disc 1 -1 Blu-ray: Intro / Noonday Devil 2 The Suffocating Silence 3 The Echo Chamber 4 Damaged 5 Someone Else's Problem 6 Little Men 7 Long Night's Journey Into Day 8 Threads (Featuring Ray Alder) 9 Black & White World 10 Indulge in Color (Featuring Chris Poland) 11 Walls - Disc 2 -1 Intro / Noonday Devil 2 The Suffocating Silence 3 The Echo Chamber 4 Damaged 5 Someone Else's Problem 6 Little Men 7 Long Night's Journey Into Day - Disc 3 -1 Threads (Featuring Ray Alder) 2 Black & White World 3 Indulge in Color (Featuring Chris Poland) 4 Peace Sells (But Who's Buying) (Featuring Chris Poland) 5 Walls 6 Threads (Featuring Tom Englund) 7 Indulge in Color (Simone Mularoni Solo)
    $18.00
  • Second part of the English Electric concept dealing with life across the UK landscape.  What a beautiful album.  First off lets make it clear - Tony Banks and Mike Rutherford made a huge mistake.  Vocalist David Longdon should have been Phil Collins replacement in Genesis.  He would have fit like hand in glove.  The album features the band augmented by a variety of guest musicians including Andy Tillison of The Tangent who contributes organ, Moog, and Mellotron parts.  Its all very British sounding and once again a wonderful mix of old school prog and a more contemporary neoprog sound.  Highly recommended.
    $16.00
  • "Clive Nolan and his Neo-hard rocking companions return for the eighth Arena album in twenty years, `The Unquiet Sky', taking inspiration from (without being a direct interpretation of) M.R James' short story `Casting the Runes'. It's easy to see why the ghostly tale of supernatural intrigue and occult mystery from 1911 would appeal to Mr Nolan, and the album reveals plenty of the sleek and heavy symphonic rock with poetic lyrics that the British band is known for. The previous disc `The Seventh Degree of Separation' was a divisive and somewhat controversial release for a new line-up of the group that now included vocalist Paul Manzi, a transitional album that saw them adopting a more streamlined hard rock/metal sound. But long-time fans of the group will be pleased to know that, while there are still similarities to that previous album here and there, the much-loved symphonic atmospheres the band was known for are given more focus again, meaning a better balance of these two qualities together to create a truly sublime Arena work.Some of the twelve tracks on offer still retain a hard-rock flavour, but everything an Arena fan could hope to discover is all present and accounted for here. After a more low-key performance on the previous album, virtuoso keyboardist/composer Clive Nolan is center stage again over the entire disc. Not only are his exquisite synths constant and upfront, but the artist has also implemented plenty of theatrical and orchestral symphonic textures into the group this time around, his recent work with the `Alchemy' musical being obvious right from the start, and these theatrical flourishes are a perfect fit for the group. Vocalist Manzi made a promising and reliable debut as singer for the group on `...Separation', but here he lifts his game considerably and offers endless more vocal variety. Better worked into the group, he is equally at home with heartfelt ballads, theatre flair and chest-beating rockers, and he has really become a perfect frontman for the band. Kylan Amos from Nolan's own `Alchemy' production replaces bass player and IQ member John Jowitt and makes an impressive debut here, ex-Marillion drummer perfectly drives the music forwards and It Bites/Kino/Lonely Robot guitarist John Mitchell delivers his usual tasteful and commanding guitar flair.Of several of the highlights, listen out for the gleefully wicked and wondrous orchestral pomp that opens the album that could easily be an outtake from Mr Nolan's `Alchemy' show, the infernal and overwhelming church organ intimidation of `The Demon Strikes' and especially the shimmering dark reggae (yes, really!) chimes and sleek electronics of the thrashing `No Chance Encounter', where Kylan's bass really glides. `The Bishop of Lufford' perfectly mixes ghostly gothic mystery with soaring symphonic prog and muscular hard rock (and wait for that hair-tearing heavy finale!). `Oblivious to the Night' is a fragile little piano interlude with whimsical synths and a thoughtful vocal, `Markings on a Parchment' is an eerie dream-like introspective instrumental, and Mitchell's extended guitar solo in the classy title track even brings to mind Nolan's other band Pendragon.Cascading classical piano spirals with snarling brooding guitars in `What Happened Before', and Clive delivers an overload of delirious synth soloing goodness on both `Time is Running Out' and `Returning the Curse' in the best Nolan tradition that his fans always love to hear! `Unexpected Dawn' is a strong ballad with warm Hammond organ and soothing acoustic guitar, and the ambitious seven minute closer `Traveller Beware' finds time for plenty of ghostly gothic tension, punchy plodding heavy riffs, creeping piano and a stirring repeated chorus with a dark lyric.But special mention has to go to glorious power balled entitled `How Did It Come To This?'. It's a glorious emotional tune with a sombre piano melody, delicate orchestration and dreamy lyrics, carried by a perfectly controlled yet soaring vocal from Manzi. A restrained unfolding guitar solo from Mitchell in the middle ensures it may be one of the truly most heartfelt pieces ever to appear on an Arena album, and it's certainly one of their most purely romantic musical statements to date.Along with typically fascinating and surreal proggy cover artwork and a lavish CD booklet (but what a shame there doesn't seem to be a vinyl version in the works so far), `The Unquiet Sky' is one of the most lavish, sophisticated and varied Arena albums to date, and certainly one of their most endlessly melodic. It's a fine return to form for the Neo prog institution, and it really shows what this latest line-up is capable of, so hopefully even more impressive music is to come from the mighty Arena!" - ProgArchives
    $17.00
  • Get ready to rock out to the latest album from Swedish Prog-Rock legends, THE FLOWER KINGS! In their nearly 30-year career as a band, they return with their 16th studio album, "Look At You Now". This record is all about vintage vibes, with a warm and inviting sound that's reminiscent of legendary and classic 70's albums. And forget about processed, metallic sounds – "Look At You Now" is all about that analog feel that will transport you to a bygone era of rock. Experience the magic of "Look At You Now" in the following formats: Limited CD Digipak, Limited 180g double LP. Don't miss out on this new milestone from one of the most iconic bands in Prog-Rock history! 
    $14.00