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  • DISCIPLINE has performed and recorded together since 1987, and remains one of the top bands in the American progressive rock scene. The band’s current lineup, including drummer Paul Dzendzel, bassist Mathew Kennedy, lead guitarist Chris Herin (Tiles), and vocalist/keyboardist Matthew Parmenter, worked with veteran music producer Terry Brown (Rush, Fate’s Warning) for the mixing of their newest opus, Captives Of The Wine Dark Sea, which Parmenter describes as, “an escape to ameliorate the workaday world.”“DISCIPLINE weaves a wicked web of lush, whimsical melodies, cynical stories and melancholy theatrics — so disturbing some fans have pegged lead-man Matthew Parmenter as ‘unstable,'” writes Heidi Olmac in Detroit’s Orbit newspaper. New Zealand rock critic Kev Rowland describes DISCIPLINE as “one of the most important bands to come out of America in the last twenty-five years.” The band’s earliest live shows were memorable for unusual theatrics. Parmenter (a.k.a. the Magic Acid Mime) would wear different costumes and act out the songs. Though the costumes have long since gone away, spontaneity remains a hallmark of DISCIPLINE‘s stage presence. “I think most of it comes from playing live,” says Parmenter in The Observer and Eccentric newspaper. “If something goes wrong, it’s kind of interesting how you will get out of it.”Jeff Milo of Ferndale Friends newspaper writes, “Go online and you’ll find various zines, blogs, and sites devoted to ‘prog’ music sending some substantial love toward Detroit’s DISCIPLINE.” The band’s previous album To Shatter All Accord (2011) includes the twenty-five-minute song suite “Rogue.” John Collinge, publisher of Progression Magazine, acknowledged To Shatter All Accord with the publication’s highest marks in his review (16 out of 16 stars). The band may be best known for its album Unfolded Like Staircase (1997). With four sprawling epics, including “Canto IV (Limbo)” and “Crutches,” Unfolded Like Staircase is considered by some to be one of the best progressive rock albums of the 1990s. In the Dutch Progressive Rock Pages, Brian Watson goes further: “Unfolded is my favourite progressive rock album of all time. In over thirty years of listening, and out of a collection touching fifteen hundred albums, Unfolded Like Staircase is ‘the one.’” The CD Push & Profit (1993) introduced Discipline to an international audience supported by a tour of Norway. The band also recorded a virtually unknown first album Chaos Out of Order (1988) that remained out of print for twenty-five years until the band’s indie label, Strung Out Records, reissued the recording in 2013. DISCIPLINE has also released three live albums; the This One’s for England (2014, 2xCD), Live Days (2010 2xCD on Cyclops/GFT), and Into The Dream (1999 on Syzygy/SOR).DISCIPLINE has appeared at numerous progressive rock festivals In 2012 the band appeared at RoSfest, the Rites Of Spring progressive rock festival in Gettysburg, Pennsylvania. That performance can be viewed as an Amazon Instant video. The band has also performed at NEARfest (Northeast Art Rock Festival), Terra Incognita, ProgScape, Orion Studios, and six separate performances at ProgDay in Chapel Hill, North Carolina. The band drew praise at UK’s Summers End festival in 2015 with reviews declaring Discipline “the band of the weekend.”. 
    $14.00
  • 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
    $14.00
  • "You might know Rikard Sjöblom as the mutli-instrumentalist madman behind the microphone of the now-legendary Beardfish, who sang about everything from personal loss to dreams of sneaking into the backstreets of some sleazy '70s disco club. Wielding his keyboard like an 88-key progressive rock machine gun and a shoulder-slung guitar much in the same manner, Sjöblom truly was the face of the band. Beardfish came to an end in 2016, leaving room for new solo endeavors for Sjöblom.With the same array of musical appendages, Sjöblom has carried on as a solo artist under the moniker “Gungfly” once more with his 2016 album “The Unbendable Sleep”, now followed by the new 2017 release “On Her Journey To The Sun, to be released on InsideOutMusic on May 19th. Just like “The Unbendable Sleep” before, “On Her Journey To The Sun” features Sjo¨blom's incredible vocal range, intensely personal lyrics, signature sense of complex-yet-catchy keyboard melodies, and guitar work that spans the spectrum of folksy to downright face melting.Sjöblom comments:“Gungfly was born out of necessity; songs came to life whenever there was downtime with Beardfish or if a song didn't quite fit within Beardfish’s (otherwise quite broad and eclectic) frame of styles. I basically started recording songs, mainly pop-oriented material, but being the type of songwriter and musician I am some prog slipped through under the radar as well. With the break-up of Beardfish all of the prog-related material I write needed to go somewhere and Gungfly was ready and able for this step!Some background: I recorded what was to become the first Gungfly album between 2007-2008 and it was released in 2009. The name Gungfly is a Swedish word meaning unsecure ground, it came from a novel I read where it was used to describe that someone didn't have grounds to back up their statements, so I liked it and chose to call the project that! I've always been writing and recording lots of music and when I formed the live band to perform these songs for the first time I got to pick some of my oldest friends to play with and thankfully they wanted to be part of it! Petter and Rasmus Diamant (yes, they're brothers) on drums and bass have always been the backbone foundation in this line-up and sometimes we actually do gigs as the Gungfly trio. Sverker Magnusson has been behind the keys since the start and was recently joined by Martin Borgh too to be able to cover all of the keyboard work on the albums, so sometimes we do three keyboard players on stage at the same time! This is made possible by the fact that guitarist David Zackrisson (Beardfish) is in the band as well. Me then? I do what I've always done; sing, play guitars and a bunch of vintage keyboards (mainly Hammond organ) - and I have lots of fun :)”In addition to his solo work, Sjöblom is the most recent addition to English progressive titans Big Big Train, having performed keyboards, guitars, accordion, and backing vocals on the band's 2016 album “Folklore”.SOME MORE BIOGRAPHICAL BACKGROUND INFORikard Sjo¨blom was born in 1982 in Gävle, Sweden, and at the age of 5 began playing accordion. At 10, he added guitar to his repertoire, and by 11 he'd sent a demo of Beatles covers to Sonet Records. It was rejected.From 1994 to 1998, Sjöblom formed bands based on his love of skate punk, grunge, and eventually death metal. More fitting to the musician known today, Sjöblom became infatuated by the likes of King Crimson and Gentle Giant in 1999 and bought an L-100 organ.With the new millennium came the organ and drum duo of Bootcut, which still consists of Sjo¨blom on organ and Petter Diamant behind the kit to this day. While Bootcut remained its own entity, the duo also became Beardfish in 2001, with the addition of bassist Gabriel Olsson and guitarist David Zackrisson. Drummer Magnus Östgren and bassist Robert Hansen replaced Petter and Gabriel in 2002, forming Beardfish's unshakable core line-up that held true until the band's demise in 2016.In 2002, Beardfish wrote its 35-minute progressive epic "Sleeping In Traffic", though the song wouldn't see the light of day until 2008. Instead, the band released “Från En Plats Du Ej Kan Se” in 2003, which was the only Beardfish release to feature flautist Stefan Aronsson. During this time, Sjo¨blom also wrote and recorded Bootcut's albums “Hammond VS Drums” and “De Fluff”, as well as what would become his 2006 debut solo effort “Cyklonmannen”.Sjöblom's career took a turn for the international in 2005, when Beardfish's “The Sane Day” was released. The album garnered enough attention for Beardfish to play a handful of festivals, including ProgDay in North Carolina. The band also caught the eye of InsideOut Music, who would go on to release “Sleeping In Traffic, Pt. 1” in 2007, an album hailed by then-Dream Theater drummer Mike Portnoy as one of the best albums of the year.During this time, Sjöblom penned material that would become his solo project- turned band Gungfly.Beardfish's fourth album “Sleeping In Traffic, Pt. 2” was released in 2008 and landed the band a tour with The Tangent and Ritual, as well as a slew of European festivals. Sjo¨blom's incessant need to write post-tour resulted in both the 2009 Gungfly album “Please Be Quiet”, as well as his favorite Beardfish record, 2009's “Destined Solitaire”.2010 and 2011 brought about Beardfish's “Mammoth” record and Gungfly’s second album “Lamentations”. More Beardfish touring ensued, this time with Pain Of Salvation and Mike Portnoy's Flying Colors, as well as one-off festivals in France and French Guiana.While things were going swimmingly for Beardfish, Sjo¨blom struck personal tragedy when he and his girlfriend went through a pregnancy that ended in the stillbirth of twin boys, Ludvig and Sverker. His heartbreak would later be chronicled in a song of the same name on Beardfish's 2012 album “The Void”, its heaviest and most abrasive to date. Sjo¨blom later became a father to his daughter Villemo that same year.Beardfish toured with Spock’s Beard and Sound of Contact in 2013, and in his down time, Sjöblom recorded an album with a mystery line-up including Petter and Rasmus Diamant that has yet to be released.In 2014, Sjöblom became a father to his son Tage, and began working with singer/songwriters Ulf Nilsson and Linda Varg. At this time, English progressive rock titans Big Big Train contacted Sjöblom to play guitar and keyboards live at the band's first gigs in 17 years. In his downtime, Sjo¨blom began work on what would become 2016's “The Unbendable Sleep”.2015 proved fruitful for Beardfish and Sjöblom, with the release of its final album, “+4626-COMFORTZONE”, and a tour with the Neal Morse Band in Europe. Sjöblom continued his work as a guitarist and backing vocalist for singer/songwriter Linda Varg, and played three shows at King’s Place in London with Big Big Train.Beardfish came to an end in 2016, leaving room for a new Bootcut album and future solo endeavors for Sjöblom aka Gungfly."
    $16.00
  • Four years after their latest studio album, now finally "I Am The Storm" arrives - an intense slice of heavy music, evoking the presence of one's inner strength. Like a force of nature, every lover of sophisticated metal music with depth will fall in love with Englund's inspired vocals, the sheer power and exquisite arrangements.The masters of song-oriented progressive metal are back! Los Angeles- based band REDEMPTION, fronted by charismatic vocalist Tom S. Englund (also Evergrey) are one of the most respected and critically acclaimed bands, highly praised in prog- as well as melodic/power metal circles. Four years after their latest studio album, now finally "I Am The Storm" arrives - an intense slice of heavy music, evoking the presence of one's inner strength. Like a force of nature, every lover of sophisticated metal music with depth will fall in love with Englund's inspired vocals, the sheer power and exquisite arrangements. 
    $16.00
  • Love Over Fear album CD  in a digi-sleeve as a glorious textured mini gatefold with lyric bookletTrack listing:1. Everything2. Starfish and the Moon3. Truth and Lies4. 360 Degrees5. Soul and the Sea6. Eternal Light7. Water8. Whirlwind9. Who Really Are We?10. Afraid of Everything 
    $18.00
  • Sons Of Apollo have certainly enriched the music sphere since their formation in 2017. It says much that the huge talent involved immediately combined with a cohesive and recognisable individual stance on debut album 'Psychotic Symphony', acknowledged as one of the finest releases in '17. And in 2019, the band put out the glorious 'Live With The Plovdiv Psychotic Symphony'.Now, though, Mike Portnoy (drums & vocals), Derek Sherinian (keyboards), Jeff Scott Soto (vocals), Ron 'Bumblefoot' Thal (guitar & vocals) and Billy Sheehan (bass) are ready to take everything to a new level with second studio album 'MMXX'.Stylistically, we have followed the same path as the debut, outlines Portnoy. “But we feel that it has come out stronger, simply because we know one another better. 'Psychotic Symphony' was the first time the five of us had worked together, so there was bound to be an air of experimentation happening. Now, we can draw on having the experience not only of recording that album, but also of touring together a lot. And now there is clearly a lot more obvious chemistry going on.We did 83 shows on the last tour, adds Sherinian. And it was so worthwhile, because we came out of it with a stronger bond, and that is certainly reflected in what we wrote.The writing process began at the start of the year, as Portnoy, Sherinian and Bumblefoot got together.The three of us were at my home studio in Pennsylvania, explains Portnoy. And it took about three weeks to get all the music written. That was a very smooth process. The last time, it certainly must have felt a little weird for Bumblefoot to be writing with Derek and me, because we were strangers to him. Now, we know one another better and that helped things push along.Sherinian reveals that at least two of the songs began to take shape even earlier than January '19.I am always writing, and started to come up with ideas straight after we finished work on the previous album. The tracks 'Asphyxiation' and 'Desolate July' definitely date back to that period.I agree with Mike on the way things were smoother this time around when writing with Bumblefoot. The first time I ever met him was when we started getting the songs together for the debut. He walked in, we shook hands, then he put on his guitar and we got right to work!Once this part of the equation had been successfully resolved, things quickly went to the next stage.We demoed everything and then did the pre-production process, continues Portnoy. Once this had been worked through, Derek and I went back to Ocean Studios in Burbank for me to do my drum tracks. It's also where I did them in 2017.As with that debut, 'MMXX' was produced by The Del Fuvio Brothers, who are...That's Derek and me, using the same pseudonym as we did first time around, laughs Portnoy. I got my drum parts done by the end of January, because I had a lot of other commitments coming up. Then the rest of the guys fitted in what they had to do as they had time available in their busy schedules.Because we all have our home studios, it meant everyone could record there as and when they had opportunity, continues Sherinian. We all had the luxury of being able to take our time to get all the parts done, which was a huge help in the way the album's come out. I suppose in all, it took about eight months to record everything.The lyrics were written by Soto, who also came up with the melody lines with input from Sherinian.While Jeff was left to come up with the words on his own, as the melody lines are part of the music, it made sense for me to be involved with that part, says the keyboard player.The mixing stage has once more been handled by Jay Ruston, who also oversaw the mix for the first album.We leave Jay to get on with the mix at his home studio in Sherman Oaks, explains Sherinian. He then sends wav files through to us, and we come up with tweaks when necessary. It doesn't take long for it all to be agreed.There are eight tracks on the album, with variations in length.The final song is 'New World Today, which is 16 minutes long, says Portnoy. This one has elements similar to 'Opus Maximus' and 'Labyrinth' on the previous album. It has some insane, brilliant instrumental moments, which I am sure the fans will love.We wanted to do something epic here, as we did with 'Opus Maximus' last time around, adds Sherinian. You have to remember that Mike and I come from Dream Theater, where we never bothered about how long a song was. So, for us doing a 16 minute track is not a problem.There's also 'King of Delusion', which clocks in at nine minutes in length.This opens up with a piano solo, explains Portnoy. And it also has a middle section where Derek and I do a piano & drum duet.I have actually played more piano on this album than I have ever done before, delights Sherinian. This fitted nicely with what we were aiming for. I am also so pleased that I get to play a lot of Hammond organ this time.The first single will be 'Goodbye Divinity'...This is seven minutes long, says Portnoy. And we have also shot a video for it.The album title was inspired by a chronological fact.This will be released in mid-January 2020, outlines Portnoy. That means it will be one of the first releases in what is a new decade. So I came up with the idea of calling it '2020', except having it written in the Latin form of 'MMXX'.The artwork, which has been done by Thomas Ewerhard (who was responsible for the cover design last time out), inevitably reflects the title.For the first record, we had a mythological feel, explains Portnoy. This time around, though, there's a much more futuristic style to what we've got. It has a very 21st century appeal. And the band crest is more polished, cleaned up and a lot more modern than last time, when it had an old fashioned look.Portnoy and Sherinian are very happy with the way everything sounds.I have never thought we were a progressive band as such, insists Portnoy. I would define Sons Of Apollo as a hard rock band, with occasional prog moments. I would compare us to Rainbow, Van Halen and Aerosmith with some crazy shredding musicianship on occasion and touches of progression.There's a very balanced and good mix of material here. It's a 60 minute album, which I think works nicely when you have eight tracks. And we will certainly aim to do much of this live. The last time out we had to put in covers for our live set list. But when we tour again, we won't have to do that at all. All the material we play onstage will be original. That's a very positive thing.Each member of this band has their own signature sound on their instrument, adds Sherinian. And when you put all of this together what you get is a wonderful five-headed beast. It makes this a sonically special band, which is definitely what comes across on 'MMXX'.You can hear odd time signatures and amazingly crazy performances here. And I feel that personally I have gone deeper musically than I have ever done before. For instance, you'll find some great harmonies. Overall, we've been satisfyingly more adventurous this time than we were before, and I know people are sure to love what we've done. 'MMXX' is an album I am proud of.
    $8.00
  • "Swedish dark melodic metal masters Evergrey return with their 12th Album - dark and heavy, the Phoenix is rising! Gearing up for the release of their highly anticipated 12th album, Swedish progressive metal band Evergrey is at a point in their career that many of their peers can only dream about. Since the release of "Hymns For The Broken" in 2014, Evergrey has enjoyed increased notoriety and success with "The Storm Within" (2016) and "The Atlantic" (2019) - ironically, a conceptual trilogy - which is highly unusual for a veteran act. They mean to continue this tradition on February 26th, 2021 with "Escape Of The Phoenix", another heavy, melancholic and thought-provoking journey as only Evergrey can create. The result is 11 songs that embody everything Evergrey fans have to expect, albeit "a more metal version of "The Atlantic", with songs that are more direct" according to Englund and producer Jacob Hansen."
    $15.00
  • "Triple CD contains the Swedish and English versions of Opeth's album In Cauda Venenum with new illustrations by internationally renowned Travis Smith in the booklet. In addition, there is also a third CD including 3 previously unreleased bonus tracks, both in English and Swedish: "Pöbeln" / "The Mob", "Cirkelns Riktning" / "Width of a Circle" as well as "Frihet & Tyranni" / "Freedom & Tyranny"."The album opens with haunting Mellotron and we are off to the races.  By now its the law of the land that Opeth has forsaken the "old" sound.   They are a progressive hard rock band who's albums are packed to the rafters with retro sounds.  The album arrives as a double disc - one version of the album sung in their native Swedish and the other in English.  The traditional melancholy sound is present here.  Expect dynamics galore.  This is an album of contrasts - darkness/light - heavy electric/acoustic.  If Trettioariga Kriget and Gryphon had a child it might sound like this.  The smell of the 70s permeates every aspect of this album so if you like old school hard rock and prog you're going to have a field day with In Cauda Venenum.  When Damnation came out it blew my mind and I think the band has done it again.  They've been kicking the tires of a masterpiece with Heritage, Pale Communion, and Sorceress but they really went and did it this time.  BUY OR DIE!"Given what OPETH have achieved over the past three decades, it seems unfair to question whether or not a new album would be anything less than a domineering success. They are set to release their thirteenth opus to add to a discography that boasts a formidable repertoire of encapsulating albums, but the most interesting line of enquiry is one of discovery. How well does a contemporary OPETH fit into the modern day? The simple answer is that they don’t really seem to care. The years might have seen them transform from death metal icons to a glowing example of prog rock prowess, but while listening to In Cauda Venenum, it is clear that they are writing music for themselves. The record is rife with the kind of personality we have grown to love from the Swedes, ultimately thriving in its honesty and stunning integrity.This is evidenced by the fact that In Cauda Venenum is the first OPETH album to be written entirely in the band’s native Swedish tongue. Even though it stands accompanied by an English version, this is a bold move, and the perception it breeds means that this feels like the most personal OPETH album to date. Coupled with sampled sonic backdrop aplenty and almost organic musicianship, it has the feel of a soundtrack to a movie we can’t see, prompting us to visualise our own masterpiece and inject our own character. Livets Trädgård / Garden Of Earthly Delights seems like opening credits rolling us into lush scenery, before Svekets Prins / Dignity takes up the gauntlet and sends us spinning into a torrid whirlpool of prog rock wizardry. Deft riffing backed by electronic keys builds the track, before a wailing solo ascertains that the OPETH writing style has been injected at full tilt. Cue delicate guitar work and vocals, before a full metallic barrage brings the track full circle with emphatic grandeur. Mikael Åkerfeldt‘s vocals are pristine, slotting perfectly into the dense instrumentals with decades-honed precision. Hjärtat Vet Vad Handen Gör / Heart In Hand continues the charge, with a runtime well over eight minutes allowing plenty of space for OPETH to open the taps. The devil often lies in the details, and throughout the album, the Swedes make use of this philosophy, employing a consortium of instruments to create a surgical level of precision. This is nothing new to OPETH, but this time the approach feels more innate, and better executed than ever.In between raging spells of heavy metal structure, melodic opulence shines in equal measure. In Cauda Venenum isn’t conventionally heavy, nor is it mellow, instead it is an open gateway into the thought process of one of history’s most capable bands. OPETH have already proved they can nail the death metal approach (in fact, they’re largely responsible for the genre being in the healthy state it is today) and with recent albums they have also tapped into a more progressive conception. This time round, the likes of De Närmast Sörjande / Next Of Kin and Minnets Yta / Lovelorn Crime reach beyond expectation. It is the best of both worlds and then some. Never have the band juxtaposed such vast beauty alongside the monstrous riffs of old, and yet the contrast allows the music to pop with brighter colour and deeper shadow than anything in their back catalogue.From the sampled maniacal laughter and time bending riffs of Charlatan to the orchestral intro of Ingen Sanning Är Allas / Universal Truth, each twist and turn is like a blind bend, pleasing the listener time and time again with its unpredictable nature. The blood still runs from OPETH veins, but the execution is more patient, and covers a gargantuan scale. Long swathes of atmospheric space drift by hand in hand with violin, starkly set against biting guitar in an ever waging war. Then, we bridge into Banemannen / The Garroter, one of the album’s most eclectic tracks. Jazzy, wandering riffs feel almost like cabaret, sounding like the backdrop to a seedy city underbelly. Drums set the pace, and the bass work shines through, before a meandering solo sees us into Kontinuerlig Drift / Continuum, where choppy guitar drags us into another seven-minute masterclass of prog rock musicianship. It is utterly flawless.OPETH knew that recording the album in Swedish exposed them to a risk of isolating their English speaking fans. It has to be said that writing an English version will stand them in better stead, positioning the record as more accessible; yet as Allting Tar Slut / All Things Will Pass ultimately closes the record, it is clear that they not only made the right decision, but it really couldn’t matter less which language they chose to present the record in. In Cauda Venenum is the finest work OPETH have produced in a long time – if not ever. It will require time and space to soak up its brilliance, but if afforded such simple luxuries, it is an album set to inspire, overwhelm and rewrite the very fabric of what it means to be a heavy band in 2019." - Distorted Sound
    $17.00
  • Vly began as strangers sending 1's and 0's across the Atlantic Ocean. British-based guitarist Karl Demata had a vague idea and a few demos, when a friend put him in touch with New York singer / artist Keith Gladysz. Keith began working on the demos, adding a more melodic, dream-like and decidedly indie sensibility. "It was a new way to work", says Gladysz. "The music and collaborative art I've made always started with people I knew, and creating naturally came out of that understanding. That's not the case with Vly. We managed to make an album without ever meeting. There was no gauge or reference point except for the music. It was a total shot in the dark".The sound of Vly shooting in the dark hits elements of progressive rock, classic rock, folk, early-Floydian psychedelia, intimate pop melodies, massive walls of epic guitar riffage, post-classical, post-rock and electronic music. And it's the diverse background of the members that lead to the breadth of their sound.The progressive sentiment of Italian keyboardist Elisa Montaldo quickly attracted the ear of Demata. "The first time I heard Elisa play" says Karl "I knew we had to be in a band. Her innate melodic approach and instinctual understanding and knowledge of 'anything prog' is simply remarkable"."Karl asked me to join the project at the very beginning" Elisa picks up: "My idea of prog is somehow more vintage, more typical 70's Italian style. After various experiments on arrangements and sounds, I went to Karl's studio to record most of the keyboards, where we found the right balance".Connecting with strangers, and expanding circles of mutual friends became the pattern for Vly. Karl next recruited experienced bass player Chris Heilmann who worked together previously in Crippled Black Phoenix. Chris provided a solid backbone with a more classic rock attitude.Demata doesn't hold back when talking about Sweden-based musician Mattias Olsson. "He is simply a genius. And he's never predictable as a drummer. Mattias also contributed some vintage keys and odd analog noises, which have a definitive effect on the bands sound. A common friend described him as a 'lateral thinker', and I can't think of a better way to describe him."Vly makes good on the futuristic dreams of the late 1990's, when promises of international recording sessions via the Internet excited incredulous musicians. Now that it's a reality (thanks to Dropbox and Skype), the method may be less glamorously sci-fi than one had hoped; still, they get the job done."I always disliked the cliches about music as a universal language, and more recently about the Internet bringing people together", explains Keith. "I'm even more uncomfortable with those sentiments now, since Vly proved them true".Vly's debut album, I / (Time) is available on the Laser's Edge imprint September 18, 2015. It's engineered and produced by Karl Demata, with additional production by Keith Gladysz and Mattias Olsen, and audiophile mastering by Bob Katz.VLY is:Keith Gladysz (Diet Kong, Typical Reptiles) - Vocals.Karl Demata (ex-Crippled Black Phoenix, Karl Demata Band) - Guitars, synths, programming.Elisa Montaldo (Il Tempio Delle Clessidre) - keyboards and synths.Chris Heilmann (ex-Crippled Black Phoenix, Bernie Torme', Shark Island) – Bass.Mattias Olsson (ex-Änglagård. White Willow, Necromonkey) - Drums & keyboard 
    $5.00
  • 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
  • "The Chronicles of Father Robin is a Norwegian prog-rock supergroup, with members hailing from Norway’s symphonic prog kings Wobbler, the ever non-definable Tusmørke, seasoned post-rockers The Samuel Jackson Five and the elusive prog gem that is Jordsjø. “The Songs & Tales of Airoea”, 30 years in the making, is a cohesive triple concept album with 18 songs set in an alternate archaic world for over a period of three decades.  The first album, “Book I”, will be released on September 15th.The Chronicles of Father Robin (TCOFR) emerged from the remains of the band Fangorn back in 1993- 94, mainly inspired by the classic bands and albums of the early 1970s progressive music scene, alongside contemporary bands like Änglagård, Anekdoten, White Willow and Landberk.During the years the boys created the story of the entity Father Robin. The root idea was that this creature embodied all the members of the band into one being. And as the members experienced challenges in life and their development as human beings, this translated itself into the story of Father Robin, sprinkled on top with a fair amount of inspiration from different mythologies and such. Through lengthy jam sessions and then more finely tuned arranging and structuring, the band developed an ongoing system where every song linked itself to the others. Holistic impulsivity and ideas, altruistic friendship, music, fantasies and coherent concept - all melded together in one pot, and everything took place in the archaic world of Airoea."
    $14.00
  • The Custodian is a new British post-progressive rock band formed by Richard Thomson, vocalist for cinematic death metal band Xerath.  Unlike Xerath, The Custodian is an outlet for the more melodic, rock oriented writing from Thomson.While there are moments in the album that harken back to old school bands like Genesis and Yes, the music of The Custodian is contemporary in sound.  Necessary Wasted Time is an album full of dynamics - light and dark shadings balancing acoustic vs electric, heavy vs pastoral.  While atmospherics and tension are a strong component of the album, the band demonstrates their adept musicianship offering up long instrumental passages to complement the emotion filled vocals.  When needed the band unleashes some complex electric runs.The Custodian's debut should deeply resonate with fans of Steven Wilson, Riverside, Pineapple Thief, and Anathema.Necessary Wasted Time was mixed by noted engineer Jacob Hansen and give the full audiophile mastering treatment from Bob Katz. 
    $5.00
  • "Two-time GRAMMY-nominated and millions-selling progressive music titans Dream Theater announce the forthcoming worldwide release of their 15th studio album, A View From The Top Of The World on October 22nd. A View From The Top OF The World is Dream Theater at its musical finest expanding on the sound they helped create while maintaining the elements that have garnered them devoted fans around the globe. The 7-song album also marks the second studio album with InsideOutMusic / Sony Music.The artwork was created by long-time cover collaborator Hugh Syme (Rush, Iron Maiden, Stone Sour). A View From The Top Of The World was produced by John Petrucci, engineered and additional production by James “Jimmy T” Meslin and mixed/mastered by Andy Sneap.Dream Theater – comprised of James LaBrie, John Petrucci, Jordan Rudess, John Myung and Mike Mangini – was in the middle of a sold-out world tour in support of their last release Distance Over Time and the 20th anniversary of Scenes From A Memory when a Global Pandemic brought the world to a stop. The musicians found themselves at home with LaBrie in Canada and the rest of the group in the States. As fate would have it, they’d just finished construction on DTHQ (Dream Theater Headquarters) —a combination live recording studio, rehearsal space, control room, equipment storage, and creative hive. With LaBrie in Canada, he initially wrote with the band via ZOOM on a monitor in DTHQ. In March 2021, he flew down to New York, quarantined, and recorded his vocals face-to-face with Petrucci. The album ultimately threaded together lean and uncompromising hooks with tried-and-true technical proficiency.“We just love to play our instruments,” observes Petrucci. “That never goes away. I love to be creative, write, and exercise that part of my mind. We’ve been able to do this for a long time, and we don’t take it for granted. Whenever we get together, we know we can’t disappoint ourselves or our fans, so we manage to try even harder.”“We approach every album like it’s our first,” adds LaBrie. “It’s been such a great ride, but we’re not going to stop.”"
    $14.50
  • “Eras - Vinyl Collection Part IV” is the final Devin Townsend vinyl box sets. The box contains the albums; The box contains the albums: “Ziltoid The Omniscient” (Gatefold 2LP + etching on side 4) “Z² - Dark Matters” (Gatefold 2LP) “Ziltoid Live At The Royal Albert Hall” (Gatefold 2LP + etching on side 4) “The Retinal Circus” (Gatefold 3LP) All on 180 gram vinyl plus LP booklet with liner notes and comments by Devin Townsend, all wrapped up in a sturdy 2-piece box set, worldwide limited to only 2000 copies “Ziltoid Live At The Royal Albert Hall” and “The Retinal Circus” have so far never been released on vinyl before.Ziltoid The OmniscientSide AZTO By Your Command Ziltoidia Attaxx!!!2 Solar Winds Side BHyperdrive N9 Planet Smasher Omnisdimensional Creator Color Your World Side CThe Greys Tall Latte Don't Know Why Travelling Salesman Another Road Side DEtchingZ² - Dark MattersSide AZ² From Sleep Awake Ziltoidian Empire Side BWar Princess Deathray Side CMarch Of The Poozers Wandering Eye Earth Side DZiltoid Goes Home Through The Wormhole Dimension Z Ziltoid Live At The Royal Albert HallSide AZ² From Sleep Awake - Live Ziltoidian Empire - Live War Princess - Live Side BDeathray - Live March of the Poozers - Live Wandering Eye - Live Earth - Live Side CZiltoid Goes Home - Live Through The Wormhole - Live Dimension Z - Live Side DEtchingThe Retinal CircusSide AEffervescent!/True North - Live at The Roundhouse, October 27th 2012 Lucky Animals - Live at The Roundhouse, October 27th 2012 Planet of the Apes - Live at The Roundhouse, October 27th 20122 Side BTruth - Live at The Roundhouse, October 27th 2012 War - Live at The Roundhouse, October 27th 2012 Soul Driven - Live at The Roundhouse, October 27th 2012 Planet Smasher - Live at The Roundhouse, October 27th 2012 Baby Song - Live at The Roundhouse, October 27th 2012 Side CVampolka - Live at The Roundhouse, October 27th 2012 Vampira - Live at The Roundhouse, October 27th 2012 Addicted! - Live at The Roundhouse, October 27th 2012 Colour Your World - Live at The Roundhouse, October 27th 2012 The Greys - Live at The Roundhouse, October 27th 2012 Side DHyperdrive - Live at The Roundhouse, October 27th 2012 Ih-Ah! - Live at The Roundhouse, October 27th 2012 Where We Belong - Live at The Roundhouse, October 27th 2012 Detox - Live at The Roundhouse, October 27th 2012 Side EBend it Like Bender! - Live at The Roundhouse, October 27th 2012 Life - Live at The Roundhouse, October 27th 2012 Kingdom - Live at The Roundhouse, October 27th 2012 Juular - Live at The Roundhouse, October 27th 2012 Side FLove? - Live at The Roundhouse, October 27th 2012 Colonial Boy - Live at The Roundhouse, October 27th 2012 Grace - Live at The Roundhouse, October 27th 2012 Little Pig - Live at The Roundhouse, October 27th 2012  
    $138.00