Tva (Vinyl)

SKU: KOMMUN2-33
Label:
Kommun2
Category:
Progressive Rock
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This is the gatefold sleeve vinyl edition released on the Kommun2 label...which happens to be run by Agusa's own Tobias Petterson.

With almost forty minutes of new material, AGUSA delivers a wide array of seamlessly-executed, organic rock on the aptly titled Agusa 2. The band’s tranquil output blends tripped-out psychedelic and progressive rock structures are inspired by more folk than occult influences, instilling visions of nature, the cosmos, and dreamlike passages, meandering into realms of a possibly supernatural or parallel existence. While not a fully instrumental recording, backing vocal mantras only seep in through purposeful cracks in the construction of these immense movements, adding an even more spacious feeling to the overall flow of the album.

AGUSA was formed in the springtime of 2013, when Tobias Petterson and Mikael Ödesjö, former members of Kama Loka, recruited Dag Strömqvist and Jonas Berge for their early ‘70s progressive rock project. In the Summer, the outfit ventured out to the countryside where Dag lived, to a place called Agusa — virtually only a loose gathering of homes deep in the forest. Within these secluded surroundings, and the most amazingly sunny, warm Summer day, the new collective had an extensive, extremely inspired jam session which somewhat solidified the direction of their sound, so of course, the name AGUSA was simply perfect for the outfit.

In the Autumn of 2014, the band went into the studio to record their first album, Högtid, which was released on vinyl and digital media in early 2014. After a handful of gigs during the Winter, Dag decided to leave AGUSA to travel around India, and following a number of auditions, Tim Wallander, also a member of blues trio Magic Jove, joined the band. In the beginning of 2015, the refreshed lineup went into Studio Möllan once again to record their sophomore full-length, this time having asked a close friend of theirs, Jenny Puertas, to play flute on the recording. The match was so perfect that the band instantly invited her into the band on a full-time basis, expanding their lineup once again. They began performing with this new arrangement weeks later, and have not looked back.

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  • "Fair to say their name is still as dislikeable as it was when we covered their excellent album Eight Pieces, One World album two years ago but musically the Belgian metallers still rock the juices out of us as proven by new encounter Odd Memories. Max Pie fills their third album with all the essences which made its predecessor a surprising and compelling proposition but it is with bigger and bolder imagination and creative energy. We are no major heavy/power metal fans here to be honest but once again Max Pie has given us one thumping and rousing time.The band was formed in 2005 by vocalist Tony Carlino taking inspirations from bands such as Symphony X, Van Halen, Toto, Queensrÿche, and Dream Theater into their emerging ideas. A slightly unstable time in personnel graced their early years before Max Pie released debut album Initial Process in 2012. Fan and critically acclaimed it was surpassed by Eight Pieces – One World a year later in presence, sound, and praise. Its release was followed by the band playing numerous festivals and undertaking tours with the likes of Symphony X, Evergrey, Fates Warning, Avantasia, and Queensrÿche. Now they return with, as the last album, the Simone Mularoni mixed and mastered Odd Memories and simply their finest, most inventive proposal yet.The album opens with its title track; an instrumental ripe with a foreboding atmosphere and epic textures all cinematically imposing on the imagination. This type of beginning is becoming a common practice across varied metal offerings but when done right, as here, it makes a potent invitation into any release. As the track slips into the following Age of Slavery, a sizzling electronic coaxing colludes with rampant riffs and a melodic embrace of keys. The thick commanding rhythms of drummer Sylvain Godenne shape and invigorate the track further, framing the growling vocals of Carlino perfectly. The frontman’s diverse delivery is as magnetic as ever, some elements more powerful and potent than others but like the music, a constant lure that likes to stretch and push both song and musician. As the guitar and keyboard craft of Damien Di Fresco builds and expands its enterprise, the track blossoms into a sturdy and fiery encounter to really kick things off.It is also, in many ways, a relatively straight forward and maybe expected proposal from the band, the new exploration showing itself more from Odd Future on. Keys breed the first mesmeric caress on the third track before guitars and the wonderfully dark throated bass of Lucas Boudina bring their hues to the emerging and stirring landscape of the encounter. Once vocals join, the song settles into a melodic roar and sonic flame of melodic and heavy rock ‘n’ roll, their union a heated and tenacious arousing of ears and thoughts veined by sparkling, and at times understated temptation from the keys. It is when things go off kilter with a glorious stretch of discord kissed invention and melodic bedlam that the song really comes alive and if there is any moan it does not play in this great moment long enough.Promised Land opens on a vivacious escapade of keys quickly encased in storming riffs and rhythms, it all quickly blooming into a virulently contagious slice of rock pop with classic metal and progressive rock hues. It has single running through its potent craft and lusty veins, every second of the track a bold and rousing incitement for body, voice, and emotions. Such its power and lure, it gives next up Love Hurts a hard time trying to follow it, and as mesmeric in melodic beauty within tempestuously emotional and physical terrain that it is, it never quite finds the same full-blooded personal reactions as its predecessor. It is undeniably superbly crafted and woven though and does leave only fully satisfied thoughts before the darker, ravenous excellence of Don’t Call My Name takes over. The guitars alone are predatory with their creative rummaging of the senses whilst the keys float with celestial temptation above them and the uncompromising rhythms spearing it all. Reaping the ripest elements of technical and progressive metal, band and track pulsate as they gnaw on ears, adding melodic and harmonic balm to the increasingly irresistible voracity on offer. With Carlino also on fine form, the track is the pinnacle of the album, reason alone to eagerly approach Odd Memories.The acoustically brewed Hold On slips in next to transfix and from a slow start to its persuasion grows into a big favourite. Whether by chance or intention, it has a Bowie-esque essence to it, a floating whisper in quieter moments which does it no harm. It is a scent soon out flamed by vocals and the sonic blaze giving the song rich crescendos and a breath-taking finale before Unchain Me takes the listener on another tumultuous ride of rugged metal and tantalising electronic adventure.No prizes in guessing some of the scenery within Cyber Junkie, its electronic and industrial endeavour a potent spicing to another song offering a compelling fusion of bestial metal and melodic flirtation, the former steering the ship with invigorating success. As Don’t Call My Name before it, the track is a masterful web of varied and diverse styles in one predacious provocateur, thoughts of bands from Anthrax to Armored Saint, Dream Theater to Skyharbor coming to mind across its exciting and again show stealing soundscape.The album is finished by The Fountain Of Youth, a song which either a raging storm of a canter or a gentle caress enthrals and sparks only the keenest attention and support from ears and emotions. Like a couple of other songs it takes longer to get all of its hooks inescapably entrenched but with its additional symphonic elegance and emotively hued strings, the song has seduced long before realisation notices.Wrapped in the excellent artwork of Didier Scohier, Odd Memories and indeed Max Pie have caught us again with a tempest of sound and invention driven by craft and passion. This time it is bigger, more adventurous, and confirming the band as one of progressive power metal’s finest." - The RingMaster Review
    $15.00
  • First time on CD! Guru Guru made two excellent albums during their brief stay on Atlantic Records of which this is the first (Dance Of The Flames is the second). It is also the last album to feature original guitarist Ax Genrich. Although you can expect craziness and the usual sick playing, there is actually a bit of refinement to their sound - as though they are playing with a bit more control and restraint. Easily one of their best efforts and highly recommended. This gorgeous digipak edition features a bonus CD - a concert recorded on 9/15/73 at the German Rock Festival. Although sourced from an audience cassette, it's a previously unavailable taste of the band in a live setting - which is where the band really excelled.
    $12.00
  • "With the release of its sixth LP, The Parallax II: Future Sequence (the sequel to the Parallax: Hypersleep Dialogues EP), in 2012, American progressive metal quintet Between the Buried and Me set a new benchmark for its genre. Sure, both 2007’s Colors and 2009’s The Great Misdirect are incredible records (the former was a breakthrough in terms of both approach and commercial appeal, while the latter was more polished, accessible, and vibrant), but Parallax II took the epic-suite-broken-into-sections format Colors introduced and perfected it. With its dramatic chronicle, seamless flow, hypnotic singing, inventive instrumentation, and self-referential continuity, it easily ranked not only as BTBAM’s best effort to date, but as one of the greatest progressive metal albums of all time.Naturally, expectations skyrocketed when the band announced its follow-up, Coma Ecliptic; fortunately, it surely satisfies them. Another seventy minute odyssey into imaginative soundscapes, mind-blowing arrangements, affective storytelling, and remarkable tonal shifts (both musically and vocally), the full-length retains everything that made their past few opuses so unique, breathtaking, and rewarding. However, as astounding as it is, Coma Ecliptic doesn’t quite surpass its predecessor, as it’s slightly less varied and daring; nevertheless, it comes very close to matching Parallax II, making it another absolutely extraordinary entry in their discography.Billed as another “modern rock opera,” the concept of Coma Ecliptic actually shares similarities with that of The Mars Volta’s debut, De-Loused in the Comatorium. As bassist Dan Briggs explains, the plot “follows the wanderings of an unidentified man, stuck in a coma, as he journeys through his past lives. Each song is its own episode in a modern day, sort of The Twilight Zone-esque fashion [sic]. The unidentified man enters each world and is offered a choice: stay, or move on to the next in search of something better, something more ‘perfect.’”  To reveal any more of the tale would ruin its surprises and most affective elements. Suffice it to say, though, that the quintet’s moral intention is to help listeners “make the best of [their lives]. People are constantly searching for something better without taking the time to appreciate the things they have. What we need may already be here . . .” Because of its coherent storyline and meaningful themes, Coma Ecliptic actually contains BTBAM’s strongest narrative yet.Along the same lines, it also features one of their best opening tracks to date: “Node”. Vocalist/keyboardist Tommy Giles Rogers plays an ethereal piano pattern as he sings beautiful yet mournful judgments. Eventually, harmonies, strings, biting guitar riffs, and thunderous percussion explode around him, culminating in a regal and dense declaration of the trauma to come. In typical Between the Buried and Me fashion, Giles’ voice even interlocks with itself a couple times; likewise, the composition alternates between calmness and catastrophe with exceptional build-ups. It’s a fine way to begin, and it demonstrates how the band continues to evolve with each new release. Like most of the “episodes” on Coma Ecliptic, “Node” segues into the next section, “The Coma Machine.”With its fluctuating structures, absorbing melodies, and exceptional musicianship, “The Coma Machine” follows a familiar template; nonetheless, it’s still a fascinating and creative venture. From the way Giles’ infectious chorus (“You teach us what was, out there”) complements the mechanical riffs, to the way the song’s essence moves from hellish to heavenly several times, this track is a stunning beast that never lets up. Of course, their trademark frantic rhythmic changes are in full force here, with gripping stop/start breaks on occasion. Similarly, the sharp intertwining patterns of guitarists Paul Waggoner and Dustie Waring are as overwhelming as ever. Without a doubt, though, the single best moment of “The Coma Machine” comes at around the 3:15 mark, when an electrifying new riff crashes in, joined by bells and pounding drums. It’s wholly invigorating and awesome; in fact, it’s one of the best moments on any BTBAM creation. Finally, Giles’ closing bridge is subtle yet very moving.Like a lost gem by Dutch prog metal band Ayreon, “Dim Ignition” sneaks in with an ominous synthesized loop. Essentially, it’s a brief psychedelic interlude in which Giles proclaims foreboding notions over spacey effects and beats. It serves its purpose well and definitely adds to the thematic quality of Coma Ecliptic, but what’s really cool is how the loop bleeds into the introductory, sinister riff of “Famine Wolf” at its conclusion. As for “Famine Wolf” itself, its opening is also among the highlights on the disc. In general, its dynamic juxtapositions aren’t as striking as on some other tracks, but it still balances Giles’ screaming and singing well. The most interesting aspect appears about two-thirds of the way in, when the aforementioned loop returns as Giles evokes the peculiar accent that he used on past LPs. In this way, Coma Ecliptic feels connected to its precursors.Another transition takes place next, as “King Redeem/Queen Serene” starts with a lovely acoustic guitar arpeggio supporting arguably the most touching melody and lyrics Giles has ever sung (“I can’t hear a thing / These waves crash faster”). Every measure comes with more luscious layers until the arrangement breaks into one of the most “prog” moments BTBAM has ever had. After some more heaviness, an essential rhythmic breakdown from “The Coma Machine” comes back, which is very cool, followed by more frantic transformations. Ultimately, the piece ends as it began, so it feels like a self-contained observation.Although all of “Turn on the Darkness” is astonishing in how moves around its various formations, the best part is the chorus, during which Giles brings the concept to the forefront. Following some warm and atmospheric passages, he seizes command by saying, “Welcome to our journey / Please walk with me / I’ll put your mind at ease.” Aside from this, the ways in which the guitar and keyboards echo each other from time to time also help the track stand out. Really, this selection feels like something from The Great Misdirect, which isn’t bad at all.“The Ectopic Stroll” possibly includes the most experimentation aspects on Coma Ecliptic, as Giles’s odd piano chords, coupled with his menacing crooning, make the main parts feel like a malevolent 1940s jazz excerpt. He screeches, “Whoa, can’t get it right!” while sing-a-long harmonies concur, and at first, it’s a bit toounconventional to feel appropriate; but, after a few listens it feels more fitting. Equally, the percussive spasticity and quality feel akin to some of the wilder tones used by Dream Theatre or Devin Townsend. Truly, these risks also show how fearless BTBAM still is in trying new techniques, so they deserve praise for that alone.As its name suggests, “Rapid Calm” is transcendent and lively, with keyboard and guitar outlines dancing around each other as more soothing melodies signal the beginning of the end. In particular, this song is a strong example of how Coma Ecliptic features the strongest emphasis on clean vocals of any Between the Buried and Me record; there’s still plenty of growling throughout, but Giles has never allowed his natural style to shine so densely or prevalently. During the chorus, for instance, he conveys dread and sorrow powerfully, realizing, “They don’t want you there / They don’t want me here / Remember my name / The machine is crumbling.” It’s an exceptional moment, as is the moody intermission near the end, whose somber timbres recall parts of the most recent Opeth collections.Beyond being the standout track on Coma Ecliptic by a mile, “Memory Palace” may be the single best Between the Buried and Me song ever. Each element is just about perfect; from its towering opening riffs and soaring lines to its meticulous and clever shifts, every second is spectacular. The group has never before moved between such drastic deviations with such silky expertise; above all, the leap into what’s likely the band’s most surreal segment yet (“Focus on melody / The sounds under my eyes / Dreaming inside of this / World inside my mind”) is amazing. Furthermore, the way they bring back past moments near the end is sublime. If ever there was a track that single-handedly proved why BTBAM is so special, it’s this one.Luckily, the reprisals continue during the final two tracks, “Option Oblivion” and “Life in Velvet.” The former bursts in from its predecessor with more spellbinding arrays. Brilliantly, Giles brings back a phrase that was first mentioned on “Rapid Calm”:  “A choice of gold or velvet / Do I go on, or follow the crown in the smoke?” A bit further on, he also references “The Coma Machine” by lamenting, “Looking back through the painful tunnel / They taught us what once was.” As for “Life in Velvet,” it continues the symbolic theme of velvet (as a catalyst for spiritual transformation) that runs throughout the album; it’s also lead by a modified version of the chord progression from “The Coma Machine.” Like “Node,” it features Giles singing softly while playing piano, and in doing so, it brings Coma Ecliptic full circle. As a final burst of brilliance, the aforementioned electrifying guitar riff and closing bridge from “The Coma Machine” also makes an appearance. Because of these numerous references, Coma Ecliptic has the most alluring, suitable, and clever conclusion of any Between the Buried and Me record.Coma Ecliptic is an exquisite masterpiece. As with most opaque works, it takes many listens to fully appreciate everything here (including multilayered production, parallel structures, and callbacks to prior parts); however, once listeners understand all that’s going on, they’ll be utterly blown away. Between the Buried and Me have proven time and time again how distinctive, ambitious, capable, and important they are within its genre; no other band can do what they do as well as they do, and this effort just proves that once again." - Pop Matters
    $16.00
  • After toying with the neoprog genre for some time, Portugal's Forgotten Suns lets its freak flag fly and goes full bore with a fantastic prog metal disc. The band is led by virtuoso guitarist Ricardo Falcao who has definitely spent some time listening to John Petrucci. The band has a new vocalist in Nio Nunes. He's got a great voice and fits into the new found sound perfectly. So what is the new sound exactly? Well it consists of more than a few dips into the Dream Theater pool - laser beam keyboard solos, stunning guitar solos, and expressive vocals. There is no doubt - while there are some prog rock underpinnings the Marillion influences have gone by the wayside - this is as good a prog metal album you will hear this year. If you dig chops from hell but with melodies that will stick with you - you need to hear this disc. Think of this band as Portugal's answer to Spheric Universe Experience. Buy or die!!
    $3.00
  • "It’s been five years since their last album, Buried Alone: Tales Of Crushing Defeat, but in that time, the lord of Knifeworld, Kavus Torabi, has been very busy indeed. He’s been part of Gong and various other bands, hosted a prog radio show with snooker legend Steve Davis (who is in fact, more interesting than people might have ever suspected) and of course spent his time working on more Knifeworld material.Since his days with Monsoon Bassoon, Torabi has always been someone who writes dense yet strangely hookladen songs. With Knifeworld things are no different, if anything this album is about as ambitious as anything in Torabi’s long and extensive career to date. The Unravelling is an eight song cycle, is performed as an octet, and is nothing if not grandiose in its intensions. The idea of a song cycle might well sound pretentious, and perhaps it is, but what keeps The Unravelling from unravelling into a unwieldy mess is Torabi’s deft songwriting nous and keen ear for a hook. These songs might well form a cycle, but they are all quite capable of operating independently too.Opening track I Can Teach You How To Lose A Fight starts in muted fashion with delicate keyboards and strummed acoustic guitars complimenting Mel Woods’ beautiful but understated vocals. The whirring of clock parts and machinery in the background give a wonky Victorian feel, but also suggest that the cogs that drive the album are slowly clunking into life. Before long the full band has launched into a freakish prog-hymn, like a kind of feral Rick Wakeman freakout. “Why’d you grow those teeth in your heart?” asks Torabi sounding as if his has been chewed up and spat out by an evil Queen. It’s essentially the dialogue of a relationship winding down, but with its winding musical motifs, joyful honking sax parts mixing with solemn vocals and dramatic guitar stabs, the introduction to the album feels like a kind of synopsis of what’s to follow or an overture of sorts. There’s joy, threat, love, anger, fun and a fair bit of magic too.Send Him Seaworthy starts life as a kind of lurching boy’s own adventure, with nautical themes and a sense of wonder seeping into the orchestration, but come the telling conclusion it becomes tale of paranoid love. Don’t Land On Me meanwhile meanders along in a faintly jazzy way until a sharp stabbing rock riff cuts across its bows. Suddenly, it becomes a curious mix of swing, The Osmonds‘ Crazy Horses and Kenny Rogers‘ version of Condition. The Skulls We Buried Have Regrown Their Eyes meanwhile is a woozy old-school nursery rhyme that contains a requisite amount of grotesque imagery.Destroy The World We Love is the pop nugget around which the album truly revolves. It possesses a laid back lollop, a very deliberate hook with the line “secret in your hands” digging deep into the ears early on, but it quickly reveals itself to be an expansive and exquisite journey. Fans of Genesis (and naturally Cardiacs) will find plenty to appreciate here but as usual Knifeworld stop short of being self-indulgent and ensure that the song never disappears up its own firmament.If The Skulls We Buried hinted at something a little unsettling, then This Empty Room Was Once Alive confirms that there is something genuinely creepy lurking under the surface of this album and it just so happens to be in the form of a Victorian ghost story. Fortunately I’m Hiding Behind My Eyes quickly takes over and steers back towards folk inflected prog before things get to terrifying. Once again, the Octet are in fine form creating a bucolic world for the band to inhabit and explore.The key to this album is in its title. It is well written, and beautifully performed, but in order to get the most out of it, a certain amount of unravelling needs to be done. The five year wait has been worthwhile, and Torabi’s Knifeworld seems ready to begin creating its own universe. As strange and creepy as it seems at first, it is fun to spend time exploring." - MusicOMH 
    $12.00
  • "Secret Voyage is another kaleidoscopic musical journey through time and space, incorporating and rearranging traditional melodies from all over Europe, blending the "old" and contemporary. The brilliant guitar stylings of Ritchie Blackmore, the enchanting vocals and lyrics of singer/songwriter Candice Night and the saturation of authentic Renaissance instruments woven throughout the melodies, create a unique style of music they call Renaissance/Folk/Rock. Secret Voyage consists of twelve new tracks, recorded by Candice Night, Ritchie Blackmore and their Band Of Minstrels. This musical journey is inspired by nature and incorporates acoustic and electric guitars, strings, renaissance instruments and Candice Night s ethereal voice and mystical lyrics."
    $15.00
  • Limited edition double vinyl set.The Odyssey finds the band striking out in a new direction and frankly the results are stunning. Essentially the band made their statement album of neoclassical metal with the "V" release so there really was no point in going further. There is more agression in Russel Allen's voice and Mike Romeo's guitarwork is a crunch machine. This is progressive to the max - the 24 minute title track is a future classic and the sequel "Accolade II" lives up to the original. The overall production simply explodes - gone is the lush symphonics of "V" - this is right in your face. Mike Pinella's trademark blistering synth leads are all over the place and he trades off with Romeo just the way you want them to. What is missing is the symphonic landscapes that linked the different pieces together. I say...2003 is upon us...this new Symphony X is slightly different from the old Symphony X but just as good. Prog and power metal fans need not worry - they have delivered the goods with a surprising twist!
    $17.00
  • In the late '90s, Nemesis quickly rose to the top of the Hungarian progressive metal scene with their two albums "Nemesis" and "Abraxas". Frustrated by an inability to cross over into the Western metal arena the band briefly dissolved. After reforming with a new lineup the band decided to re-record and re-arrange their old material but with a major difference: this time around they would sing in English. The band recorded two albums, "Eden?" and "Psychgeist". "Eden?" demonstrates the band's ability to create dark and moody progressive metal laced with heavy riffing, keyboard driven spaciness and an exotic Eastern vibe. Influences of Dream Theater, Fates Warning and Pink Floyd are present but the combinationis unique and clearly defined as Nemesis' own sound. Sensory will follow up the release of "Eden?" in six months with "Psychogeist".
    $4.00
  • "Dream Evil is by no means a departure from the Dio formula that was so successful for his first three solo albums. All of the elements that made them so successful are yet again retained here. However, what makes things different this time around is that Dio has more of a melodious side to him, which he puts use here rather than relying on the riffs and delivery he learned at the school of Sabbath. He even touches on the power ballad (a sure sign that the style had fully infiltrated metal) with "All the Fool Sailed Away." The title track and "Sunset Superman" also proved to be two of Dio's most well-known, and most loved songs in his massive catalog. Not an essential release, but one that diehard fans will be sure to want in their collection." - All Music Guide
    $5.00
  • "By the start of 1970, young Peruvian musician Gerardo Manuel Rojas already had an impressive body of work with various rock bands: The Doltons (in Ica), Los Doltons (in Lima), Los Shain's and The (St. Thomas) Pepper Smelter; he had recorded to that point five LP's and many 45 rpm records. He was 24 years old. And Gerardo's work would continue with the implementation of a recording studio at the El Virrey label office. The label had hired German engineer Gerhard Nieckau for the installation of a new Neumann 4-channel recording console; they also asked Gerardo to act as Nieckau's partner, and asked him to get musicians to perform the first test runs of the recording set up. The musicians came to the studio to record and rehearse during the hours that the studio was not in use, from ten at night until sunrise. What resulted was a kind of "ghost" band that recorded throughout the night. For this project, Gerardo joined with guitarist "Pico" Ego Aguirre, bassist Jorge "Coco" Pomar (both from Los Shain's) and drummer Freddy "Pure" Sources of the group La Nueva Cosecha (The New Crop). After a month of testing the new studio, (they had already recorded more than 200 hours there), El Virrey suggested that they release an album with some tracks from those sessions. That album, "Apocallypsis," was the first hard rock album recorded in Peru; it was released on vinyl in August 1970. The album includes five original songs, plus versions of tracks by Grand Funk, Liquid Smoke, Jimi Hendrix, and Question Mark and the Mysterians. Before the LP came out, El Virrey released two 45rpm singles that are included on the CD as bonus tracks. This special edition of a South American classic also includes a booklet with some terrific photos and memorabilia + liner notes and lyrics."
    $15.00
  • Hailed as "one of the most original and daring groups on planet", Australia’s VOYAGER has battled geographical isolation to tour Europe twice, perform at ProgPower Europe 2006 and share stages with diverse acts like NIGHTWISH, STEVE VAI, SOILWORK and ALESTORM. They are the first Australian band ever to be invited to play at the prestigious PROGPOWER USA festival in 2011.The band's loyal international fanbase has praised its incredibly catchy songwriting and compared its sound to a mixture of AMORPHIS' thirst for melody, SOILWORK's heaviness and the crystal vocal clarity of A-HA's Morton Harket. Formed in 1999, VOYAGER has 3 full-length albums under its belt, each one propelling them further into cult status as an elite progressive metal band."The Meaning of I" is an introspective, at times electronic, yet occasionally uplifting journey into the mind in search of meaning. It is a culmination of VOYAGER's sound: polished yet organic, heavy yet melodic, dark yet playful. Its melody, songwriting and structure tastefully flow through a labyrinth of emotions, perfected by the mixing and mastering work of Jens Bogren (OPETH, KATATONIA, SOILWORK). The album is complemented by the guest vocal performances of Dan Tompkins (TESSERACT) and DC Cooper (ROYAL HUNT). Once again, artwork master George Grie provided the gripping cover to complete this journey into the mind.
    $13.00
  • Liquorish Allsorts is the first solo album from Robert Webb, keyboardist for the legendary Britsh band England.  The set collects a variety of material from different era, dating all the way back to the early 70s and runs up to the present day.  Much of the material fits firmly in the prog category and some of it...not so much.  There are an endless number of musicians that contribute to the set including his former England bandmates.  Even Nicko McBrain is here!  Current musicians participating are drawn from Kenso and Resistor.
    $12.00
  • Time Machine is without any doubt one of the most influential bands on the European progressive metal scene. Since their formation in late 1992 through today, their music has been described by the worldwide media as some of the most interesting and original prog metal ever to emerge from Italy.Reviviscence is the second part of the Eymerich Trilogy. This is an album that showcases Italys most experienced band in their right element; a world of beautiful melodies, huge soundscapes, breathtaking guitar solos, wonderfully crafted acoustic passages and an accented technicality that flows hand in hand with the songs.Lyrically Reviviscence is an exciting tale of the evil walking among us, making our everyday filled with greed, war and corruption, while the young hopefuls of the world are searching for something that can make this a better place to live in. Its the ancient tale of good versus evil.For the bands sixth album the core lineup is augmented by special guests Rafael Bittencourt and Kiko Loureiro, world renowned guitarists from ANGRA, as well as Fabio Ribiero, keyboardist for Shaman and Blezqi Zatsaz. The North American release by Sensory comes housed in a digipak and features "Signs", an exclusive bonus track.Time Machines legend continues to grow
    $4.00