Earn 1 Loyalty Point With Every $1 Spent!

Page not found

The requested page "/node/9742?events=addtocart" could not be found.
Laser Pic

customers also bought

SEE ALL
  • "Progressive rock and boy-band pop seem like natural enemies at first. The former's fascination with ornate, elongated passages of finger-exhausting musicianship is in almost every way the opposite of the latter's emphasis on catchiness first; it's hard to imagine turn-of-the-millennium hits like "Bye Bye Bye" with extended guitar and keyboard solos. Yet ever since A Doorway to Summer, their 2005 debut, Moon Safari has put to rest the notion that progressive-minded songwriters can't make pop that's as hook-driven as it is ostentatious. Grandiloquent epics like "Other Half of the Sky," from the 2008 double album Blomljud, weave together widescreen arrangements with the band's signature five-part vocal harmony, a feature unmatched by few groups in any genre, anywhere. It's easy to isolate the audience with solipsistic soloing and obtuse orchestrations, but from day one Moon Safari has made prog that—assuming the layperson were more amenable to songs that run upwards of thirty minutes—could lead them to something like a pop crossover hit.But while the union of hook-heavy vocal interplay and '70's prog stylistics gives Moon Safari an unmistakable, unique sound, it also handicapped them in a significant way for their first two LPs. The group's accessibility on A Doorway to Summer and Blomljud, along with its technical prowess, is unassailable, but the high-fructose sweetness of its style leads to a diabetic rush when stretched out onto songs that span ten to thirty minutes. For example, "Other Half of the Sky," the titanic thirty minute showstopper off of Blomljud, has so many memorable hooks that by the time it's run its time out, it's hard to remember all of them. The classic problem of "too many voices leads to a noisy room" was the defining problem of Moon Safari's otherwise enjoyable sound for some time. All that changed, however, in 2010 with the release of Lover's End.It is no exaggeration—even as the decade remains young—to say that Lover's End is one of the finest progressive rock records of the '00's. Hell, it's not even crazy to say that it's one of the finest pop albums of the '00s; anyone, even those turned off by prog's eccentricities, can find something to love on this mellifluous collection of songs. From the a cappella charm of "Southern Belle" to the hook-loaded "New York City Summergirl," Lover's End is chock full of goodness from beginning to end. What explains its genius is that in contrast to A Doorway to Summer and Blomljud, the songs are given exactly the amount of space they need, and not a second more. Some songwriters may feel hamstrung by the verse/chorus structure, but it's a perfect fit for Moon Safari's joyous approach to music.With their newest studio outing, Himlabacken, Vol. 1, Moon Safari continue the refining of their sound, and while this isn't the breakthrough that Lover's End was, it nonetheless attests to the brilliance of this group. Whereas the latter was bound by a loose concept (love and heartbreak), Himlabacken Vol. 1 is less a lyrics album than its predecessor. The cost of this is that the music is less distinct in its cohesiveness, but there are no shortage of catchy passages and amped-up solos. "Mega Moon" comes off as a tribute to musical theatre, with "The Very Model of A Modern Major General" vocal delivery interweaving with Queen-esque bombast to an impressive effect. "Too Young to Say Goodbye" sees and matches the polyharmonic beauty of "Lover's End (Part One)." By sticking to concise song formats—the longest cut here runs nine and a half minutes—Moon Safari ensures that things never run out of steam, an essential quality to any good progressive rock band.If nothing else, Himlabacken, Vol. 1 proves that there's one thing Moon Safari can't be accused of: being unaware of themselves. Grand finale "Sugar Band" is as much a statement of identity as it is a slice of epic pop: "Sweet and saccharine are we," they declare, followed by "syrup's the blood in our veins." (Less successful is the clumsy Katy Perry innuendo of, "suck our big candy canes," which is thematically consistent but tonally off.) Both "Sugar Band" and "Little Man," one of the few Moon Safari songs to feature a solo vocal, are emblematic of the mushiness that might turn some prog fans away from their music. The latter, while obviously a touching document of a father's love for his son, does feel a bit out of place in how deeply personal it is; part of the strength of this group's sonic is the universality of its pop appeal, and the intimacy behind "My Little Man" makes listening to it an almost voyeuristic experience. "Mega Moon" and "Sugar Band" are better at capturing the convivial spirit of the band that's accessible to all.As with past outings, even those drawn to vocal harmonies might find it hard to stomach all of the sweetness of Himlabacken, Vol. 1. But what ultimately makes this LP successful is its unpretentious commitment to fun. Moon Safari are a rare collective that prove daunting musical chops aren't anathema to accessibility, and with Himlabacken, Vol. 1 they've made a recording that, while not the magnum opus that Lover's End was, is as true a capturing of their ethos as there could ever be. Sating a sweet tooth brings to mind the phrase "guilty pleasure," but there's no guilt involved with music as first-class as this. Who knew being in a boy band could sound so classy? " - Sea Of Tranquility
    $14.00
  • A Liquid Landscape from The Netherlands is a bit of a departure for The Laser's Edge. Their slice of post-progressive music has a contemporary edge that finds them sitting alongside bands like Dredg, Anathema, and Porcupine Tree. The band has been a live act for several years and shared the stage with bands like Karnivool (AUS), Anathema (UK),Thrice (US) and Riverside (Poland).During the past year the band also was a finalist at the prestigious annual Dutch Grand Prize contest and on top of that they had 3 sold out Noorderzon gigs, featuring a stunning visual show.With all the material they had written, the band reached out to Forrester Savell (Karnivool, Helmet). Forrester liked the material a lot and he agreed on mixing the album and doing some production work as well.‘Nightingale Express’ is a concept album. This inspired moviemaker Lex Vesseur to make a short movie with music from the album. He also made the artwork and the visuals for the live show. So both the music and the film return in an interactive rock show with a live VJ.Washed up, tired and staggering across a beach in the early hours of the morning. Somewhere in the twilight between desperation and surrender, there is still a glimmer of hope. That sense that everything will be alright, no matter what the odds are. This is what A Liquid Landscape sounds like. 
    $6.00
  • Second album from this New York based prog trio.  The band is heavily influenced by early period Rush but elements of Yes and Kansas pop up as well.  The album highlight is the near 18 minute epic "The Eternal Spring".
    $11.00
  • Christina Booth is the charismatic vocalist for British symphonic rock band Magenta.  Her voice has always brought about comparisons to Annie Haslam (and in fact they recorded together).  Christina had a well documented successful battle with breast cancer.  It was during this time that she wrote the material for her second solo album.  The music doesn't have the complexity or full on "prog" nature but she is helped out by members of the prog community including Rob Reed, Chris Fry, JOhn Mitchell, Andy Tillison, and Theo Travis.  It would be difficult to call this commercial music.  I guess they call this adult alternative these days.  Its a great showcase for her wonderful vocal talents and is filled with tons of atmosphere.  Good late night listening.
    $14.00
  • Slipcased 5CD set includes the following albums:Out Of The Silent PlanetGretchen Goes to NebraskaFaith Hope LoveKing's XDogman
    $24.00
  • "The UK progressive synth group known as Zoltan have been turning heads since arising in 2010 as one of the most interesting projects signed to a then-fledgling Austrian label by the name of Cineploit Records.Fast forwarding four years later, both Zoltan and Cineploit are hitting a creative stride in their partnership, as the Sixty Minute Zoom LP will strongly attest. This sophomore effort from Zoltan follows up an EP for famed British doom label Rise Above-an audio take on director Amando De Ossorio's classic Blind Dead series of horror films-as well as a Cineploit-released tribute to John Cameron's score to the equally iconic Seventies film Psychomania, while at the same time leaving nearly every prior release from the band in the proverbial dust, so epically addictive and immensely blissful is this sound.Sixty Minute Zoom takes the building blocks of influence carved from the likes of film composer Fabio Frizzi, Italian prog giants Goblin and Pittsburgh duo Zombi and erects here a monument to their own creativity and unique compositional eye. Indeed, every aspect of Sixty Minute Zoom sounds more focused, confident and actualized as keyboardist Andy Thompson, bassist/keyboardist/guitarist Matt Thompson and drummer Andrew Prestidge lock into each others' musical strengths and unleash what is most certainly the defining Zoltan release up until this point in the band's career.Highlight tracks such as "The Ossuary" pulse with a malevolent bass drone and swirling, atmospheric synth, while the album's epic, twenty minute closer "The Integral" moves effortlessly between horrifically mood-setting soundscapes and low key electronic experimentation, anchored by an absolutely amazing drum performance from Prestidge. The drummer's lock-tight groove at the thirteen minute mark through the track's sizzling finish is bested perhaps only by the subtly powerful groove Prestidge hits upon as the Thompson's growling synth stabs lift the opening movements of "The Integral" as the best soundtrack theme never featured for an Italian horror or giallo film.No hyperbole or exaggeration here: Sixty Minute Zoom demands immediate attention from electronic music fiends and Eurocult soundtrack buffs the world over, as it bucks the late year trend as one of the finest albums of 2014." - The Examiner
    $16.00
  • "A tremendously popular act at home in the UK, their last album, Sensible Shoes (their first with Cuneiform) was a 2009 'Album of the Year' winner with the prestigious Mercury Prize. Led Bib regularly play large-scale festivals and concert halls in the UK as well as festivals and shows elsewhere in Europe. So, in the wake of the huge press attention lavished on them due to the Mercury, and having appeared on UK's Channel 4 News, performing their version of the theme music to literally millions in front of the telly, did the mighty Bib decide to tone it down? Turn it back a notch? Definitely not. If anything, Bring Your Own contains some of their hardest rocking material to date, mixing the full throated cry of the dual saxes over loudly amplified Fender Rhodes and heavy bass and drums. Those familiar with the Led Bib sound will recognize the trademark hooky melodies and idiosyncratic improvisation on this album. The raw energy and style remains, but it has never sounded so confident or accomplished, so genre-crossing and definition-defying. Here eastern melodies tumble into rock and roll grooves, there jazz phrases open up pastoral overtures, and elsewhere crescendos rise and disappear into whirring kraut-rock wormholes. I don't want to play up the association too much because Led Bib absolutely have their own sound, but their alto sax/Fender Rhodes/bass/drums sound will bring to mind the classic Soft Machine sound updated 40 years and with a big dollop of punk/jazz. The group has been playing together for over 7 years – and it shows. There’s an electricity here, a ‘group mind’ built out of a confidence in each of the member’s playing that means risks can be taken and their unique sound world cracked open and reassembled time and time again. The band has come a long way from their humble beginnings as Holub’s college music project! Led Bib were formed in 2003 and have had the same formation since their beginnings; Mark Holub, drums; Liran Donin, bass; Toby McLaren, Rhodes and Chris Williams and Pete Grogan, alto sax. "
    $15.00
  • Virtuoso keyboardist Vivien Lalu has created a new progressive metal epic featuring an all star cast:Band [A-Z]---Martin LeMar (Mekong Delta) - VocalsMike LePond (SymphonyX) - BassSimone Mularoni (DGM) - GuitarsVirgil Donati (PlanetX)- DrumsVivien Lalu (Shadrane) - KeyboardsGuests [A-Z]---Jens Johansson (Stratovarius)Joop Wolters (Shadrane)Jordan Rudess (Dream Theater)Marco Sfogli (James LaBrie)Mike Andersson (Cloudscape, Fullforce)Peter Wildoer (Darkane, James LaBrie)Born of Noelle and Michel Lalu, musicians from the ‘70s French progressive act Polene, Vivien Lalu has released a surplus of recordings through an array of different bands and projects since 1997, as the keyboard player for underground black/doom band Time For A Change. At the turn of the millennium Lalu played keys for two underground progressive metal bands from Paris, Sad Warden and then Mind’s Orchard, and in 2002 was hired by Hubi Meisel (ex-Dreamscape vocalist) to compose and record the keys for his solo album EmOcean, the following year doing the same for Meisel’s sophomore album Kailash, both of which were released by Lion Music.It was at this time Vivien Lalu begins recruiting his own associates from major prog and metal bands — some of which he shares time composing music alongside in progressive metal act Shadrane — and forms his own solo project, LALU. The first full-length Oniric Metal was released on Lion Music in 2005 and began an entirely new chapter for this composer and his insatiable need to create mind-expanding, cinematic music.These accomplishments helped Lalu to begin securing score and soundtrack work for film and television; over the last few years he’s written many cues for the orchestral soundtrack for the Warner Bros movie Seuls Two, for the show Science X made in association with Lucasfilm Ltd. Additionally he joined the production team behind Laszlo Jones in order to assist the recordings and production of Banana Nation (Universal Music Group). He’s composed many soundtracks for French television, music and sound effects for Neko Entertainment, worked as a sound designer for Ubisoft Entertainment and much more.After collaborating with Shadow Gallery for a song on their Digital Ghosts album, and working with Canadian drummer Chris Nalbandian for his Paralysis of Analysis solo album — recording all keys and sharing solos with Derek Sherinian and Alex Argento — Vivien finally settled in and began work on the second LALU opus. Handling all composition and songwriting duties, as well as all keyboards on the massive production, Vivien weaved the cloth of the new album with vocalist Martin LeMar (Mekong Delta), bassist Mike LePond (SymphonyX), guitarist Simone Mularoni (DGM), drummer Virgil Donati (PlanetX), the album’s parts recorded in several countries including the United States (Los Angeles and New York), Germany and Italy, produced by Lalu in his own studio, and mixed at Boumbox Studio in Paris by Yan Memmi (Dio’s Lock Up The Wolves, Marcus Miller’s The Sun Don’t Lie, etc.). Additional contributions from Jens Johansson (Stratovarius), Joop Wolters (Shadrane), Jordan Rudess (Dream Theater), Marco Sfogli (James LaBrie), Mike Andersson (Cloudscape) and Peter Wildoer (James LaBrie) were also carefully built into the album, the final product boasting over fifty minutes of exceptional, massive  cinematic, atmospheric metal Lalu has dubbed, Atomic Ark. 
    $5.00
  • New studio album from Roye Albrighton and Ron Howden carrying on with the Nektar name.  Since the band reformed last decade, their studio output hasn't lived up to the reputation of the classic 70s era.  This album appears to stop the skid.  Keyboardist Klaus Henatsch has been with the band for some time now.  His keyboard arsenal has that old school sound utilizing Hammond organ at every turn.  Fill-in bassist to the stars Billy Sherwood rounds out the quartet and he also handled production.  While no two Nektar albums sounded exactly alike there was an overriding sound - once you heard a song you immediately were able to identify it as Nektar.  A lot of that had to do with Albrighton's vocals and guitar work.  Time Machine is just that - a trip back in time to the sound of Nektar in the early 70s.  I'm not going to tell you that is will supplant Remember The Future as their magnum opus, but I have to say that this isn't half bad at all and pretty closely approximates the Nektar sound that we all know and loved.  Surprising and satisfying.
    $16.00
  • "Houston, Texas is the place that the group who go by the name of Six Minute Century call home. Six Minute Century have a new album Wasting Time and it's one that comes with some serious hooks courtesy of guitarist Don LaFon. This melodic power/progressive group's well received debut Time Capsule introduced us to Six Minute Century in 2008 so it has been quite a long period between albums for fans of that release, but now the wait for their sophomore release is over.The first thing that I noticed about this group was the soaring vocals of Chuck Williams that is in a John Arch kind of way and fans of the heavier side of Fates Warning should give Six Minute Century a go. His approach totally suits the intriguing metal of Wasting Time, Six Minute Century is also group with very competent musicians the bass and drums really give Six Minute Century a hard driving sound not to mention some dynamic performances of their own along the way.Six Minute Century aren't afraid to put their bass player Michael "Dr. Froth" Millsap in the spotlight like on the instrumental "Czardas" and you can soon tell why as this guy is impressive, he also puts in a very nice introduction to "Last Days in Paradise". Two mid tempo songs that easily won me over thanks in a large part to guitarist Don LaFon are "Just Remains" and "The Killing Fields" these aren't the only memorable songs Six Minute Century have on Wasting Time but they certainly do reel you in promptly. Six Minute Century have a real knack at writing songs that entice you back again and again.Six Minute Century are onto something very agreeable here, and yes while their debut Time Capsule was quite good this new album Wasting Time shows a band that have lifted their game and the results are much more impressive." - Sea Of Tranquility
    $14.00
  • Its been four years since this British ensemble's debut album.  Been a long time coming but there have been a number of personnel changes in the band.  Founding members Alex Crispin (vox/keys) and bassist Dan Pomlett left the band, while guitarist Nicholas Richards switched over to bass.  While the band went through a state of flux their core sound didn't really change a hell of a lot.  Yeah maybe its pared down a bit but it is still steeped in the sounds of the early 70s.  Mellotron, organ and reeds abound.  Guitar is a bit more dominant but still with that retro Vertigo vibe.  Vocals only appear on one track and they are OK.  Think in terms of an instrumental VDGG in a massive jam session with members of Soft Machine and Eloy.  As if!  I will be hard pressed to come across a better progressive rock album released in 2012.  BUY OR DIE!
    $13.00
  • "Hi Fiction Science comprises former members of Suncoil Sect and Fuzz Against Junk. Guitarist James McKeown is also known for his solo work released by Fruits de Mer and Reverb Worship. Following their self-titled debut album on own label Negative Drive and a 7" on Fruits de Mer, Hi Fiction Science have signed to Cherry Red offshoot Esoteric Antenna. Curious Yellow, their first release on this label, is a truly amazing synthesis of late 60s/early 70s-style electric folk, psychedelia, and electronica. Think Trees, Liege and Lief era Fairport, Pentangle, or any number of bands on the Erewhon History of UK Underground Folk-Rock compilation albums, combined with vintage electronica and ambient music; as bizarre as that description may sound, it really is a winning formula. Elsewhere they introduce elements of angular art-rock and intense psychedelic guitar work (Vapour), wordless vocal and electronic soundscaping (Komorebi), and in Curious Yellow they set a medievalesque song to mesmerisingly repetitive psychedelic instrumentation. This is a really exceptional album from a band I will definitely be looking out for more from in future." - Bliss/Aquamarine
    $17.00
  • Grails is a US instrumental "post-metal" band (whatever that means). I would be hard pressed to call this metal. Its very dark and doomy and has a strong 70s feel. There is a weighted heaviness to the music that evokes the first Black Sabbath album but they use keyboards for added textures, and flute and violin for the weird factor. Some of it gets trippy in a Pink Floyd - Echoes direction. I guess if Dario Argento had commissioned Black Sabbath to compose a soundtrack to one of his early films it might sound like this. I find it highly addictive and something that any prog fan would enjoy. If this was released in 1972 it would now sell for $750 on Ebay. Case closed.
    $15.00
  • 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