Art Rock

"The title of Dutch singer-songwriter Anneke van Giersbergen‘s latest offering is pretty apt.

$11.00
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“Exactly why this, their second album, has been denied an official release for over two decades has yet to be fully explained, but ... it’s hard to imagine a single [fan] failing to emit squeaks of delight at the prospect of hearing these songs for the first time.

$18.00
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Budget priced 2CD set combines two of the albums that Anneke recorded under the Agua De Annique moniker: "In Your Room" and "Live In Europe".

$10.00
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Budget priced 2 CD set combines two of the albums that Anneke recorded under the Agua De Annique moniker: "Air" and "Pure Air".

$10.00
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Skylarking is the fourth in a series of remixed and expanded XTC albums. For many music fans, the band’s Todd Rundgren produced 8th album is *the* classic XTC album, and therefore the one for which there has been the most demand for a 5.1 surround mix.

$20.00
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"Tommy Rogers, the visionary vocalist and keyboardist of critically­ acclaimed progressive metal act, Between the Buried and Me, has dabbled in solo releases since 2004.

$15.00
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"The Fringe is a bold, electrifying trio consisting of Randy McStine (Lo-Fi Resistance), Jonas Reingold (Karmakanic, The Flower Kings), and Nick D'Virgilio (Big Big Train). After nearly three years since their initial meeting, the eponymous debut album, The Fringe has arrived.

$14.00
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"Half-Speed Remastered and cut to lacquers at 45RPM to deliver maximum dynamic range in the sound. Up is on 3x heavyweight 180g LPs with music on five sides and a special logo etching on the sixth side.

$38.00

"Half-Speed Remastered and cut to lacquers at 45RPM to deliver maximum dynamic range in the sound. Us is on 3x heavyweight 180g LPs with music on five sides and a special logo etching on the sixth side.

$38.00

"Half-Speed Remastered and cut to lacquers at 45RPM to deliver maximum dynamic range in the sound. The vinyl was cut by Matt Colton at Alchemy Mastering, mastered by Tony Cousins at Metropolis and overseen by Peter’s main sound engineer Richard Chappell.

$38.00
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  • The release of 2012's critically acclaimed Trouble With Machines ushered in an exciting era for Chicago-based Progressive Rock band District 97. In 2013, the band toured both Europe and the US with legendary bassist and vocalist John Wetton (King Crimson/UK/Asia), which was documented on 2014's live release, One More Red Night: Live in Chicago. 2013 also saw the band nominated for a Limelight Award by Prog Magazine. Rather than rest on their laurels, District 97 took to the studio in 2014 to record the new material they'd been honing at home and on the road. The resulting album, In Vaults, continues and accelerates the upward trajectory of great songwriting and incredible musicianship that's been evident since the band's 2010 debut, Hybrid Child. One listen perfectly illustrates why John Wetton says, “I've said it before, and I maintain that D97 is the best young progressive band around right now. Gifted players, great material, and a brilliant, charismatic singer in Leslie Hunt."In addition to its evocative and powerful songwriting and performances, In Vaults features the immaculate mixing of Rich Mouser (Spock's Beard, Transatlantic), mastering by Grammy winning engineer Bob Katz and the stunning imagery of Björn Gooßes of Killustraitions. 
    $13.00
  • Now here is a band that singlehandedly may be turning prog metal on its head and giving it a good kick in the ass at the same time.Need is a Greek prog metal band that has been around for a bit but like most bands from that country they don't get much attention outside of their homeland.  Orvam is their third album and it finds them stepping up their game quite a bit.Orvam: A Song For Home blends a variety of influences and dishes up something completely mesmerizing.  The band's musical DNA includes Fates Warning, Tool, Nevermore, and lots of prog rock.  All of these influences will crop up but tossed together in a unique way.  Its heavy but complex - ethereal and hypnotic.  Hell the band even weaves in some Mediterranean themes revealing their real roots.  Vocalist Jon V. is the anchor to the musical and he does a phenomenal job, sounding like vintage Ray Alder.  I love how amid all the grinding guitar riffs the band mixes a splash of old school Hammond organ.  Cap this monster off with the 18 minute title piece and you've got an instant classic.  The whole production was expertly mixed by Neil Kernon and masterfully mastered by Alan Douches.  BUY OR DIE!
    $12.00
  • The new Tiles album is a 2CD set in a digipak with a 28 page book.Please note that we will cut off pre-orders for this package on March 31st.  Please do not combine any other items with this bundle - they will be removed form your order.After an eight year absence, T I L E S returns with a vengeance by delivering the mesmerizing 2-CD magnum opus “Pretending to Run.”  Clocking in at over 96-minutes, “Pretending to Run” is an ambitious and richly crafted song cycle spinning the tale of a man blindsided and disillusioned by betrayal.Once again, T I L E S teamed up with producer Terry Brown – and with mastering by Grammy award winning engineer Peter Moore, “Pretending to Run” boasts a powerful and detailed sonic landscape.  Complementing the dramatic and multi-layered storyline is Hugh Syme’s striking and surreal imagery.  Featuring a lush 28-page full-color booklet, the design and packaging for “Pretending to Run” is an elaborate and stunning work of art.Lending their talents to “Pretending to Run” is an extraordinary collection of special guest musicians: Ian Anderson (Jethro Tull), Mike Portnoy (Dream Theater, Winery Dogs), Adam Holzman (Steven Wilson Band), Mike Stern (Miles Davis), Kim Mitchell (Max Webster), Colin Edwin (Porcupine Tree), Kevin Chown (Tarja Turunen, Chad Smith), Max Portnoy (Next to None), Matthew Parmenter (Discipline), Mark Mikel (Pillbugs), Joe Deninzon, and other notable guests from the Detroit area… Destined to be on the radar of Prog fans everywhere, “Pretending to Run” is a distinctive  presentation framed in the grand traditions of progressive rock.  Clearly and unmistakably T I L E S, but infused with a more expansive sound as the guest artists propel the band into new directions sure to please fans old and new.Special guest performances by:Ian Anderson (Jethro Tull)Mike Portnoy (Dream Theater, Winery Dogs)Adam Holzman (Miles Davis, Steven Wilson)Mike Stern (Miles Davis)Kim Mitchell (Max Webster)Colin Edwin (Porcupine Tree)Kevin Chown (Tarja Turunen, Chad Smith)Max Portnoy (Next To None)Matthew Parmenter (Discipline)Mark Mikel (Pillbugs)Joe Deninzon (Stratospheerius)  
    $15.00
  • I'm going to cut to the chase: if you are a fan of Fish-era Marillion...if Peter Gabriel's voice makes you spooge...then you need to own this disc.A Time Of Shadows is the second album from this Irish neo-prog band heavily influenced by vintage Marillion. Vocalist Liam Campbell is excellent and clearly from the Fish/Gabriel school. Good long tracks filled with melodies but still plenty of intricacies. Beautiful artwork from Ted Naismith rounds out a superb package. If the words "clutching-at-straws" gives you goosebumps you are a click away from musical nirvana. Highly recommended.
    $3.00
  • Second part of the English Electric concept dealing with life across the UK landscape.  What a beautiful album.  First off lets make it clear - Tony Banks and Mike Rutherford made a huge mistake.  Vocalist David Longdon should have been Phil Collins replacement in Genesis.  He would have fit like hand in glove.  The album features the band augmented by a variety of guest musicians including Andy Tillison of The Tangent who contributes organ, Moog, and Mellotron parts.  Its all very British sounding and once again a wonderful mix of old school prog and a more contemporary neoprog sound.  Highly recommended.
    $13.00
  • After a 10 year absence Enchant are back.  The band started in 1993 making them one of the earliest prog metal band.  Actually they are sort of an interesting band in that they seem to exist in both the prog rock and prog metal realms.  Some metal fans think of them as a bit lightweight and some prog rock fans think they are too heavy!  One thing is for sure they are wildly successful.  This is definitely prog but it never loses sight of the melody.  Fronted by the great Ted Leonard (who is now doing double duty with Spock's Beard) this one is a no-brainer - whether you are metal or prog head.  "irst impressions are the similarities to Spock’s Beard. Hardly surprising since Ted Leonard has been singing with them since 2011. He’s been with Enchant longer; their first CD came out in 1993. And familiarity doesn’t breed contempt here, fortunately.Bay area progressive rockers, they steer a straight course composing guitar-structured songs that they extemporise over. Guitarist Douglas A Ott is also the band’s main producer, with The Great Divide having been recorded at his own studio, but if in the past the band’s followed his direction they’re now more involved after a ten year gap working on other projects. Also, while integral, Ott doesn’t dominate Enchant’s sound but flows in and out adding a hard rock bias to their generic musical flavouring. Drummer/percussionist Sean Flanegan and bassist Ed Platt have the solidity of early Kansas and musically there are some pretty snazzy and often too brief keyboard solos from Bill Jenkins.A rolling cyclical bass line forms the basis of opening number ‘Circles’ with Leonard pondering life going round well, like a circle – while the lyrics aren’t profound they feel right and though this isn’t a concept album, despite the band stating otherwise, there are common themes concerning the human condition in a loosely existential manner. Mainly straight verse and choruses ‘Circles’ breaks out into more complicated time signatures before an acoustic comes to the fore, vocals return, an electric guitar take over and it concludes with a nicely warm keyboard solo. ‘Within An Inch’ follows with a steady rock backbeat over which Ott’s playing echoes Camel’s Andy Latimer interrupted briefly by some John Ellis punk-styled sirening. ‘The Great Divide’ follows suit in a more epic manner, the arrangement akin to Genesis in their golden period.Enchant don’t play with the fairies, despite what their name suggests. If anything they’re two steps removed from an AOR sound leaning in towards early Asia with some latter day Beatles thrown in, and a less grandiose take on Spock’s Beard. One might refer to them as technically proficient rather than emotionally overwrought, meaning there is a heartfelt flavour to their songs, and they tend to grow on you.The subdued opening to ‘Life In A Shadow’ throws a brief curveball echoing the Canterbury sound of Hatfield & The North before a heavy chorded chorus takes this into a rocking tune with soulful harmonies. ‘Deserve To Feel’ pours on the technical drumming and dribbling triplet bass figures with some flashy pyrotechnics predominantly on guitar but with keen keyboard flourishes, moving into a more intricate musical score as Jenkins and Ott trade inspired lines towards its conclusion. Likewise, ‘Here And Now’ builds reflectively moving towards emotional drama.Finely composed, played well, Enchant’s The Great Divide might not have you falling under its spell, but you may well be surprised how you find yourself being drawn to playing it." - The Midland Rocks
    $12.00
  • "The Flower Kings have been performing their brand of symphonic rock since their formation in 1994. Roine Stolt is the "veteran cosmic rocker" who heads this formidable assault on modern prog. They and some of their peers have been responsible for both maintaining and expanding the fan base for modern progressive rock since the '90s.Although I have enjoyed some of their music over time, I have only slightly enjoyed most of their work. That changes with Desolation Rose. This is a masterpiece in modern prog and it will definitely compete for one of the top spots on my favorite albums of the year list.Last year, The Flower Kings returned after an almost 5 year hiatus. They released Banks of Eden in the summer of 2012 to a strong favorable reaction from fans and critics alike. I missed that one, but will go back and try to listen to it after hearing Desolation Rose. They celebrated their success with a tour of the world. This year the band hit the road again to celebrate the 20th Anniversary of their label InsideOut Music with old friends, and label mates Neal Morse & Mike Portnoy. They kept the momentum going with a return to Fenix Studio in Sweden to start work on the recording of Desolation Rose.The band describes Desolation Rose, as a "live" recording made on reel to reel tape to bring back the feeling from analog recording. They also brought out some classic vintage keyboards, like a Hammond B3, Mellotron M 400, Fender Rhodes, Minimoog and a whole host of Tube amps. All to bring back the glorious past. They further describe Desolation Rose as: "Being somewhat of a political statement, the epic theme of Desolation Rose is a logical step in a time where perpetual war, famine, environmental threats, religious conflicts dominate the media and our minds. This is a time to wake up and the music on this album takes you on a journey where you are forced to question what the mainstream media feed us and to rethink your whole world view on all of the above. This is in many ways a typical Flower Kings album but we have also taken it into another realm where we do take chances and where you may struggle to get into the music - or the lyrics - but trust me when I say that you will be rewarded, as this may be our most involved, important and interesting album ever." (Roine Stolt).Ok, so… "on with the show…this is it"."Tower ONE" is an over 13 minute epic to start this album off in the right direction. Stolt's vocals opens with, "She'll walk me slowly through burning spear. She'll be my shelter no sign of fear. She'll walk me slowly through wholesome light. She'll be my shelter. She'll be my eye". Stolt describes "an observation by an angel who resides in a mysterious tower, looking down on the entire world's ongoing perpetual insanity, yet unable to reach out and help" (Flower King's Desolation Rose Press Release, 2013). The solid drums, dripping bass, lead electric guitars rock. The band gives you more than you may ever have dreamed of receiving on this epic opener. But for me it's the keyboards that truly shine the best on this track. "Don't we all shine on?" Well…yes definitely on this one.If you close your eyes and listen to "Sleeping Bones", you may actually visualize Rael emerging from the mist and rain on Broadway. And with all the wonderful string arrangements and soft mandolin, this one will definitely take you immediately back to some of the highlights from "The Lamb". But Stolt enters to provide a new direction, "We're the third from the sun. We're a long way from home. We're between land and sea. We are blessed and we're greed". He then proceeds to uncover the world's many ills as the deep bass, power Hammond, and punching drums march their cadence. A dark march into the current state of affairs delivered with powerful lyrics."Desolation Road" opens with limitless grand piano, yes the kind you may remember again from "The Lamb", and powerful slamming drums and stellar synths that create a spectacular grand opening. "Be sure to meet your enemies with open eyes. As you answer drums of war with a lullaby. Battlefields that come alive. You know you cannot hide. But here you know your fears…the man inside". "There are no glittering prizes." Yes, another powerful lyrical commentary on the state of affairs globally. The weeping lead electric guitar licks are perfect for the mood of the song. The keyboards, drums, bass and jams are excellent. Three tracks in and you know you're listening to a winner. Something you will play over again…many times.Well, when you open with excerpts of a speech from Richard Nixon, you know "White Tuxedos" is going to be full of political angst. "I respect your ideals. I want peace. Bring the boys home". Nice that they decided to go with images of Vietnam, for all of us old enough to remember the ravages of that war. No war or person personifies the evil politician more than Nixon and the unfortunate war he escalated only magnified that feeling globally for many. Modulated vocal delivery helps add swag to the powerful message. The music supports the power of this piece well. Dark and full of some excellent solo electric guitar, accompanied by solid bass, punching drums, and deep keys."The Resurrected Judas" is full of wonderful acoustic guitar and elegant keys after the opening explosion of drums and lead electric guitar. The softer transition welcomes you to this tale full of soft synth keys and great vocals. The lead electric guitar soloing adds dramatic flair. The dark tone keys and dripping bass help create a jam session full of piano and melody which at times take you back to Collins era Genesis with its Tony Banks keyboard romps. At over 8 minutes this track is full of imagery and cinematic music that will definitely entertain. I kept hearing echoes of the imagery in the lyrics and music from the song "Squonk", which is not a bad thing at all."Silent Masses" opens with bold keys and organ and what sounds like Jonas Reingold singing about factories again, "So you think you can rule all the fools. Staying cool when the walls coming down. Got the world on a string, but your bird cannot sing. All these men in the factory lines. And all the angels who fell from the skies. You tried to say hello, but they say goodbye", while some Beatles "And Your Bird Can Sing" chords fall like rain. "We are just the silent masses" becomes the refrain. The solid drums, bass, lead electric guitar and keyboards build as the drama continues on the second half of the track. Another solid song to add to the discography."Last Carnivore" opens with some dramatic flair from drums, bass, and lead electric guitar. The momentum continues to build excitement and mystery. "The nightmare becomes real. You have fallen from your tower". "Seven matches seven". The lead electric guitar solos accompanied by drums are powerful. The keys slide in to garnish the sound perfectly. The rhythm and melody of this track make it one of the best.With a title like "Dark Fascist Skies", you know it can't be good. The opening reminds me of Jethro Tull's A album classic "Black Sunday"; with its heavy keyboard and lead electric guitar assault. The ominous start forebodes multiple mellotron tones and a full on launch of power keyboards, bass, lead guitar and drums to the ears. This track is full of drama and ominous lyrics and sounds."Blood of Eden" is my second favorite track on the album. "We're the third from the sun. We're a beacon and a seventh wonder. We are green and we are growing. We are the one and eternal Mother". Its lyrics like that which will endear you immediately to this song. This is no way as powerful as Peter Gabriel's "Blood of Eden". And at times you can even here a bit of Jon Anderson in the high notes reached vocally. But still it is a solid track for this album."In "Silent Graveyards" we look for saviors" is repeated several times as launching guitars, and keys rocket this short song high.This is a keeper. If you are new to the Flower Kings, welcome to the party. You picked a good time to find them. If you are a fan this is a must buy." - Sea Of Tranquility
    $11.00
  • MY BROTHER THE WIND is an improvisational cosmic rock collective consisting of members of widely known Swedish acts Makajodama, Magnolia, Animal Daydream and most notably Anekdoten, one of the more widely recognized names in the 1990s prog rock revival.Recorded live in the studio with no overdubs during a single day in January 2013, Once There Was A Time When Time And Space Were One captures the collective's progressive soundscape qualities with incredible analogue studio production. The band utilized 6 and 12 string acoustic and electric guitars, Mellotron, flute, bass, drums, congas and more to complete the task. Expect 45 minutes of the band's most succinct material to date, recorded deep in the snowy, forested, Swedish wilderness.In 2013, MBTW expanded into an even wider fanbase, having been invited to play the mighty Roadburn Festival in Tilburg, Holland, as well as at Duna Jam in Sardinia.  At the invitation of Opeth’s Mikael Okerfeldt, guitarist Nicklas Barker returned to Roadburn to perform an improv set with Dungen guitarist Reine Fiske.Those who frequent the works of Popol Vuh, Amon Duul, Sun Ra, Träd, Gräs Och Stenar, Albert Ayler, Ash Ra Tempel, Gong, Pink Floyd and other visionary, psychedelic rock artists are advised to investigate this act. "Lush and instrumental for its duration, My Brother the Wind‘s third full-length, Once There was a Time When Time and Space were One (released by Free Electric Sound/Laser’s Edge), rolls out of the speakers much easier than its title rolls off the tongue, though both title and the work itself satisfy rhythmically. The Swedish four-piece — they now seem to be a bass-less trio with Nicklas Barker (Anekdoten) and Mathias Danielsson (Makajodama) on electric/acoustic 12-strong guitar and Daniel Fridlund Brandt on drums, but Ronny Eriksson plays bass on the album — reportedly recorded live to two-inch tape on a vintage machine, and the passion they put in bleeds readily into the nine-song/45-minute outing, fleshed with liberal splashes of Mellotron courtesy of Barker to play up a ’70s prog feel in a piece like the 12-minute “Garden of Delights.” That’s hardly the only point at which those sensibilities emerge, but even more than that, the primary vibe here is one of gorgeous heavy psych exploration, the band adventuring and feeling their way through the material as they go.On peaceful moments like the title-track, which arrives as the penultimate movement before “Epilogue” leads the way back to reality — accordingly, “Prologue” brings us in at the start — that exploration is positively serene, the 12-string complemented by spacious electric tones spreading out across vast reaches, but Once There was a Time When Time and Space were One offers more than drone and psychedelic experiments. Subtly pushed forward by Brandt‘s drums, pieces like “Into the Cosmic Halo” and even “Epilogue” enact classic space rock thrust, and even “Song of Innocence Part 1,” the first part of the journey after the backward atmospherics of “Prologue” introduce, has some cosmic feel amid its echoing solos. Its subsequent complement, “Song of Innocence Part 2,” swells to life on an even more active roll, waves of amp noise up front while drums and bass groove out behind, waiting for the guitars to catch up, which they do in a suitably glorious payoff, relatively brief but masterfully engaging, setting a momentum that continues well into “Garden of Delights,” a focal point for more than its length.Because the songs flow so well one to the next, some directly bleeding, others giving a brief pause, and because later cuts like “Thomas Mera Gartz” — named in honor of the drummer for ’70s Swedish proggers Träd, Gräs och Stenar — and the title-track have a quieter take, it’s tempting to read some narrative into the shifts of Once There was a Time When Time and Space were One, but with the material not being premeditated, I’m not sure that’s the intention so much as a signal it’s well arranged. In any case, the album offers an immersive, resonant listen, with tonal richness to spare and the presence of mind to keep a sense of motion even in its stillest parts and a balance of organic elements — Danielsson‘s recorder and Brandt‘s percussion on “Misty Mountainside,” the 12-string, etc. — amid a wash of effects and swirling psychedelia. This attention to sonic detail makes Once There was a Time When Time and Space were One more than just a collection of jams, and adds further purpose to the already worthy cause of My Brother the Wind‘s thoughtful musings, wandering and not at all lost." - The Obelisk
    $13.00
  • Edensong is a progressive rock quintet from New York City.  The band's self-released 2008 debut "The Fruit Fallen" was hailed as a "masterpiece" by critics, and helped to pave the way for live shows and notable festival appearances throughout North America.At over 70 minutes of new music, their 2016 followup, "Years in the Garden of Years" is even more ambitious than it's predecessor, and will be sure to appeal to fans of both classic progressive rock and metal.  The concept album features an extended song cycle on themes of time, each song a different scale and perspective.  The melodies are more memorable, the riffs more powerful, the flute playing more inventive and propulsive.  The songs prominently feature immersive new textures, from lush keyboard and orchestral arrangements to esoteric percussion from around the world, such as hang drum and Balinese gamelan.   "Years in the Garden of Years" is mastered with audiophile precision by Grammy winning engineer Bob Katz, and the CD release features stunning original cover art and booklet illustrations from beloved surrealist painter Dan May. 
    $13.00
  • Latest studio album from this outstanding band from Sweden.  The best thing about Beardfish is their ability to be contemporary but they blend in just enough old school sounds to appeal to the entrenched prog fan base.  The band never quite sounds retro yet they incorporate vintage keys and guitar sounds. Chalk this up to great songwriting. On their previous album, The Void, something went amiss and it didn't sit well with their fans.  The band had taken on a heavier edge touching on metal.  Well have no fear - the band has jettisoned all metal trappings and have returned to the sound of the earlier albums.  Swirls of organ and Mellotron are everywhere and the unmistakeable sound of the Rickenbacker bass will slam you in the gut.  Are you are fan of Anekdoten, Gentle Giant, King Crimson, or even The Flower Kings?  You need to hear this.With regards to the bizarre album title here is a clue from the band:“The comfort zone is the invisible protective suit of negative thinking, almost like an entity of itself. It’s been with you since birth: your parents and your teachers and your friends and your neighbours all teaching you the way the world works – this is how it is and will be and there’s nothing you can do about it. The negative vibe is like a voice living inside of you, a companion through life. With time you start to like that voice and the place it takes you to: your comfort zone. I’m so sick and tired of it and I want to address it and maybe in that way start to work my way out of it”+4626 Comfortzone comes with a bonus CD featuring 13 previously unreleased demo and outtake tracks spanning 2002-2008.BUY OR DIE!
    $12.00
  • Since their first release in 1999, WOLVERINE has pushed outside the boundaries of metal and evolved through inventiveness and explorative ambition, now incorporating a wider spectrum of musical elements into their own progressive sound.Machina Viva is a natural evolution from their last album Communication Lost, inviting the listener into the melodic yet dark and moody world of WOLVERINE.  It is the band’s most dynamic album to date; from the 14-minute epic and powerful “The Bedlam Overture” and the dark electronic landscapes of “Machina”, to the naked and organic nature of “Pile of Ash” and “Sheds”. This is the next step in WOLVERINE’s explorations in the progressive field.Machina Viva was recorded and produced by WOLVERINE in Sweden during autumn and winter 2015/2016. The album was mixed at Spacelab Studio (Germany) by CHRISTIAN “MOSCHUS” MOOS (HAKEN, DELAIN), and mastered by Grammy Award winning audio engineer BOB KATZ.
    $13.00
  • My Soliloquy is a British band formed in 2002 by multi-instrumentalist Pete Morten.  Since then the band has released a number of demos, gaining traction in the metal underground. The band had a number of notable support shows with Pagans Mind, Power Quest, Oliver and Rick Wakeman, and Threshold, as well as a second-to-headline set at Bloodstock 05 and a showcase at 2007’s ProgPower UK II.Since 2007, Morten has been an active member of British prog metal legends Threshold.  His membership has raised awareness (and created anticipation) for My Soliloquy’s long awaited debut.The essence of My Soliloquy is pure forward thinking metal – symphonic keyboards, shredding guitar leads, soaring vocals – all finely woven together with a blend of intricacy and melody.  The Interpreter was mixed and mastered by Rob Aubrey who has been a mainstay of Marillion’s camp for many years.
    $5.00
  • Second release from this German band and frankly its a huge improvement from their debut. Dante skirt the fine line between neoprogressive rock and progressive metal. The music is quite melodic and there is some heaviness in the guitarwork...and yeah the keyboardist likes to shred like Jordan does...so maybe they can slip into the metal category. File these guys along side Ricochet.
    $3.00
  • IQ made the curious but welcome decision to make a special edition of The Road Of Bones containing 40 minutes of extra material on a second CD.  None of this material is available elsewhere.  Not remixes or throw away tracks - just 40 more minutes of prime IQ!IQ's 10th studio arrives and again with a slightly reconfigured lineup.  The exceptionally gifted Neil Durant, previously with Sphere3, is now handling keyboards.  Nothing dramatic changed.  If anything keyboards might even be a bit more prominent.  Paul Cook and Tim Esau, the original rhythm section, are now in tow. Peter Nicholls is his sombre self.  Guitars seem to be slightly heavier but all in all this sounds like prime IQ.  This is a band that has weathered personnel changes over the year but like a fine wine they've improved with age.  This is a BUY OR DIE release.  Top 10 for 2014. 
    $18.00