Fusion

"Recorded in 1981, this is a diverse and somewhat obscure John McLaughlin outing recorded in France, mostly with French musicians.

$8.00
Add to wishlist 

"The ever peripatetic and ever restless John McLaughlin returns again to the electric jazz field that he once commanded in the early '70s, while never quite landing on the same spot where he left off.

$9.00
Add to wishlist 

Bon Lozaga is a guitarist known to many of you due to his past membership in Pierre Moerlen's Gong as well as his offshoot band Gongzilla.  Bon has a new fusion trio and its quite a departure from his past work. His bandmates are Mudvayne bassist Ryan Martine and drummer Mitch Hull.

$13.00
Add to wishlist 

This great 70s fusion album is finally getting a legit CD reissue.  If you bought the release on Footprint Records years ago you picked up a bootleg.  This is the real deal released by Wounded Bird.

$12.00
Add to wishlist 

"SPACED OUT is the Canadian answer to PLANET X!From this statement it has to begin this review to an album that marks,definitelly, a step ahead to a band composed by some unbelieveble talented musicians!The instigator of this project,the band leader is the monster bass player ANTOINE FAFARD,one

$ 9.00
$ 15.00
Add to wishlist 

Finnforest was (in my opinion) the best progressive band from Finland.  The band consisted of the Tegelman Brothers - Pekka (guitar/bass) and Jussi (drums), and Jukka Rissanen (keyboards).  All instrumental - they went through subtle stylistic changes over thei course of their three albums.  The

$19.00

Finnforest was (in my opinion) the best progressive band from Finland.  The band consisted of the Tegelman Brothers - Pekka (guitar/bass) and Jussi (drums), and Jukka Rissanen (keyboards).  All instrumental - they went through subtle stylistic changes over thei course of their three albums.  The

$19.00

Finnforest was (in my opinion) the best progressive band from Finland.  The band consisted of the Tegelman Brothers - Pekka (guitar/bass) and Jussi (drums), and Jukka Rissanen (keyboards).  All instrumental - they went through subtle stylistic changes over thei course of their three albums.

$19.00

One of the great fusion albums from the Finnish 70s scene.  Surprisingly this wasn't released on Love.  Instead it came out on Finnlevy's Dig It fusion sublabel.

$30.00

First vinyl reissue of this rarity originally released on Love Records.

$19.00
VIEW MORE
Subscribe to RSS - Fusion
Laser Pic

customers also bought

SEE ALL
  • "Beware! This is the first time that I have been able to review a full Haken album without any word limits or other punitive restrictions placed upon me. You have been warned…I’m going to lay my cards on the table right at the outset: Haken are one of my all-time favourite bands. Despite only being in existence for a relatively short period of time, right from their debut ‘Aquarius’ I have held them in high regard. It is a situation that has only strengthened over the years with each passing album and having had the chance to meet the band on several occasions, from interviewing the whole motley crew on their tour van at Progpower Europe in 2010 to friendly chats with various members at numerous gigs subsequently.Regardless of this however, Haken are the real deal. Yes, they are a cracking bunch of guys but crucially, they back it up with a superlative end product. Each member of Haken is a supremely talented individual with their chosen instrument(s) but together there is a real magic; an unquantifiable ‘x’ factor that leads to the creation of music that is almost peerless and jaw-droppingly good.And, on that note, let us delve into the world of ‘Affinity’.It took me quite a while to get into and appreciate ‘The Mountain’. It sounded different from what went before it; more grown-up and, ‘Cockroach King’ aside, more serious and introspective. However, in stark contrast to ‘The Mountain’, ‘Affinity’ captured my imagination right off the bat and has not failed to let go in the month or so that I’ve been listening to it. If anything, the more I listen, the better it gets.Weirdly enough, a small voice in my brain kept suggesting that it might be a good thing if ‘Affinity’ wasn’t as good an album. That way, I’d be able to tackle this review without the inevitable comments from readers about me being a fanboy and moaning that ‘you were always going to give it a high score’. But then I came to my senses.‘Affinity’ won’t be for everyone, that’s for sure. If you’re a fan of the first two albums and wanted a return to more of that sound and approach, you might be left slightly disappointed. If however, you’re open to listening to a band that refuses to tread the same path twice, a band that champions the true meaning of ‘progressive’ by trying new things whilst remaining loyal to their core principles, then ‘Affinity’ will probably have the same impact upon you as it has had on me.And what exactly is that impact? It is almost impossible to describe if I’m honest. ‘Affinity’ is an album that transcends the normal debates around whether it is good or not. Of course it is good, that almost goes without saying. I’m not a musician, so I am unable to dissect all of the technical intricacies that are present on this record. That’s not my style. Instead it’s the feelings that Haken evoke in their music that I feel the need to focus on as this is arguably the most powerful and intoxicating aspect of their incredible music.We all have them – bands that, as you listen, make you feel happy to be alive. Well, for me, Haken are one of the four or five bands on Earth that do just that.The album opens with the sampled sounds made by early computers atop a dark, cinematic soundscape that grows in intensity, building the sense of anticipation brilliantly and setting the foundations to the musical avenues to be explored within ‘Affinity’. Whilst ‘The Mountain’ was heavily influenced by the 1970s with the likes of Gentle Giant looming large within certain compositions, ‘Affinity’ takes its cue from the following decade. To be fair, this was fairly obvious after one look at the retro cover artwork and the most excellent teaser trailers released a few weeks ago. Again, the imagery might not appeal to everyone, but I really like the boldness and simplicity of the artwork that deliberately and unashamedly harks back to the analogue days of cassette tapes and vinyl.The opening instrumental segues seamlessly into ‘Initiate’, the first ‘proper’ track on the album and a barnstormer at that, a deceptively complex piece of music that acts as a real showcase for everything great about Haken in 2016. And as I listen, almost immediately, several things become clear. Firstly, ‘Affinity’ is blessed by a production and a mix courtesy of Jens Bogren (Fascination Street Studios) that is right out of the top drawer. The music sounds powerful yet with a clarity that allows every instrument to shine. Nothing is lost or overlooked and the results are simply stunning.Secondly, Ross Jennings’ vocals have taken another huge leap in the right direction. I was always one of those that took a lot of convincing over his delivery on the debut record particularly. However, he has pushed himself to the point that he is, without doubt a highly talented and accomplished vocalist with a unique, passionate delivery.Thirdly, the increase in atmospherics, of electronic sounds and textures courtesy of Diego Tejeida is also very pronounced from the outset. Not only does he create a very interesting sonic palette that weaves in and out of each composition, he injects a surprising amount of warmth to the music that could so easily have sounded cold and inaccessible.This in turn links to my final observation, that ‘Affinity’ manages to deftly and expertly merge the sounds of the past with the sounds of the future. In spite of the 1980s sheen, all nine compositions on ‘Affinity’ come across to me as fresh and exciting, with accents of djent, post-rock, ambient and all manner of other sounds bursting forth at whim.Having said all that, ‘1985’ is almost entirely immersed in the 80s. In the same way as ‘Cockroach King’ was Haken’s ‘all-out’ track on ‘The Mountain’, ‘1985’ is the song on ‘Affinity’ that throws a little caution to the wind and shows Haken at their most audacious in many respects. Synth drums, overt retro sounds and an occasional dive headlong into 80s movie soundtrack territory all take place within this ambitious composition. However, it works, retaining a homogenous feel throughout. It is made all the more special thanks to a really rousing, hooky chorus that is nothing short of addictive.The elegant ‘Lapse’ features some of Jennings’ most accomplished vocal work on this record, and indeed throughout the entire back catalogue. The vocal chords are stretched in directions that must have been really challenging but the result is gripping, full of sincerity and emotion in places.‘The Architect’ is Haken’s monster epic. At 15 minutes long, it allows the band the time to explore a number of ideas without ever feeling cluttered or disjointed. The track starts off in grand, cinematic style before exploding in a barely-controlled prog metal assault. It is here that Haken most clearly reference their earlier output as the music flits between the over-the-top excesses of the debut and the grandiose tones of ‘Visions’.I’m then reminded vaguely of Tool in the more refrained guitar work and rhythms that follow, before another memorable chorus of sorts grabs the attention. And then, the song plunges into a music abyss where everything falls away to eventually and gradually rebuild over time. The foreboding yet ambient synth sounds lay the early groundwork as the bass guitar of relative newbie Conner Green joins the fray with some exceptionally expressive, deft and highly musical work. Ray Hearne’s drumming is subtle but inspired, and the resulting guitar interplay between Richard Henshall and Charlie Griffiths is inventive, melodious and ear-catching.If that wasn’t enough, as the song ascends from the depths, the band are joined by Leprous’ Einar Solberg who adds his unique gruff vocals atop some heavy djent-like riffing before a return to the chorus and an epic lead guitar solo that rivals that of ‘Aquarium’ for spine tingling majesty.‘Earthrise’ is possibly my favourite track on the album right now. I adore the quiet and melodic opening because it fills me with a warm glow and the feeling that the world can’t be an entirely awful place if such beautiful music can be written. It develops into a composition that is bright and breezy, complimented by lyrics that have a distinctly positive vibe to them.By contrast, ‘Red Giant’ explores entirely different terrain. It is the most modern and post-rock that Haken have ever sounded and is also one of their most brooding and quietly intense compositions. The keys and rhythm section take the lead on this track, which is arguably the biggest and most consistent grower on the entire record.‘The Endless Knot’ features some delicious drum fills from Mr Hearne and more killer melodies. It also affords Diego the opportunity to go a little crazy with more zany and out-there sounds. It also allows some six-string indulgence in the shape of one of the most intricate and dextrous guitar leads at around the mid-point. The song constantly shifts direction throughout its relatively modest life, but is held together by those strong melodies which return time and again to my great delight.‘Bound By Gravity’ then closes out the album in an impossibly perfect manner. It is arguably one of the softest songs that Haken have ever penned but it is also one of the most beautiful. Acoustic guitars and more warm and inviting keys, vaguely reminiscent of Sigur Ros envelop the listener in a soothing, comforting embrace. Jennings’ soft and gentle delivery adds an almost ethereal quality to the track as it floats along on a warm current of magical melody that is both uplifting and almost heart breaking. Such is its understated and subtle beauty, I find myself smiling broadly and wiping tears from my eyes almost simultaneously.How do I sum up an album like this? I could have mentioned a million bands throughout this review, from Textures to King Crimson and beyond as indeed there are reference points all over the place if you’re of a mind to count them. However, Haken are Haken and the bottom line is that they have developed into a modern prog band that is truly unique. ‘Affinity’ is one of the best progressive albums I have ever had the pleasure to listen to but more than that, it truly moves me and I connect to it on an emotional level; it makes me smile, it makes me cry and it makes me feel alive." - The Blog Of Much Metal
    $14.00
  • Big Big Train have ascended to the top echelon of progressive rock bands currently active.  They are easily the best band coming out of the UK - the fountainhead of all prog rock."Is there a nicer feeling than when you discover that one of your favourite bands is to return with new material much sooner than predicted and somewhat unexpectedly? There aren’t many better moments that’s for sure and Big Big Train are the architects of this great piece of news, offering us their tenth album ‘Grimspound’ less than 12 months on from the release of the utterly sensational ‘Folklore’.Long term readers will perhaps be familiar with that review, where I was quoted as saying that “‘Folklore’ is another amazing addition to the Big Big Train discography and is something all lovers of quality progressive rock should cherish and take to their hearts. I know that I have.”However, the feelings of levity and excitement about such a speedy a follow-up are, for me, tempered ever so slightly by a few more cautious thoughts. ‘Is it too early for more material?’, ‘has this album been hurried?’, ‘will the quality take a hit?’ You can see where I’m going with this. I worry that speed doesn’t always yield positive results and therefore, whilst I’m like a child at Christmas following this news, I have a few nerves as well. ‘Folklore’ remains on heavy rotation at the Mansion of Much Metal (and Progressive Rock), providing the same levels of magic as it did at the time of its release. The bar has been set and I desperately want ‘Grimspound’ to follow suit.So, does it?The answer, after a slightly slow start is ‘yes, very much so’. At the outset though, I wasn’t convinced if I’m honest. I was looking for similar heart-stopping moments to those that featured within the likes of ‘Brooklands’ or ‘Winkie’ and I couldn’t find them initially. But that says more about my levels of patience than it does about the music on offer within ‘Grimspound’ because, with time, those moments of genius are there to be found and to be heard. In fact, this entire record borders on genius as far as I’m concerned now. How else can you explain the fact that these eight musicians have returned so quickly and effortlessly with another eight superb, intricate and captivating progressive rock compositions?I understand that the band came up with an awful lot of material during the ‘Folklore’ writing sessions and some of what we hear on ‘Grimspound’ was given birth back then. But regardless, the achievement here beggars belief, it really does. Take a bow, Messrs Spawton (bass), Poole (guitars/keyboards), Longdon (vocals/flute), D’Virgilio (drums), Gregory (guitars), Manners (keyboards), Hall (violin) and Sjöblom (guitars/keyboards). You deserve it.Big Big Train have always followed a path of progressive rock that veers down the pastoral route and they probably always will – it’s in their blood. But this is not a group of musicians to stagnate either. So, whilst the music here is recognisable as Big Big Train, there are some differences to be heard between ‘Grimspound’ and previous albums.Some of this is down to the fact that newer members, Rikard and Rachel along with Danny have become more active in the song writing process, bringing their own unique view points to the table. And it is testament to the open-mindedness of the other members that this has been allowed to happen. Mind you, I think ‘welcomed with open arms’ would be a more appropriate description.One of the first things that I notice is that ‘Grimspound’ features very little brass. As someone who genuinely intensely dislikes brass within rock or metal music, I must confess that I am ever so slightly torn by this turn of events. For some reason, I never had a problem with the brass element of Big Big Train and so, once you realise how little of it is evident, it does give the music a slightly different flavour overall.As the band readily admits in the accompanying press release, ‘Grimspound’ also sees Big Big Train experimenting with longer passages of instrumental expression. So it comes as no surprise to learn that ‘On The racing Line’ for example is a five-minute instrumental piece, whilst other compositions have plenty of space for some indulgent instrumental flamboyance. Normally, I would baulk at the notion but where Big Big Train are concerned, they pull it off with style and elegance. Their music has always had the ability to tell a story and this is true whether or not there are lyrics being sung over the music; the dynamics and ideas at play here within the instrumental passages are such that the stories are able to continue very eloquently.Another interesting addition this time around is with the inclusion of a guest vocalist on the song ‘The Ivy Gate’. Judy Dyble offers her voice within this quite a dark and powerful composition that concerns “the reported sightings of a ghostly apparition beside the cemetery gates in a quiet English village.” It is an intriguing composition that begins with a folky, bluegrass banjo-led melody that initially I railed against. In the context of the song however, it makes a lot of sense and is a wonderful addition to the band’s armoury. Moreover, it is an ingredient that I have grown to rather like and enjoy.The violin playing of Rachel Hall is beautiful and I embrace the sadness and atmosphere that is conjured within this track. But even more, I love the way in which the song builds and opens up at the 4:30 mark to deliver a sumptuous melody that is made even more powerful by the duet of Longdon and Dyble that joins it, before the track deconstructs to end with some impressive and emotional vocals and the soothing sound of rain falling.It seems like I am uncontrollably waxing lyrical about this album, but that can’t be helped I’m afraid, with every positive word being well earned and justified. And it must continue I’m afraid.The opening few moments of ‘Brave Captain’ and indeed the album as a whole, create a very subtle, ambient soundscape, very introspective and thought-provoking at the same time. After a minute or so, the entire band enters the fray in what becomes a rousing and dynamic piece of music. This is arguably the most immediate track on the album but in true Big Big Train fashion, it ebbs and flows throughout its substantial 12 minute life creating a sense of drama upon which they tell the powerful story of a World War One pilot named Captain Albert Ball who gave his life for his country.Naturally, given the subject matter, there are moments that convey the sobriety of the story, like the almost Dire Straits-esque piano and bluesy guitar section. But equally, there are also times where the musicians open up their wings and take flight, just like the central character in the song. When they do so, it is quite a heady experience and it is easy to get caught up in the music that swells all around you.Another favourite is the quite stunning ‘Experimental Gentlemen’, a tale of Captain Cook on his first journey of discovery. Incorporating a vast array of intricate ideas within a remarkably cohesive whole, it moves from gentle, dreamy and wistful to up-beat and bouncy. You can feel an increase in intensity as the song slowly and inexorably moves through the gears to eventually deliver a dramatic sequence complete with an emotional and delicate lead guitar solo. That’s not the end though as there’s time for an extended atmospheric outro that has a subtle yet moving feel to it.Arguably the biggest exponent of those aforementioned extended instrumental passages is the longest track on the album, the hugely impressive ‘A Mead Hall In Winter’. The melodies are just so strong that they draw me in for repeated listens in spite of its length, rivalling anything that appeared on ‘Folklore’. But it is the experimentation and the ambition that is the most impressive aspect, including a plethora of bold and striking keyboard sounds as well as plenty of lead flamboyance all round. It all helps to create genuinely rich and engaging textures not to mention a multi-faceted, multi-layered soundscape. This sort of music only works when it is handled with care and attention to detail. And Big Big Train are fast becoming the safest pair of hands that I know, turning everything to gold with their unique Midas touch. My mind never wanders, my attention is never diverted away and as this epic composition draws to a close via a reprise of the early sumptuous melodies, I am filled with nothing but admiration for what has been achieved here.By contrast, ‘Meadowland’ is a much shorter proposition that benefits from a truly gorgeous lead violin and acoustic guitar intro, full of sensitivity and elegance. The wistful vocal delivery of Longdon adds a compelling embellishment to a piece of music that straddles the divide between folk and progressive rock, that I wish was twice as long.The title track begins in strange fashion with an oddly creepy and discordant introduction, quickly replaced by more acoustic guitars. Another serious grower, I’m currently of the opinion that it contains my very favourite melody on the entire album, accompanied by the words:“Out on the Heathland,Look up to the night sky.See the second brightest star?Adjust to the dark light.”The vocals and music together combine in magical fashion to stop me dead in my tracks. But I also enjoy the way in which the track subtly moves away from its starting point, to finish with more instrumental prowess in a much different and more up-tempo vein. The closing vocal passage is inspired too.Seeing as I’ve mentioned all the others, it seems churlish to overlook the closing composition, ‘As The Crow Flies’. It ends ‘Grimspound’ in fine fashion, fittingly oozing warmth and richness. It begins in delicate fashion, featuring more female vocals and some really welcome flute from Longdon. At the mid-point, the composition explodes in typically controlled but epic fashion, delivering a briefly rousing and heartfelt melody, led by hungry guitar notes that retreat all-too-quickly, allowing the song to ease to a gentle and introspective conclusion.Just when you thought that Big Big Train couldn’t possibly get any better, they do. ‘Grimspound’ is without doubt the best progressive rock album I’ve heard since…well, since ‘Folklore’ to be exact. Big Big Train have become an integral part of my musical life, to the point where I cannot imagine what my life was like before I discovered them. Right now, I can’t think of any bigger compliment that I can pay or one that is more justified and thoroughly deserved. Without question, Big Big Train are my favourite progressive rock band on this planet, bar none." - Man Of Metal blog
    $12.00
  • Karmakanic has become more than just a Flower Kings offshoot.  While Roine Stolt seems to have mothballed the kings for the time being, uber-bassist Jonas Reingold has continued to release some beautiful prog albums under the Karmakanic banner.  This is definitely not to take away respect for his band mates because frankly its a hell of a line up.  Goran Edman is one of the most underrated vocalists in prog rock.  He made his bones in the metal world but he just sounds more comfortable with material like this.  Lalle Larsson is a virtuoso keyboardist - great composer and chops from hell.  Drummer Morgan Agren doesn't need much commentary - if you can stand on stage with Frank Zappa you've got everyone's respect.  So yeah Karmakanic is one of the premiere prog rock bands going these days.  There is definitely more than a tip of the cap to the neoprog sound but unlike most of those bands this isn't streamlined radio friendly music. Its melodic as hell but the sheer instrumental prowess coming from these guys is overwhelming.  This set comes with a bonus DVD which features live footage from Rosfest 2012, interviews, and a "making of" video.Karmakanic always seems to push the right buttons for me and this one is no exception.  Highly recommended.
    $16.00
  • I guess miracles do happen. Incredible to think that its been 18 years since Epilog was released. The long promised third album is finally here and it does not disappoint. The boys and girl are back in town and they sound exactly the way they did on Hybris and Epilog. Essentially Anglagard infuse their music with the best elements of 70s prog from Sweden, Germany, and England and do it at the same high standard as the original bands that influenced them. Viljans Oga consists of 4 epic tracks of Mellotron laded symphonic rock bliss.After the band's triumphant return to the stage at Nearfest Apocalypse, the band generously divided up their remaining stock of the new album among the various vendors. For the moment we have a limited stock that we expect to sell out very quickly. More will be on the way shortly. For the moment - if you are reading this grab it because it won't be here the next time you look.BUY OR DIE!
    $22.00
  • Arjen Lucassen's long awaited Ayreon project is a total blast.  Like some of the earlier Ayreon albums, it owes as much to prog rock as it does metal.  All the old school heroes like Emerson, Wakeman, Wetton get to strut their stuff showing a young stud like Rudess a thing or two.  As always Lucassen latches on to some of the best vocalists around and this one is no exception.  Highly recommended.PLEASE NOTE THERE WILL BE A VERY EXPENSIVE IMPORT "ART BOOK" EDITION FORTHCOMING."You know what the metal world needs more of? Musicals. I'm not saying that ironically either. Sure, we have plenty of prog bands putting out concept albums, but cool as these records many be, the story themselves are not the focus of the album. Ayreon mastermind Arjen Anthony Lucassen has resurrected his grandest of all projects to continue showing these folks how to tell an epic story the right way.With 01011001 the Ayreon story came to an end, or so we thought. Arjen instead decided to focus on projects like Star One, Guilt Machine, and his solo album Lost in the New Real. When he revealed not too long ago that he was working on a new project, it wasn't a surprise to discover it was new Ayreon, but I was still plenty excited.Lucassen said of the newest record, "It's not science fiction, but a human story set in a science context." So no aliens or battling emotions or any of that. So, in an attempt to better understand the story, I contacting him for the lyrics and much to my surprise, he sent them to me saying, "Oh yes, you need the lyrics, definitely." Holy hell, was he right. The story is indeed more grounded than previous records, but there are still layers to this beast.Fans of Ayreon should know what to expect here. The Theory of Everything has seven guest singers and each singer plays a part in the story. They are JB (Grand Magus) as the Teacher, Christina Scabbia (Lacuna Coil) as the Mother, Michael Mills (Toehider) as the Father, Tommy Karevik (Kamelot) as the Prodigy, Marco Hietala (Nightwish) as the Rival, John Wetton (Asia/ex-King Crimson) as the Psychiatrist, and Sara Squadrani (Ancient Bards) as the Girl.Of these singers, the most impressive is the relatively unknown Sara Squadrani. She performs on a large portion of the story and shines every time, especially on "Love and Envy". I was also surprised to be so enamored with the performance of Christina Scabbia. She's always had  a wonderful voice, but her performance in this record might be her finest. Her harmonies with Squadrani stand out particularly on "Mirror of Dreams". This isn't to say only the performances by the female singers are worth mentioning. Tommy Karevik's introduction in "The Prodigy's World" is one of the strongest moments on the album.Press_Photo_01Every Ayreon album comes an eclectic group of guest musicians. This round primarily consisted of guest keyboardists. Rick Wakeman (ex-Yes) handles a good portion of the record, while Keith Emerson (Emerson, Lake & Palmer) and Jordan Rudess (Dream Theater) both make excellent solo appearances on "Progressive Waves".Having listened to all of Lucassen's albums at least once, I can say The Theory of Everything is the most musically diverse offering he's had a hand in, perhaps with the exception of his solo record. This isn't as heavy as previous Ayreon titles, but it has its driving moments like "Collision" and the Dream Theather-esque "Frequency Modulation." The aforementioned "Love and Envy" is a slower introspective song, while "Diagnosis" is massive and a little cheesy, but so awesome. "Transformation" has a Middle Eastern feel to it, and  "The Eleventh Dimension" sounds like intergalactic renaissance faire music.Often times there are jumps in mood, genre, etc in the middle of a song. This is fairly typical for an Ayreon release; what isn't typical is that technically this record consists of only four songs. These four songs are each at least twenty-one minutes, but they are cut up into forty-two pieces (yes, that's a Hitchhiker's Guide to the Galaxy reference) .This is a fun record. It's a record that does require a time commitment. I'd say listeners should treat it as a proper musical or film in a theater. Try to experience it all in one sitting for the full effect. It's absolutely worth it." - Metal Injection
    $17.00
  • Steve Hackett returns to his roots.  This is the second time he's revisited the Genesis years.  This two disc set features reworking of material that Steve co-wrote.  In addition to members of his touring band, he has assembled an amazing array of guest musicians to help reinterpret classic Genesis compositions: Roger King, Amanda Lehmann, Christine Townsend, Dave Kerzner, Dick Driver, Francis Dunnery, Gary O’Toole, John Hackett, John Wetton, Mikael Akerfeldt, Nad Sylvan, Nik Kershaw, Phil Mulford, Roine Stolt, Steve Rothery, Nick Magnus, Neal Morse, Jeremy Stacey, Conrad Keely, Nick Beggs, Steven Wilson, Rob Townsend, Jakko Jakszyk, Simon Collins, Lee Pomeroy, Djabe.Tracklisting Disc 1:The Chamber of 32 Doors (6:00)Nad Sylvan: VocalsSteve Hackett: GuitarsDick Driver: Double bassRoger King: KeyboardsGary O'Toole: DrumsChristine Townsend: Violin, ViolaRachel Ford: CelloJohn Hackett: FluteBenedict Fenner: Additional ProductionHorizons (1:41)Steve Hackett: GuitarsBenedict Fenner: Additional ProductionSupper’s Ready (23:35)Mikael Akerfeldt: Vocals (1)Simon Collins: Vocals (2)Steve Hackett: Guitars, Vocals (3)Conrad Keely: Vocals (4)Francis Dunnery: Vocals (5)Lee Pomeroy: BassRoger King: KeyboardsJeremy Stacy: DrumsDave Kerzner: additional Keyboards & programmingBenedict Fenner: Additional ProductionThe Lamia (7:47)Nik Kershaw: VocalsSteve Rothery: GuitarsSteve Hackett: GuitarsLee Pomeroy: BassRoger King: KeyboardsGary O'Toole: DrumsJohn Hackett: FluteBenedict Fenner: Additional ProductionDancing With The Moonlit Knight (8:10)Francis Dunnery: VocalsSteve Hackett: GuitarsLee Pomeroy: BassRoger King: KeyboardsJeremy Stacey: DrumsJohn Hackett: FluteRob Townsend: Soprano Sax, WhistleFly On A Windshield (2:54)Gary O'Toole: Vocals, DrumsSteve Hackett: GuitarsRoger King: KeyboardsLee Pomeroy: BassBroadway Melody of 1974 (2:23)Gary O'Toole: Vocals, DrumsSteve Hackett: GuitarsLee Pomeroy: BassRoger King: KeyboardsThe Musical Box (10:57)Nad Sylvan: VocalsSteve Hackett: GuitarsLee Pomeroy: BassRoger King: KeyboardsGary O'Toole: DrumsRob Townsend: Soprano SaxCan-Utility And The Coastliners (5:50)Steven Wilson: VocalsSteve Hackett: GuitarsNick Beggs: BassRoger King: KeyboardsGary O'Toole: DrumsChristine Townsend: ViolinRob Townsend: WhistlePlease Don’t Touch (4:03)Steve Hackett: GuitarsDick Driver: Double BassRoger King: KeyboardsGary O'Toole: DrumsJohn Hackett: Flute- Total: 73:20Tracklisting Disc 2:Blood On The Rooftops (6:56)Gary O'Toole: Vocals, DrumsSteve Hackett: GuitarsDick Driver: Double BassPhil Mulford: BassRoger King: KeyboardsRachel Ford: CelloChristine Townsend: ViolinRob Townsend: Soprano SaxThe Return Of The Giant Hogweed (8:46)Neal Morse: VocalsSteve Hackett: GuitarsRoine Stolt: GuitarsLee Pomeroy: BassRoger King: KeyboardsGary O'Toole: DrumsJohn Hackett: FluteBenedict Fenner: Additional ProductionEntangled (6:35)Jakko Jakszyk: VocalsSteve Hackett: GuitarsRoger King: KeyboardsAmanda Lehmann: Harmony VocalsEleventh Earl Of Mar (7:51)Nad Sylvan: VocalsSteve Hackett: GuitarsNick Beggs: BassRoger King: KeyboardsGary O'Toole: DrumsRipples (8:14)Amanda Lehmann: VocalsSteve Hackett: GuitarsPhil Mulford: BassRoger King: KeyboardsGary O'Toole: DrumsUnquiet Slumbers For The Sleepers … (2:12)Steve Hackett: GuitarsRoger King: KeyboardsGary O'Toole: DrumsBenedict Fenner: Additional Production... In That Quiet Earth (4:47)Steve Hackett: GuitarsNick Beggs: BassRoger King: KeyboardsGary O'Toole: DrumsRob Townsend: Soprano SaxAfterglow (4:09)John Wetton: VocalsSteve Hackett: GuitarsPhil Mulford: BassRoger King: KeyboardsGary O'Toole: DrumsAmanda Lehmann: Harmony VocalsA Tower Struck Down (4:45)Steve Hackett: GuitarsDick Driver: Double BassRoger King: KeyboardsRachel Ford: CelloJohn Hackett: FluteChristine Townsend: ViolinsCamino Royale (6:19)Steve Hackett: Guitars, VocalsAttila Egerhazi (Djabe): GuitarRoger King: KeyboardsNick Magnus: Keyboards; AtmospheresGary O'Toole: DrumsSzilard Banai (Djabe): DrumsTamas Barabas (Djabe): BassZoltan Kovacs (Djabe): PianoFerenc Kovacs (Djabe): TrumpetBenedict Fenner: Additional ProductionShadow Of The Hierophant (10:45)Amanda Lehmann: VocalsSteve Hackett: GuitarsSteven Wilson: GuitarNick Beggs: BassRoger King: KeyboardsGary O'Toole: DrumsRob Townsend: Soprano Sax, Flute 
    $15.00
  • Second album from this California based prog metal band with ties to Redemption. The Tragedy Of Innocence is a far more mature and developed release than their debut. It's a conceptual work dealing with a very heavy subject - Valerie Quirarte (wife of drummer Chris) and her experience with child abuse. The music is a reflection of the story - its darker and more intense. All in all Prymary are a progmetal band. You can expect some serious complex arrangements and stand out playing. Kudos to the band for tackling a difficult subject and also jumping up to the next level musically. Recommended.
    $2.00
  • 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
  • Second album from this brilliant Australian prog band led by Sam Vallen and Jim Grey.  The band started out as a project and has now expanded into a full blown quintet.  Caligula's Horse has assimilated a variety of influences.  You wouldn't call them a pure prog metal band as there is a strong atmospheric prog rock component.  Djent riffs are part of the band's sound as well.  I'm particularly drawn to Jim Grey's clean vocals.  They work perfectly here.  So basically a lot of disparate elements congealed into a greater whole and it works incredibly well.  You get something heavy (at times), and atmospheric (at times).  Think Tesseract meets Dream Theater meets Riverside.  Modern, forward thinking music.  Easily one of 2013's best releases.  Highly recommended.  BUY OR DIE!
    $13.00
  • Brief Nocturnes is the band's 11th album.  It marks their return to Inside Out and quite frankly its the best album they have released in a very long time.  Chalk it up to Ted Leonard handling vocals or Neal Morse contributing writing to a couple of tunes?  Not sure.  I am definitely hearing more vitality and overt progginess in the compositions.  Ryo is going off his nut here - keys are whizzing all around - organ/'tron/the whole schmear - and Alan's guitar runs are matching him step for step.  Maybe I haven't been paying attention as closely as I should have for the past few years.  I do know that I'm enjoying the hell out of this.  Highly recommended.
    $14.00
  • Withem is an up and coming Norwegian progressive metal band, inspired by the likes of Symphony X, Pagan’s Mind, Dream Theater and Circus Maximus.The band started to take shape in 2011 when Øyvind Voldmo Larsen (guitars) and Ketil Ronold (keyboards) met the gifted drummer Frank Nordeng Røe. Soon they were joined by the vocal talents of Ole Aleksander Wagenius and bass duties were taken care of by the special guest Andreas Blomqvist from Seventh Wonder.Withem’s debut offers varied sonic landscapes for the listener to explore, ranging from guilty-pleasure choruses permeated with memorable vocal hooks, to symphonic epic themes.  The unique vocal range of Ole Aleksander Wagenius gives the band a distinctive touch to tackle the overcrowded progressive metal scene.The passion and dedication put into the album is emphasized by the countless hours spent in studio perfecting each individual performance and making sure that the end result is a world class blend of progressive, symphonic and power metal.The Point Of You was mastered by Markus Teske (Vanden Plas, Saga, Spock's Beard)
    $13.00
  • 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
  • Let me preface my observations of the CTTE remix by saying that I don’t put these classic albums on a pedestal.  If they can be sonically improved while remaining faithful to the original mix and maintaining musicality and the emotional content then I’m all for it.  In general I liked what Steven Wilson did with the King Crimson catalog.  I was particularly impressed by his reconstruction and resurrection of Lizard.  When I heard he was tackling the Yes catalog I was hopeful because if there was ever a band that could use some sonic wizardry its Yes.  Eddy Offord was never able to bring the magic to their mixes that he was able to give to ELP.So how did Steven Wilson do with CTTE?  I can only use one word to describe the new mix: “transformative”.  CTTE was an album cobbled together from various bits and pieces.  Its widely acknowledged to be the band’s best album (its certainly my opinion) but in terms of sonics it fell victim to the “too many cooks” syndrome.  The original mix was a bit of a mess.  Its all changed now.The one thing that is immediately apparent is the foundation provided by Chris Squire’s bass.  It reaches the pits of hell and if Mr. Wilson is going to take this approach with TFTO and Relayer he’s got my vote.  In general there is a veil of schmutz that has been wiped away.  All the instruments have more clarity and focus in the soundstage.  “I Get Up I Get Down” was chilling.  I found the soundstage consistently extended beyond the boundaries of my speakers.  The mix is warm, involving and there is a balance among the instruments that I found lacking in the original mix - primarily because of Squire’s bass being given a shot of adrenaline.  Jaw dropping stuff.  The bonus track of “America” had exceptional, dare I say audiophile sound.So the obvious question is - what sounds better - this mix or the SACD?  I dunno.  I can’t find my bloody SACD to compare…but here is my memory of the SACD.  When I got it I played it through.  It didn’t overwhelm me or disappoint me.  My thought was “its fine...it is what it is - this is the best it will ever sound in the digital domain”.  I was wrong.  BUY OR DIE!  FORMAT: 1 x CD/1 x Blu-RayCD:1  Close to the Edge2  And You And I3  Siberian KhatruBonus Tracks:4  America5  Close to the EdgeBlu-Ray:Presented in DTS-HD Master Audio– Album mixed in 5.1 Surround– New Album mix– Original Album  mix (flat transfer)– New Album mix (instrumental version)– America original, new & instrumental stereo mixes & 5.1 Surround + further audio extras some exclusive to Blu-Ray edition• Close to the Edge is the first in a series of remixed & expanded Yes Classics• The classic album has been mixed for 5.1 Surround Sound from the original studio masters by Steven Wilson (Porcupine Tree) & is fully approved by Yes.• CD features a completely new stereo album mix by Steven Wilson• CD also features a new mix of America• CD also features an early mix/assembly of Close to the Edge• Blu-Ray features 5.1 DTS-HD Master Audio Surround (24bit/96khz) mixed from the original multi-channel recordings.• Blu-Ray features the new stereo album mix in DTS-HD Master Audio (24bit/96khz).• Blu-Ray also features the original album mix & America in a DTS-HD Master Audio flat transfers from the original master tape source. (24bit/192khz)• Blu-Ray exclusively features instrumental versions of all new mixes in DTS-HD Master Audio stereo (24bit/96khz).• Blu-Ray also exclusively features a needle-drop of an original UK vinyl A1/B1 pressing transferred in 24bit/96khz audio.• Numerous audio extras appear in high-resolution stereo including single edits & studio run throughs of album tracks• Original artwork by Roger Dean who has also overseen the artwork for this new edition• Presented as a mini vinyl replica gatefold card sleeve with booklet containing new sleeve notes, rare photos & archive material.“Close to the Edge” is the first in a series of expanded Yes editions including 5.1 Surround mixes, new stereo mixes & High-Resolution stereo mixes of the original music along with a wealth of extra material. Acclaimed musician/producer Steven Wilson has produced the new mixes with the approval of the band, while Roger Dean reprises his role as art director/designer of the newly issued edition, making this the definitive edition of the album.When Yes entered the studio with Eddie Offord to record the band’s fifth studio album in mid-1972, their second with this line-up, the band was on something of a roll. “Fragile”, the band’s previous album, had taken Yes to a new level of international popularity with Top Ten chart placement on both sides of the Atlantic & yielding a hit single in the USA with ‘Roundabout’. The band was now established in the major music markets to an extent that was, perhaps, unexpected given the complexity of the music Yes performed. But with that popularity came a confidence that the expansive material of the two previous albums could be taken a stage further with the new recording. Rather than consolidating, Yes chose to innovate.Recorded during lengthy sessions at London’s Advision Studios, “Close to the Edge” is that rarity in recorded music, the sound of a band & its individual members writing, playing and recording at the peak of their collective abilities. The album was issued in Autumn 1972 reaching chart highs & platinum sales status of  4 in the UK, 3 in the USA & 1 in Holland, though such statistics only hint at the worldwide popularity of the album over a period of more than four decades. The three pieces of music, the title track which spanned the entire first side of the vinyl album with ‘And You And I’ & ‘Siberian Khatru’ on side two, have remained concert favourites since release, with the 2013 Yes line-up currently in the middle of a world tour stretching into the middle of next year that sees the album performed in its entirety.The album remains the favourite among many of the band’s legion of fans, a defining recording both for the band & for the progressive rock movement. It is also one of the most successful British rock albums ever released.Since this release of “Close to the Edge” was confirmed, the various websites dedicated to Yes, Progressive rock & high-resolution audio have been very active with discussions among fans keen to hear the new mixes & the existing material in its purest audio presentation. 
    $21.00
  • Budget priced new live album from fine German melodic prog metal band. Special guest Patrick Rondat featured on Rainmaker.
    $7.00