Progressive Rock

"Recorded in 1975 by the famous Conny Planck, this is an awesome collection of Exmagma material that was first released on CD in 2006. Fortunately these colourful recordings are now available on vinyl as well!

$50.00

"If you love krautrock dementia and jazz rock fusion eccentries this album is for you.

$31.00

"Fronted by guitarist multi-instrumentalist Andy Göldner, with an aspiring Mike Ratledge-like organist in Tommy Balluff and the long-time Wolfgang Dauner and Et Cetera drummer Fred Braceful, the curiously named Exmagma created an avant-garde rock-jazz that was full of invention.

$31.00

Obscure one and done German keyboard/bass/drums trio that recorded this excellent session for the Speigelei label.  There is a strong classical flavor to their organ dominated sound.

$31.00

“Variations On Themes by David Bedford”, is an EP of Roberts re-interpretations of 3 David compositions.  David, the renowned classical composer and Mike Oldfield collaborator died in 2011 but would have would have been 80 in August and this EP is part of a celebration of his work.

$8.00
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This is a live performance of Sanctuary I and II, recorded at Real World Studio on October 8, 2016.

$14.00
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California based instrumental trio that plays intricate prog that will be manna for fans of Gordian Knot, California Guitar Trio, Felix Martin et al.  Serious chops from hell going on.

$12.00
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Neal Morse's first solo album since leaving Spock's Beard.

$39.00

Mini-LP style sleeve featuring the 2005 remix/remaster of the 1999 album.

$13.00
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Second release from this large scale progressive rock ensemble from Norway.  When we say large scale we mean it.  There are 11 members in the band!

$12.00
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  • "Discovering new music is always a great feeling. Especially (at least to me) when you’re discovering a new band that not many people have heard yet. Back in early May my life took a change for the better when Voyager’s promoter Incendia Music sent me an email about this new band from New Haven, CA, called Earthside. I checked out the single, entitled “The Closest I’ve Come”, that was supplied with that email. I don’t think I have ever been more gobsmacked before ever. Within seconds my brain was literally strewn all across the floor. I don’t think I have recovered yet from that experience. You know when you hear a song that is so good that you’re wondering how you could have lived your life up until that point without having heard said song before? That’s how I was feeling.A Dream In Static is the title of Earthside’s debut album, and if I was blown away by the first single, it is nothing compared to what I’m feeling now. A second single, “Mob Mentality”, was released about a month ago, and it was then that I fully realised just how big this album would turn out to be. But let’s start with the basic stuff. The gentlemen in this band are Ben Shanbrom (drums), Frank Sacramone (keyboards), Jamie van Dyk (guitars) and Ryan Griffin (bass). I commend each and every one of these guys, the amount of musical brilliance on this album is through the roof. It’s like listening to a slightly more laid back version of Opeth.A Dream In Static kicks off with the first single. For many years I have struggled big time with instrumental tracks, and especially prog music in general. I have slowly gotten into the likes of Opeth and Dream Theater, but this is the song that finally won me over completely. The composition is one of total beauty, and the melody that kicks in at 1.30 is just too good for words. Mind-blowing, spine-tingling, mind-boggling, heck, whatever you want. Bring out your thesaurus, it still wouldn’t be enough. I could dedicate this entire review to the one track, but let’s move on!Next up is the second single, “Mob Mentality” features one of my favourite metal vocalists of all time, Lajon Witherspoon of Sevendust. He is the first of a handful of guest vocalists featured on this release. Lajon’s voice fits this song perfectly, I don’t know many other vocalists that can conjure up so much raw emotion, and in combination with the talent of Earthside, backed by The Moscow Studio Symphony Orchestra, this track is more like a roller-coaster ride than anything else. An intense sense of drama is seeping through every second of this 10 minute piece that also would serve as the perfect movie score. Metalsucks labeled the music video for Mob Mentality “the most impressive/insane music video of 2015”, make sure you check it out below!We move on into uncharted territories for the first time, where the title track greets us with an intro that I could swear was written by Mikael Åkerfeldt himself if I didn’t know better. Then, outta nowhere, TesseracT’s Daniel Tompkins steps in and completely dominates. I must admit that I have never listened to TesseracT before, but just because of this track I am strongly considering going to their show in Sydney next week. His soaring vocals are soul-wrenching and addictive at the same time. I would love to say that this is my favourite track on the album, but it’s simply not possible to single one out. For the first time in what feels like forever, I have encountered an album that pretty much is a definite 10/10. “A Dream In Static” makes a break towards a more djenty and groovy sound. It is a nice change of pace, and it also definitely highlights that no songs are alike on this album.Speaking of djent, there are times when such a label would be justified on this album I suppose, but at the same time the influences are so widespread, and I don’t think I could count the amount of genres on two hands. This is why Earthside remind me so much of Opeth in a way, they extract parts from the obvious ones, such as prog and melodeath, but also soul and jazz, amplify them, and make a sound that they well can call their own. I have never come across another band that sound anything like Earthside before.Next up is “Entering The Light”. Here guest Max ZT is a vital part of the sound, playing a hammered dulcimer. The melody created by this widely forgotten instrument, in combination with the MSSO, is absolutely enchanting. “Skyline” is probably the most basic/straightforward (well, everything is relative I guess) track on the album. Starting out as a full band metal jam it is a track that would work great live I’m sure. As the song progresses a beautiful piano melody takes over, just to be eradicated by the overpowering metal once again. It feels like this track is a battle between despair and hope.We’re getting closer to the end. Fellow Swede Björn Strid (Soilwork) is handling the vocal duties on “Crater”. It is really quite interesting because Björn is given the opportunity to use his softer/more melodic vocals, as well as his harsher style, which is what made him famous. The blend of vocal styles are absolutely fantastic, and I am not sure if Strid has ever produced a vocal performance like this in the past.Now, if magic mushrooms took the shape of a song, this would be it. “The Ungrounding”’s absolutely crazy underlying Infected Mushroom-esque sound is one of the most unexpected things I have heard in a while. And, just like everything else on this album, it just works. For some bizarre reason a prog metal version of Infected Mushroom makes all the sense in the world.The last track on the album, “Contemplation of the Beautiful”, is also the longest one, clocking in at 11.49. It feels very much like a cinematic intro, with some sampled sounds setting the mood. The song suddenly erupts into chaos, and Eric Zirlinger’s (Face The King) screams are absolutely earth shattering. Words simply cannot describe how massive this song is. There are twists and turns, light and darkness, and a jaw-dropping crescendo that concludes this journey that I will never forget.I am just left with two questions:  how is this a debut album? And where did this band come from? With some luck in this difficult business, I am sure that they can become one of the genre’s giants in the future. Mind = Blown." - Metal Obsession
    $12.00
  • 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
  • Courting The Widow is the new solo album from Nad Sylvan.  Who?  Well you may know him from his original Genesis inspired group Unifaun.  No?  How about his work with Roine Stolt in Agents of Mercy?  Not ringing a bell still?? Well he's been touring the world with Steve Hackett for 2-3 years now. Nad Sylvan's vocals legitimately sound like a mix of Peter Gabriel and Phil Collins.  Hearing him sing Genesis style music or actual Genesis tunes with Steve Hackett is like hand in glove - its a natural fit. His new solo album is a conceptual work that fits squarely in the Genesis tradition.  Parts of have the feel of Wind And Wuthering and Trick Of The Tail.  The centerpiece of the album is a 22 minute track "To Turn The Other Side".  If this doesn't get the prog fires burning at home nothing will.  He's called in all his favors and put the album together with guests Steve Hackett, Roine Stolt, Nick Beggs, Jonas Reingold, Nic D'Virgilio, and Doane Perry.  They don't make them like this much any more.  Highly recommended.
    $13.00
  • Excellent US neoprog that will appeal to fans of Marillion and Iluvatar.
    $3.00
  • I can't remember a buzz on a band's debut since Circus Maximus.  Perhaps due to the album being released in Japan a year ago and its unavailability elsewhere, maybe because they are lined up to play ProgPowerUSA.  Whatever the reason the album finally gets a wide debut and it was worth the wait.  Damnation Angels is a British symphonic metal band fronted by a Norwegian singer.  He goes by the name PelleK and was a contestant on Norway's version of X Factor.  The band's stock in trade is epic sounding metal that pays a huge debt to Kamelot.  The instrumental passages take on the grandeur and scope of Nightwish.  PelleK does a sold job out front - he's obviously listened to a Khan quite a bit.  Highly recommended.
    $14.00
  • "Neal Morse and Mike Portnoy represent two of the most prolific careers in the Prog mainstream over the last 20+ years. In that time, they have been a part of more albums than many bands’ entire catalogs combined, a considerable amount of them regarded as Prog classics; Neal on ‘The Light’ and ‘Snow’ with Spock’s Beard, Mike with Dream Theater on Scenes From A Memory’ and ‘Images and Words’ and of course together on ‘Bridge Across Forever’ and ‘The Whirlwind’ with Transatlantic, not to mention Neal’s solo albums and the dozens of other albums they released. So when Mike Portnoy says this latest album might be the best album of his career, that is certainly a statement not to take lightly.  It also places immense pressure on the album. Most albums do not live up to such praise and usually end up disappointing. However, after many listens, it is fair to say, that with ‘The Similitude of a Dream’ the hype is for real.The album is based on the book ‘The Pilgrim’s Progress from This World to That Which Is to Come; Delivered under the Similitude of a Dream’ written by John Bunyan.  The story, described as set in a dream, follows a lead character named Christian, who is tormented by spiritual anguish and told he must leave the City of Destruction to find salvation in the Celestial City.  There is much more to the story, of course, and the part of the story portrayed in this album represents just a small portion of the book.  Is it spiritual?  Yes.  But relative to prior Neal Morse releases, this album is absolutely accessible and, done in the guise of an allegory, does not come off preachy in the least.  In fact, for anyone paying attention to the last few Neal Morse outings, this has been the case for some time now.Morse has produced a fair share of concept albums, including 5 in a row from the time he made Snow with Spock’s Beard through his first 4 solo albums.  He had largely stepped away from concept albums with his more recent work, 2012’s ‘Momentum’ and 2015’s ‘The Grand Experiment’. While all of Neal’s solo albums have been recorded with Mike Portnoy and bassist Randy George, ‘The Grand Experiment’ was the first album released by the Neal Morse Band, with guitarist Eric Gillette and keyboardist Bill Hubauer on board as full-time members, not only as performers, but as songwriters.  The result of this new 5-piece added a boost to the songwriting and overall sound that Morse had become known for.  Gillette and Hubauer are, on top of being stellar musicians (each plays practically every instrument), both phenomenal singers and Morse was smart to have them showcase those talents on the last album.  With this new album, they all take everything up a notch and then some. This is now a band in the truest sense of the word.The flaw in most double or concept albums is that they usually can be and probably should be condensed into one great album’s worth of music.  There are always one minute interludes that can be skipped over, too long and unnecessary intros, and songs that are not as good as some others.  Neal and the band avoid those pitfalls here, which is part of why this album is enjoyable. It is just a straight 100 minutes of music with no filler, no waste of time, nothing that makes you want to skip.  While there are all the signature Neal Morse moments, there are loads of new elements and styles that make this album sound fresh and revitalized.  Additionally, the production, courtesy of the always reliable Rich Mouser, and the performances by each member are impeccable.  Now let’s get to the music.(Skip to the last paragraph to avoid any spoilers)The album opens calmly with strings and Neal singing the album’s main melody “Long Day” setting the stage like any proper rock opera, before the bombastic “Overture” kicks things into high-gear.  There is so much contained in the opening instrumental, it is hard to absorb it all in one listen.  Only after you listen to the entire album, does the “Overture” become clearer.  From there we meet the character Christian, as he describes “The Dream”.  This is all a build-up to the one of the main full songs and the single from the album “City of Destruction”, a hard-hitting tour de-force, that is unlike anything Neal and the band have written before.  There are a few motifs that are repeated throughout the album, this song being one of them.  Neal’s ability to revisit and reinvent themes is his ace in the hole.  Few of his contemporaries possess this songwriting skill at this exemplary level, which is why many fail at the epic song or concept album.  Done with such precision, as it is here, demands attention from the listener and creates a more immersive listening experience.What comes next, beginning with “We Have Got to Go” is the equivalent to side 2 of The Beatles’ Abbey Road, with partial songs segueing into each other, keyboard and guitar solos interjected seemingly at will.  “Makes No Sense” introduces another one of the album’s themes and is also where Eric and Bill add a soaring element to the song as they reach new heights with their voices. Mike takes his turn at vocals with the rocker “Draw the Line” which leads in to the instrumental “The Slough” before concluding this section of the album with “Back to the City.”One of the surprises on the album and true highlights is the Beatle-esque “The Ways of a Fool”, where Bill Hubauer takes lead vocals.  The song is sheer pop brilliance and adds a new element to this core’s musical repertoire.  Eric Gillette reprises much of Disc 1 in “So Far Gone” before Neal closes out the first disc with the gospel “Breath of Angels”, a pure, emotionally charged Morse number.  Bill proves again, on this album, his ability to do practically anything and Eric continues his ascension up the guitar royalty ladder with stupendous soloing and tremendous vocal ability.Disc 2 starts with the rockin “Slave To Your Mind”, an explosive track with the band cutting loose, shifting through numerous time changes and solo breaks.  Mike again shows the power and creativity to play any style and keep things interesting and exciting.  Throughout much of Disc 2 there are more surprises stylistically, like the folky “Shortcut to Salvation” the bluesy “The Man in the Iron Cage”, the country-twang of “Freedom Song” and The Who-inspired “I’m Running”, which features a monster bass solo by Randy George.  All of these together, make as inventive a listen as one can remember with a Neal Morse album. Make no mistake, in between, there is still plenty of Moog and synth solos and Prog extravaganza to thrill the senses, but as you stick with this album, you begin to appreciate the incredible diversity contained in these 2 discs.The finale begins with “The Mask” which features a grand piano solo before changing into a dark, almost industrial reworking of “City of Destruction”. This precedes the track “Confrontation”, which is a climactic reprise of many other album themes and one of the best moments on the album.  The final instrumental “The Battle” is full-on Prog madness, with some of the group’s best soloing moments.  All this leads up to the epic final track, the quintessential Neal Morse ballad, “Broken Sky/Long Day (Reprise).  Not much to say here that will do justice to the ending, but kudos to Neal for allowing Eric to shine during the closeout moments on this track.  If you don’t get chills, you might need to check your pulse.  It all ends with Neal bringing it all home on a quiet note, just as the album began.All in all, this is quite an achievement by a group of musicians that didn’t need to improve upon already magnificent careers filled with incredible albums.  While its position atop any all-time lists will be up for debate, ‘The Similitude of a Dream’ does the impossible and exceeds all expectations.  It is absolutely a jaw-dropping release that will no doubt rank alongside the best albums by Neal Morse and Mike Portnoy, if not above them." - The Prog Report
    $18.00
  • 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
  • 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
  • "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
    $16.00
  • Guitarist/vocalist Clay Withrow is the heart and soul behind Vangough.  He's made some fine albums in the past but this is clearly his best as you can tell that he's exerting more of his own vision.  The previous albums were fine slices of progressive metal, bu they were clearly influenced heavily by Pain Of Salvation.  While there is some of that early PoS feel, Between The Madness has more of Clay than Daniel.  Its very angst driven music - from the vocals to the grinding guitar solos.  This is one pissed off band.  Its a non-stop prog metal roller coaster ride.  BUY OR DIE!"Over the last two full-length albums leading up to this, the band’s most important release, one thing is strikingly clear: Vangough has been eating their Wheaties. Whereas the last album couldn't find its center of gravity despite merits and high replay value, "Between The Madness" bridges the gap between Vangough's left brain and right brain. Moreover, the band feels much more balanced with the addition of drummer Kyle Haws. Further, it sounds like mastermind Clay Withrow had pushed himself beyond his limits to expand the Vangough tone palate.On the “Acoustic Scars” EP, Withrow developed a vocal technique that finds full maturation on "Between The Madness:” the rage-sing. Almost a yell, but neither a scream nor a simple vocal fry and free of any pitch interference, Withrow's rage-sing makes the lyrical intent as clear as it can be. The album offers bile to many parties, lyrically, and puts the listener behind a sometimes uncomfortable but necessary first-person perspective: any other perspective simply would not do justice to the intent. Vangough has always been more effective at conveying feelings than telling stories, but never before had the songs had such a natural novel-like flow to them. All the while, Withrow peppers his versatile clean singing with elaborate layers of harmony and polyphony, making for subtly different listening experiences each time.The overall sound hasn't drastically changed, and even shows some musical nods to prior songs. In "Vaudeville Nation," a scathing condemnation of a track, a clever link is established with "Mannikin Parade" around 4:28. The main melody of the latter is re-introduced on guitars in a straight-played manner. Later in the song, a similar "Mannikin Parade" vocal melody emerges in the line "...and burn the circus to the ground," and up through the yell following it. Further, continuing the storyline started with "Road To Blighttown" on the “Acoustic Scars” EP, "Depths of Blighttown" adds a fitting dark and ominous chapter to the story.The added input from Haws and bassist Jeren Martin have made the songs seem more logical, acting as balancing forces. The drumming style of Haws is noticeably organized, nuanced, and thought-out and could be accurately categorized as a blend of the styles of Lamb of God's Chris Adler, Opeth-era Martin Lopez, and Pain of Salvation-era Johan Langell. The mixing job by Sterling Winfield is a stunning step forward for the band as well, and the drum sound is particularly remarkable for its bright, punchy, but balanced character. Lead guitarist Jay Gleason makes several shred-tastic appearances to accentuate the technicality of Vangough's instrumentation, while Justus Johnston and Jose Palacios make appearances on strings to further amplify the feeling of the songs and add a superb creep factor touching on Resident Evil levels at times.No song feels out of place or unessential, with "Infestation," "Schizophrenia," "Vaudeville Nation," "Useless," and "Corporatocracy" as highlights. The dynamic growth between “Kingdom of Ruin” and “Between The Madness” makes this album out to be Vangough's “Blackwater Park,” what many will no doubt cite as the band’s seminal record. Put simply, there has never been a better time to jump off of whatever progressive metal train you've been on and ride with Vangough. "Into the dark I take you," Withrow jabs at us. Make sure your seatbelts are securely fastened." - Metal Underground
    $11.00
  • The madcap French jazz metal trio return with their sixth album.  Morglbl consists of guitarist Christope Godin, bassist Ivan Rougny, and drummer  Aurelian Ouzoulias.  The band has toured extensively around the world – USA, Europe, Russia and even China!  They have shared the stage with Liquid Tension Experiment, Bumblefoot, and Umphrey’s McGee among others.These three virtuosos are also well endorsed clinicians and have developed a following individually but when they come together the fireworks really start.  Tea Time For Punks doesn’t deviate from the tried and true Morglbl formula.  Take equal parts fusion and crushing metal power chords, then inject a healthy dose of tongue in cheek humor and you’ve got the perfect Morglbl album. The band is often described as Primus meets Steve Vai and Allan Holdsworth, with flavors of Frank Zappa! 
    $13.00
  • Third album from Sam Vallen and Jim Grey.  Plain and simple another triumph.  The great thing about this band is the way they assimilate different influences and make a cohesive whole.  Vallen's guitarwork touches on djent riffing as well as fluid clean lines and Grey's vocals...well they are spectacular as usual.  You get a little bit of Opeth here and Haken there.  Maybe even a little Dream Theater and Pain Of Salvation.  Naturally if you are a fan of Jim Grey's other band, Arcane, you are going to love this one as well.  Very dynamic and dramatic.  Essential 2015 purchase.  BUY OR DIE!"There are certain albums that require more than just open ears. Sometimes, you need to close your eyes in order to sharpen up your senses, to be able to really consume and obtain the musical message delivered throughout the record. So before pressing the ‘play’ button on Caligula’s Horse newest release, Bloom, pour a glass of your favorite drink, put your headphones on and close your eyes.Consisting of 8 tracks, Bloom delivers something deeper than a compilation of technical riffs; it sets an atmosphere, driven by emotion and by the story line, as the sound and production correlate towards that notion. From the very beginning, with the theme song being the opener of the album, you can see how the band sets the mood for the entire record. Mysterious, dark, heavily Opeth influenced, and yet still having its own characteristics to the story.Right from the beginning of the album, one cannot miss how Opeth deeply affected the band’s music. The vocal ideas and implementation, the guitar sound and the general image that’s created, can immediately drift the listener to many of the Swedish group’s finest works. Nevertheless, I do feel that within these carried elements still lies a large chunk of originality that separates this album from being another Opeth-imitation attempt, which can easily be found on a variety of past-releases of different bands.One impressive thing to notice on this record is vocalist’s Jim Grey. It is easy to fall in love with the color of Grey’s voice, as can be heard on The Tide, The Thief & River’s End (2013), but he did manage to improve a certain and essential vocal ability for this album: I’ve always felt that when hitting the higher notes, he needed to “shout” those notes just a little bit too much, having immediate impact on the tenderness and vibrations of his voice. On this album, it seems that Grey feels much more comfortable on higher scales, and that vocal freedom affects his entire range. Grey has turned it up a notch, becoming not only great a singer, but a great storyteller. His vocal movements are probably the most interesting thing to follow on this album, as it escorts the listener throughout each and every song.Another thing that immediately stands out is the band’s cooperation while putting Grey’s vocals as the leading musical idea of the album. Nothing is over-pressed, and it seems that band took a great care of composing the songs mostly to create an atmosphere, to set the right stage to deliver the story in the best way. It is impressive, since many bands tend to miss this very idea, with every musician trying to overlap the other, which mostly leads to a confusing blend that misses the main idea. This shows great maturity of the band, which helped them carry their music to the next level.Many bands these days try to force their music in to a hidden musical horizon just to be different. What’s so great about Bloom is that the band did not try to reinvent the wheel, but only used the tools they had, mixed just a little bit of everything to create something unique. Every song has that thing that sticks to your head; whether it’s a defying chord, a vocal movement, mesmerizing vocals and at times – some really catchy, groovy guitar riffs. That alone helps the fluency of the record, making it an album, 44-minutes of which you listen to from the top to the bottom, rather than just a collection of different songs.Overall, it’s easy to see how the band feels more comfortable with their work with every passing release. With time, Caligula’s Horse understands what they look for while composing their music, yet something still feels held back. It’s funny, because even I, after countless of times listening to the album, still cannot really put my finger towards what it is that is missing. Perhaps it is something that cannot be described by simple words, but it is that something that turns a 9 into a 10. That something that transforms an album which is great to hear, to a one that really dives into your deeper cells, and stays there. Rest assured: You cannot turn a blind eye in regard of the band’s progress, and you absolutely must give this album a try." - It Djents
    $12.00
  • The Custodian is a new British post-progressive rock band formed by Richard Thomson, vocalist for cinematic death metal band Xerath.  Unlike Xerath, The Custodian is an outlet for the more melodic, rock oriented writing from Thomson.While there are moments in the album that harken back to old school bands like Genesis and Yes, the music of The Custodian is contemporary in sound.  Necessary Wasted Time is an album full of dynamics - light and dark shadings balancing acoustic vs electric, heavy vs pastoral.  While atmospherics and tension are a strong component of the album, the band demonstrates their adept musicianship offering up long instrumental passages to complement the emotion filled vocals.  When needed the band unleashes some complex electric runs.The Custodian's debut should deeply resonate with fans of Steven Wilson, Riverside, Pineapple Thief, and Anathema.Necessary Wasted Time was mixed by noted engineer Jacob Hansen and give the full audiophile mastering treatment from Bob Katz. 
    $14.00
  • Sound Of Contact is a new band put together by Simon Collins and session keyboardist Dave Kerzner.  Yeah - Simon is Phil's son.  The apple doesn't fall far from the tree - Simon plays drums and he also sings.  His voice is eerily like his dad.  At times virtually indistinguishable.  The music follows a similar path to Phil's work with Genesis and solo.  Parts of the album are pure prog - in fact the album closes with a killer 19 minute epic called "Mobius Slip".  Other parts of the album exhibit a poppier more commercial side.  I don't think of the album as a pop album - its a prog rock album.  Kerzner provides some very interesting keyboard work - lots of intricacies through out the album.  There is that commercial element that reminds me of Genesis in the 80s.  With his voice sounding so much like his father, Simon will always be cursed with being compared to Phil.  That's a fact.  Overall I think he's come up with an interesting album that fans of more contemporary progressive rock will enjoy.
    $12.00