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  • The Blu-ray features the new video for lead track ‘Drive Home’ along with the video for ‘The Raven That Refused To Sing’, both directed by Jess Cope. It also includes four tracks recorded live in Frankfurt during the recent tour. In addition, the Blu-ray features high resolution (96/24 stereo and 5.1 surround) audio recordings of two previously unreleased tracks, ‘The Birthday Party’ and an orchestral version of ‘The Raven That Refused To Sing’. ’The Birthday Party’ was recorded in LA at the same sessions as the tracks that made up the album while the version of ‘The Raven That Refused To Sing’ is a new mix that strips the track back to just the orchestra and vocals.These tracks are also featured on the accompanying CD, along with the audio from the live tracks and an edit of ‘Drive Home’.
    $8.00
  • "You have to give it to them… Vanden Plas certainly have a sense for the dramatic, grandiose, the literary, the overblown, the theatrical… and then some!As its title suggests, ‘Chronicles Of The Immortals - Netherworld II’ is the second part of a symbiosis the Teutonic progsters have formed with collaboration with the multi-million selling German author Wolfgang Hohlbein, whose duotych of novels of the same name Vanden Plas frontman Andy Kuntz helped to bring to musical life in a series of sold-out theatrical performances during the 2012 and 2013 seasons. Subsequently, Kuntz led his band on the ambitious journey of bringing the novels to a wider musical audience with two thematic CDs.Now, I’m going to be brutally honest here and admit that I’m familiar with neither the novels in question, or the first part of their musical accompaniment… from what I can gather, however both left the hero of the story - the immortal Andrej Delãny – facing up to the perfidious plans of the dark “Godmaker”, while the second half of the story sees its hero delivered into a further darkness from which his own sense of self-awareness sees him eventually emerge into the light of his own salvation… or something like that!Unfamiliarity with the literary and lyrical background to this album (as well its musical predecessor) initially made this a difficult listen, as I struggled to comprehend the underlying thematic in each regard. However, as it progresses, it possesses a dark and dreamy entrancement, which grabs you in its poetic embrace and caresses you with its strange, extremely enigmatic charm, leading you deep into an opus of truly epic proportions.Kuntz’ vocal is outstanding. His depth and warmth possesses a dark soulfulness which enchants and hypnotizes, drawing the listener into the layers of the musical interpretations of his lyrics. Günter Werno’s keyboards soar and swell, while at the same time dropping diplomatically into the background to make way for Stephan Lill’s sublime guitar work, which crunches and grinds on the album’s denser moments as much as it seers its layered harmonics, which build the layers of each song to their logical conclusion.‘Chronicles…’ drives its story forward with the quality and zest of a good novel. A knowledge of the latter work on which it is based perhaps would aid a better understanding of its inherent message and motive, but the lack of same does not denigrate from the quality of the listening experience, which is an ultimately rewarding and satisfying one." - Uber Rock
    $15.00
  • In our changeover in distributors we received back a quantity of copies of Specs. We need to bring our inventory level back to normal so we are going to temporarily blow out this title. Grab copies at below wholesale price while you can.
    $13.00
  • "Even though it has been a good forty years since the Swedish sextet Kaipa first appeared on the music scene, it was only back in 2012 and through exposure to their then latest studio album “Vittjar” that I was first introduced to their unique blend of melody-driven Progressive/Folk Rock.With that album having created such an impression, listening and reviewing the band’s latest material was something that I was more than keen on doing – perhaps in an attempt to discover whether founding keyboardist Hand Lundin & Co had managed to take full advantage of the positive press generated by the above-mentioned release.Soon the possibility to review “Sattyg” was presented to me and jumped at the opportunity. So, let’s see what Kaipa’s twelfth studio album has to offer.Similarly to its predecessor, “Sattyg” contains an interesting collection of thematically varied but pleasantly deceptive compositions, and, as you will soon find out, the word “deceptive” is complimentary.As I mentioned before, melody is an integral element in the band’s music, so what’s bound to initially and immediately attract your attention are various emotive vocal themes provided by the duet Patrik Lundström/Aleena Gibson, Per Nilsson’s flamboyant performances on the six string and/or Hand Lundin’s intelligently-crafted 70s themes keyboard parts.There is, however, a wealth of beautiful and cleverly hidden themes, mainly offered by the band’s dead-tight rhythm section, that only those of you willing to spend time on really listening to “Sattyg” will really profit from; these themes gradually reveal themselves to you every time you choose to revisit this beautiful album.Never the ones to shy away from a challenge, the members of Kaipa introduce their latest album with the epic-sounding “A Map Of Your Secret World” – what can only be described as fifteen minutes of pure musical joy!Opening with a stunning vocal melody by Aleena Gibson, the song works through a thematically challenging section that will make most Progressive Rock fans happy before evolving into a Folk tune whose memorable vocal lines are bound to stay with you for a while.Since joining Kaipa back in 2000, Aleena has helped shape the character of band’s second incarnation and no song demonstrates that better than “World Of The Void” – a composition filled with her strong and passionate performances.Dark vocal themes and jazzy rhythmical parts and clever bass lines characterise the appropriately-named “Screwd-upness” while the same-titled “Sattyr” find the band bring strong Kansas-influences to the surface in their attempt to indulge in their much-loved Folk Rock melodies.It should come as no surprise to anyone that the second most important composition of the album is also fairly long. Featuring stunning violin melodies, clever choral themes and a beautiful melody which is carrier by all instruments in clear succession, “A Sky Full Of Painters” is another impressive exercise in technical dexterity, while “Unique When We Fall” a great vocal duet by Lundström/ Gibson.Ever-changing rhythmical themes and a healthy parade of impressive melodies also characterise the nine and a half minute “Without Time – Beyond Time” – a song that offers a fitting, as well as a rewarding conclusion to this absolutely delightful album.It takes a very talented and pretty harmonious group of musicians in order to create an album as thematically challenging and approachable as “Sattyg”.There have been countless occasions, while listening to the seven compositions on offer, when I found myself lost in Jonas Reingold’s soulful bass themes, stunned by the flamboyant nature of Nilsson and Lundin’s melodies and/or captivated by the vocal contribution of both Lundström and Gibson, all of which convinced me that the album, the CD version of which I soon plan to add to my collection, is one that deserves every praise possible.Another great quality release by a band that’s clearly at the top of its game." - Get Ready To Rock
    $15.00
  • OH MY GOD!!! This Polish band sounds so much like Riverside that the album must have been written with tracing paper. No wonder - Riverside vocalist Mariusz Duda was an original member of Xanadu years ago. The band broke up but Xanadu's drummer put together a new version of the band in 2008.Not original in any way shape or form but if you want something to tide you over until the next Riverside disc arrives maybe this will scratch your itch. Its well done - just not one original idea here.  Probably the best of all the Riverside clones.
    $3.00
  • Hardbound mediabook edition with one bonus track."I haven't had anything similar on my musical plate for a while, so Gazpacho's eighth album Demon was an interesting, beautifully surprising and absolutely brilliant variation. Again Gazpacho mixes progressive sounds with electronic elements and folk instrumentation with the addition of dynamic riffing and amazing vocals. The outcome is a unique sound that is quite inimitable and rare to find. How much you enjoy the new record will mainly depend on how you respond to this incredible mix and the singing style used by the vocalist. Anyway Gazpacho rules, especially at night.I'm a great fan of these guys and for those of you that still don't know who they are, Gazpacho is a band formed in Oslo, Norway in 1996 by childhood friends, Jon-Arne Vilbo and Thomas Andersen, along with Jan-Henrik Ohme - later joined by Mikael Krømer, Lars Erik Asp and Kristian Torp; they released their debut album Bravo in 2003.Demon, the upcoming record, is a concept album based on the true story of a manuscript found in an apartment in Prague where the writer, a previous resident, had detailed his chase of an evil, “The Demon”. Demon is for sure full of emotion and humanity and the way the Norwegian band reproduces in music the diabolical story and the psychosis of the protagonist is wonderful.The story is told in four parts and it starts with 'I've been walking – part 1' and it couldn't start in a better low-key fashion way. There’s something disarmingly powerful about loud vocals from Jahn Henrik Ohme that add incredible depth to a song. The intermittent piano notes are just perfect and the delicate violin sound is like a nice shade of color you don't notice on painting but that painting wouldn't be the same without it. A great bonus.The second part of 'I've been walking' – that is the third track of the album – starts exactly where the first movement of the piece ends but adding a dark shadow to the overall atmosphere. There are still vocals but now are slower and they mix perfectly with the other instruments. The bass is gorgeous and the way the song turns into a more ambient and atmospherical dimension is great. It's such a damn good track and together, 'I've been walking' parts I and II, might be the best tunes that Gazpacho has ever written.The mix of sounds of the opening track changes completely in 'The Wizard of Altai Mountain' becoming electronic in the first part of the track and turning into a sort of gipsy or Yiddish sound in the second half. We are all crossing lands pursuing the demon.The story ends with 'Death Room' and the motifs of the 'The Wizard of Altai Mountain' come back like creating a circle with that song. Oriental sound, progressive rock and folk are all mixed together and the resulting fusion sound is incredible. I rarely make direct comparison among artists but this time I cannot avoid to think of Radiohead's music mixed with folk elements to create an intricate yet beautifully original tone. Other times they make me think of the Scandinavian prog-rock band Airbag but again Gazpacho find their way to be definitely unique.The story ends here and Demon too, a captivating and intriguing album that is absolutely brilliant. I like the way it flows song by song and the variety of sounds blended in it. Such experimentalism is the proof that the Norwegian guys are really talented and they deserve to be considered one of the best progressive rock bands on the scene today.Demon is an album that requires time and patience to be understood and to gain the listener's estimation and it will reward open minded audience. Play it in the dark to fully experience its great music." - Echoes And Dust
    $13.00
  • Fourth studio album from the prog "supergroup" of Mike Portnoy (ex-Dream Theater), Roine Stolt (The Flower Kings), Neal Morse (ex-Spock's Beard), and Pete Trewavas (Marillion).  Like the previous albums expect marathon length pure prog rock that reflects back onto the golden age.  The title track is 32 minutes long!This is the 2CD/DVD Deluxe edition.Track List:Main Disc:1    Into the Blue                                          25:112    Shine                                                       7:263    Black as the Sky                                       6:434    Beyond the Sun                                        4:29 5    Kaleidoscope                                          31:53TOTAL TIME: 75:43      Bonus Disc:1    And You and I                                         10:432    I Can't Get It Out of My Head                   4:433    Conquistador                                            4:104    Goodbye Yellow Brick Road                      3:165    Tin Soldier                                               3:216    Sylvia                                                      3:497    Indiscipline                                              4:438    Nights In White Satin                                6:12TOTAL TIME: 40:59Making of Kaleidoscope DVD – Full length DVD behind the scenes of the writing and recording of this amazing album. Running time 1 hour and 26 minutes. Edited by Randy George. NTSC Region Free
    $28.00
  • “The Atomized Dream” is the fourth full length release from this Georgia based instrumental metal band. With a new expanded lineup, the Canvas Solaris “sound” continues to evolve.The band has shown tremendous growth since their beginnings in 1999, evolving out of the death metal/mathcore scene. Dropping their vocalist along the way the band decided to emphasize intricate arrangements, creating compositions that only the most adept musicians could play. Canvas Solaris’ music resonated equally with fans of technical metal co-horts Behold The Arctopus and Spastic Ink as well as bands like Don Caballero and Dillinger Escape Plan.Following the recording of their third album, Cortical Tectonics, the lineup saw a radical change. Band founders Nathan Sapp (guitars) and Hunter Ginn (drums) replaced departing guitarist/bassist Ben Simpkins with 3 new members. Joining are Chris Rushing (guitars), Donnie Smith (analog synth), and Gael Pirlot (bass). While the core sound has remained these new members have clearly made their mark. Keyboards now play a more prominent role, while the twin guitar interplay is mesmerizing. The band continues to contrast hyper-technical metal passages with spacey and quiet acoustic based interludes.A recent tour with Behold The Arctopus and Dyshrythmia brought attention to the band and they plan on continuing the momentum with additional shows in 2008.The band is always interested in presenting their work with interesting graphics. They are honored to have noted low brow artist Mars-1 provide the cover art. Once again the album was produced by Jamie King (Between The Buried and Me) and mastered by Grammy winning engineer Bob Katz.
    $4.00
  • My Soliloquy is a British band formed in 2002 by multi-instrumentalist Pete Morten.  Since then the band has released a number of demos, gaining traction in the metal underground. The band had a number of notable support shows with Pagans Mind, Power Quest, Oliver and Rick Wakeman, and Threshold, as well as a second-to-headline set at Bloodstock 05 and a showcase at 2007’s ProgPower UK II.Since 2007, Morten has been an active member of British prog metal legends Threshold.  His membership has raised awareness (and created anticipation) for My Soliloquy’s long awaited debut.The essence of My Soliloquy is pure forward thinking metal – symphonic keyboards, shredding guitar leads, soaring vocals – all finely woven together with a blend of intricacy and melody.  The Interpreter was mixed and mastered by Rob Aubrey who has been a mainstay of Marillion’s camp for many years.
    $5.00
  • "Unwritten Pages’ Noah is an album born out of a passion for progressive, driving music, concept albums and 80’s science-fiction film. It combines the broad musical taste of its creator Frederic Epe and the stylistic and unique musical backgrounds of each project member, reaching from rock and metal to Latin influences and more classical/score-oriented arrangements.The album features soaring guitars, fat organs and bone-breaking drums, as well as a healthy dose of retro. But most of all, it never loses its focus on unique and melody-driven song-writing. And it comes in the form of an ambitious story, told through the eyes of the vocalists and musicians.Noah tells the story of a boy born in the ruins of the futuristic Utopia City, and Maria, the daughter of a ruthless politician who has – literally – split Utopia City in half and driven the poor to a district known as LS01X. As the political climate escalates, a few hundred people from both sides of the city are forced to leave their home world and start a new life on Mars. Here, both Maria and the boy grow up in the middle of a rising conflict between two factions that are unwilling to ignore their grudge-ridden past. Noah features the talents of Damian Wilson (Threshold, Ayreon, Les Misérables), Karl Groom (Threshold, Shadowland), Davy Mickers (Stream of Passion, Ayreon), Alejandro Millán (Hello Madness, Stream of Passion) and many others."
    $3.00
  • James LaBrie once again that there is life outside of Dream Theater.  His solo band features a stable lineup consisting of Matt Guillory (keyboards), Marco Sfogli (guitars), Ray Riendeau (bass), Peter Wildoer (drums, death vox).  Jens Bogren once again mixed. An interesting twist to the mix is the inclusion of Soilwork's Peter Wichers who contributes some guitarwork and also collaborated on songwriting with LaBrie.While the music is square on prog metal and all in all not too dissimilar to Dream Theater its different enough to have its own vibe.  Wildoer's coarse vocal approach offers an interesting counterbalance to LaBrie's upper midrange clean voice.  The limited digipak edition comes with two bonus tracks.  Highly recommended.
    $13.00
  • Virtuoso keyboardist Vivien Lalu has created a new progressive metal epic featuring an all star cast:Band [A-Z]---Martin LeMar (Mekong Delta) - VocalsMike LePond (SymphonyX) - BassSimone Mularoni (DGM) - GuitarsVirgil Donati (PlanetX)- DrumsVivien Lalu (Shadrane) - KeyboardsGuests [A-Z]---Jens Johansson (Stratovarius)Joop Wolters (Shadrane)Jordan Rudess (Dream Theater)Marco Sfogli (James LaBrie)Mike Andersson (Cloudscape, Fullforce)Peter Wildoer (Darkane, James LaBrie)Born of Noelle and Michel Lalu, musicians from the ‘70s French progressive act Polene, Vivien Lalu has released a surplus of recordings through an array of different bands and projects since 1997, as the keyboard player for underground black/doom band Time For A Change. At the turn of the millennium Lalu played keys for two underground progressive metal bands from Paris, Sad Warden and then Mind’s Orchard, and in 2002 was hired by Hubi Meisel (ex-Dreamscape vocalist) to compose and record the keys for his solo album EmOcean, the following year doing the same for Meisel’s sophomore album Kailash, both of which were released by Lion Music.It was at this time Vivien Lalu begins recruiting his own associates from major prog and metal bands — some of which he shares time composing music alongside in progressive metal act Shadrane — and forms his own solo project, LALU. The first full-length Oniric Metal was released on Lion Music in 2005 and began an entirely new chapter for this composer and his insatiable need to create mind-expanding, cinematic music.These accomplishments helped Lalu to begin securing score and soundtrack work for film and television; over the last few years he’s written many cues for the orchestral soundtrack for the Warner Bros movie Seuls Two, for the show Science X made in association with Lucasfilm Ltd. Additionally he joined the production team behind Laszlo Jones in order to assist the recordings and production of Banana Nation (Universal Music Group). He’s composed many soundtracks for French television, music and sound effects for Neko Entertainment, worked as a sound designer for Ubisoft Entertainment and much more.After collaborating with Shadow Gallery for a song on their Digital Ghosts album, and working with Canadian drummer Chris Nalbandian for his Paralysis of Analysis solo album — recording all keys and sharing solos with Derek Sherinian and Alex Argento — Vivien finally settled in and began work on the second LALU opus. Handling all composition and songwriting duties, as well as all keyboards on the massive production, Vivien weaved the cloth of the new album with vocalist Martin LeMar (Mekong Delta), bassist Mike LePond (SymphonyX), guitarist Simone Mularoni (DGM), drummer Virgil Donati (PlanetX), the album’s parts recorded in several countries including the United States (Los Angeles and New York), Germany and Italy, produced by Lalu in his own studio, and mixed at Boumbox Studio in Paris by Yan Memmi (Dio’s Lock Up The Wolves, Marcus Miller’s The Sun Don’t Lie, etc.). Additional contributions from Jens Johansson (Stratovarius), Joop Wolters (Shadrane), Jordan Rudess (Dream Theater), Marco Sfogli (James LaBrie), Mike Andersson (Cloudscape) and Peter Wildoer (James LaBrie) were also carefully built into the album, the final product boasting over fifty minutes of exceptional, massive  cinematic, atmospheric metal Lalu has dubbed, Atomic Ark. 
    $13.00
  • After a 10 year absence Enchant are back.  The band started in 1993 making them one of the earliest prog metal band.  Actually they are sort of an interesting band in that they seem to exist in both the prog rock and prog metal realms.  Some metal fans think of them as a bit lightweight and some prog rock fans think they are too heavy!  One thing is for sure they are wildly successful.  This is definitely prog but it never loses sight of the melody.  Fronted by the great Ted Leonard (who is now doing double duty with Spock's Beard) this one is a no-brainer - whether you are metal or prog head.  "irst impressions are the similarities to Spock’s Beard. Hardly surprising since Ted Leonard has been singing with them since 2011. He’s been with Enchant longer; their first CD came out in 1993. And familiarity doesn’t breed contempt here, fortunately.Bay area progressive rockers, they steer a straight course composing guitar-structured songs that they extemporise over. Guitarist Douglas A Ott is also the band’s main producer, with The Great Divide having been recorded at his own studio, but if in the past the band’s followed his direction they’re now more involved after a ten year gap working on other projects. Also, while integral, Ott doesn’t dominate Enchant’s sound but flows in and out adding a hard rock bias to their generic musical flavouring. Drummer/percussionist Sean Flanegan and bassist Ed Platt have the solidity of early Kansas and musically there are some pretty snazzy and often too brief keyboard solos from Bill Jenkins.A rolling cyclical bass line forms the basis of opening number ‘Circles’ with Leonard pondering life going round well, like a circle – while the lyrics aren’t profound they feel right and though this isn’t a concept album, despite the band stating otherwise, there are common themes concerning the human condition in a loosely existential manner. Mainly straight verse and choruses ‘Circles’ breaks out into more complicated time signatures before an acoustic comes to the fore, vocals return, an electric guitar take over and it concludes with a nicely warm keyboard solo. ‘Within An Inch’ follows with a steady rock backbeat over which Ott’s playing echoes Camel’s Andy Latimer interrupted briefly by some John Ellis punk-styled sirening. ‘The Great Divide’ follows suit in a more epic manner, the arrangement akin to Genesis in their golden period.Enchant don’t play with the fairies, despite what their name suggests. If anything they’re two steps removed from an AOR sound leaning in towards early Asia with some latter day Beatles thrown in, and a less grandiose take on Spock’s Beard. One might refer to them as technically proficient rather than emotionally overwrought, meaning there is a heartfelt flavour to their songs, and they tend to grow on you.The subdued opening to ‘Life In A Shadow’ throws a brief curveball echoing the Canterbury sound of Hatfield & The North before a heavy chorded chorus takes this into a rocking tune with soulful harmonies. ‘Deserve To Feel’ pours on the technical drumming and dribbling triplet bass figures with some flashy pyrotechnics predominantly on guitar but with keen keyboard flourishes, moving into a more intricate musical score as Jenkins and Ott trade inspired lines towards its conclusion. Likewise, ‘Here And Now’ builds reflectively moving towards emotional drama.Finely composed, played well, Enchant’s The Great Divide might not have you falling under its spell, but you may well be surprised how you find yourself being drawn to playing it." - The Midland Rocks
    $12.00
  • 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