Stoner Rock

No the band is not from Houston.  This is a space rock quartet from Portugal.  Stoner rock - psych - space rock - call it what you will.  Astrodome go heavy and they go deep with some dark overtones.

$28.00

Australian pressing.

$4.00
Add to wishlist 

"If their last was an odyssey, this is a rock n roll masterclass

Of all the rock n roll bands that have looked to the past to find their own future, it’s fair to say that Hoirsont have probably been a cut above the rest – certainly in Europe.

$13.00
Add to wishlist 

"The heavy rock world is saturated with tons of heavy bands who play to their 70s influences style of rock; take Graveyard, Kadavar and Blues Pills to name a few.

$15.00
Add to wishlist 

"What sets Brooklyn trio The Golden Grass apart from the hundreds of bands the world over who cull the bulk of their influence from the heavy rock of the early ’70s and/or the original psychedelic era is a relentlessly positive mindset.

$8.00
Add to wishlist 

"The aptly-titled fourth album by amorphous UK outfit The Kings of Frog Island marks a number of changes for the band.

$ 6.60
$ 11.00
Add to wishlist 

"Now this is an interesting combination. Brutus are part Swedish, part Norwegian and Behind The Mountains, their current album is out on Svart Records, a great Finnish label. Talk about Northern flair indeed! The band focus heavily on 70's tinged classic rock and it's groovy as hell.

$8.00
Add to wishlist 

"Swedes Captain Crimson hail from Örebro, one of the absolute musical hotspots of Scandinavia (Millencolin, Graveyard, Nasum, Blues Pills and Witchcraft, among others, all call the town home), so even before pressing play at the start of Remind you’re pretty sure you’re in for a bit of an aural

$13.00
Add to wishlist 

Napalm Records has been branching out over the past few years, adding some excellent stoner/space rock bands to the fold.  Swiss band Monkey3 is no exception.

$26.00

Napalm Records has been branching out over the past few years, adding some excellent stoner/space rock bands to the fold.  Swiss band Monkey3 is no exception.

$13.00
Add to wishlist 
VIEW MORE
Subscribe to RSS - Stoner Rock
Laser Pic

customers also bought

SEE ALL
  • 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
  • "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
  • Monumental album from Ritchie Blackmore/Ronnie James Dio. Worth it just for "Stargazer" alone. Remastered edition. Essential.
    $5.00
  • 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
  • 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
  • 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
  • "The Flower Kings have been performing their brand of symphonic rock since their formation in 1994. Roine Stolt is the "veteran cosmic rocker" who heads this formidable assault on modern prog. They and some of their peers have been responsible for both maintaining and expanding the fan base for modern progressive rock since the '90s.Although I have enjoyed some of their music over time, I have only slightly enjoyed most of their work. That changes with Desolation Rose. This is a masterpiece in modern prog and it will definitely compete for one of the top spots on my favorite albums of the year list.Last year, The Flower Kings returned after an almost 5 year hiatus. They released Banks of Eden in the summer of 2012 to a strong favorable reaction from fans and critics alike. I missed that one, but will go back and try to listen to it after hearing Desolation Rose. They celebrated their success with a tour of the world. This year the band hit the road again to celebrate the 20th Anniversary of their label InsideOut Music with old friends, and label mates Neal Morse & Mike Portnoy. They kept the momentum going with a return to Fenix Studio in Sweden to start work on the recording of Desolation Rose.The band describes Desolation Rose, as a "live" recording made on reel to reel tape to bring back the feeling from analog recording. They also brought out some classic vintage keyboards, like a Hammond B3, Mellotron M 400, Fender Rhodes, Minimoog and a whole host of Tube amps. All to bring back the glorious past. They further describe Desolation Rose as: "Being somewhat of a political statement, the epic theme of Desolation Rose is a logical step in a time where perpetual war, famine, environmental threats, religious conflicts dominate the media and our minds. This is a time to wake up and the music on this album takes you on a journey where you are forced to question what the mainstream media feed us and to rethink your whole world view on all of the above. This is in many ways a typical Flower Kings album but we have also taken it into another realm where we do take chances and where you may struggle to get into the music - or the lyrics - but trust me when I say that you will be rewarded, as this may be our most involved, important and interesting album ever." (Roine Stolt).Ok, so… "on with the show…this is it"."Tower ONE" is an over 13 minute epic to start this album off in the right direction. Stolt's vocals opens with, "She'll walk me slowly through burning spear. She'll be my shelter no sign of fear. She'll walk me slowly through wholesome light. She'll be my shelter. She'll be my eye". Stolt describes "an observation by an angel who resides in a mysterious tower, looking down on the entire world's ongoing perpetual insanity, yet unable to reach out and help" (Flower King's Desolation Rose Press Release, 2013). The solid drums, dripping bass, lead electric guitars rock. The band gives you more than you may ever have dreamed of receiving on this epic opener. But for me it's the keyboards that truly shine the best on this track. "Don't we all shine on?" Well…yes definitely on this one.If you close your eyes and listen to "Sleeping Bones", you may actually visualize Rael emerging from the mist and rain on Broadway. And with all the wonderful string arrangements and soft mandolin, this one will definitely take you immediately back to some of the highlights from "The Lamb". But Stolt enters to provide a new direction, "We're the third from the sun. We're a long way from home. We're between land and sea. We are blessed and we're greed". He then proceeds to uncover the world's many ills as the deep bass, power Hammond, and punching drums march their cadence. A dark march into the current state of affairs delivered with powerful lyrics."Desolation Road" opens with limitless grand piano, yes the kind you may remember again from "The Lamb", and powerful slamming drums and stellar synths that create a spectacular grand opening. "Be sure to meet your enemies with open eyes. As you answer drums of war with a lullaby. Battlefields that come alive. You know you cannot hide. But here you know your fears…the man inside". "There are no glittering prizes." Yes, another powerful lyrical commentary on the state of affairs globally. The weeping lead electric guitar licks are perfect for the mood of the song. The keyboards, drums, bass and jams are excellent. Three tracks in and you know you're listening to a winner. Something you will play over again…many times.Well, when you open with excerpts of a speech from Richard Nixon, you know "White Tuxedos" is going to be full of political angst. "I respect your ideals. I want peace. Bring the boys home". Nice that they decided to go with images of Vietnam, for all of us old enough to remember the ravages of that war. No war or person personifies the evil politician more than Nixon and the unfortunate war he escalated only magnified that feeling globally for many. Modulated vocal delivery helps add swag to the powerful message. The music supports the power of this piece well. Dark and full of some excellent solo electric guitar, accompanied by solid bass, punching drums, and deep keys."The Resurrected Judas" is full of wonderful acoustic guitar and elegant keys after the opening explosion of drums and lead electric guitar. The softer transition welcomes you to this tale full of soft synth keys and great vocals. The lead electric guitar soloing adds dramatic flair. The dark tone keys and dripping bass help create a jam session full of piano and melody which at times take you back to Collins era Genesis with its Tony Banks keyboard romps. At over 8 minutes this track is full of imagery and cinematic music that will definitely entertain. I kept hearing echoes of the imagery in the lyrics and music from the song "Squonk", which is not a bad thing at all."Silent Masses" opens with bold keys and organ and what sounds like Jonas Reingold singing about factories again, "So you think you can rule all the fools. Staying cool when the walls coming down. Got the world on a string, but your bird cannot sing. All these men in the factory lines. And all the angels who fell from the skies. You tried to say hello, but they say goodbye", while some Beatles "And Your Bird Can Sing" chords fall like rain. "We are just the silent masses" becomes the refrain. The solid drums, bass, lead electric guitar and keyboards build as the drama continues on the second half of the track. Another solid song to add to the discography."Last Carnivore" opens with some dramatic flair from drums, bass, and lead electric guitar. The momentum continues to build excitement and mystery. "The nightmare becomes real. You have fallen from your tower". "Seven matches seven". The lead electric guitar solos accompanied by drums are powerful. The keys slide in to garnish the sound perfectly. The rhythm and melody of this track make it one of the best.With a title like "Dark Fascist Skies", you know it can't be good. The opening reminds me of Jethro Tull's A album classic "Black Sunday"; with its heavy keyboard and lead electric guitar assault. The ominous start forebodes multiple mellotron tones and a full on launch of power keyboards, bass, lead guitar and drums to the ears. This track is full of drama and ominous lyrics and sounds."Blood of Eden" is my second favorite track on the album. "We're the third from the sun. We're a beacon and a seventh wonder. We are green and we are growing. We are the one and eternal Mother". Its lyrics like that which will endear you immediately to this song. This is no way as powerful as Peter Gabriel's "Blood of Eden". And at times you can even here a bit of Jon Anderson in the high notes reached vocally. But still it is a solid track for this album."In "Silent Graveyards" we look for saviors" is repeated several times as launching guitars, and keys rocket this short song high.This is a keeper. If you are new to the Flower Kings, welcome to the party. You picked a good time to find them. If you are a fan this is a must buy." - Sea Of Tranquility
    $11.00
  • Riverside's fifth studio album finds them in a continuing state of refinement of their sound.  While they continue to touch on the bands that were the original foundation of their sound (Porcupine Tree, Pink Floyd, Opeth) the music seems to take on a more atmospheric feel.  At the same time 70s style keyboards creep in more and more.  Michal Lapaj's use of Hammond organ lends a Lord-ian flair when the band ramps up the heaviness.  The spacey flavors of Eloy that appears on Out Of Myself reappear just at the right time.  It seems that Marius Duda's Lunatic Soul side project has cross polinated a bit with the mothership.  His emotion driven vocals once again prove why he is one of the best frontmen in the entire progressive music scene.  This is one of those albums that will take many spins to really allow it to divulge all its secrets.  The domestic edition arrives as a 2CD digipak.  The second bonus disc contains 2 extensive instrumental jams of total blissed out space.  What more to say?  Highest recommendation.
    $14.00
  • "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
  • 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
  • “Known/Learned’ is the third album from this thought provoking progressive band from Brisbane, Australia.  It’s a sprawling 2CD collection of themes and moments, captured between recurring characters. While never explicitly told in the traditional vein of the ‘concept album’, the imagery of Known/Learned depicts fragmented moments in the lives of a father and his daughter, their loss, their love, their journey. A bittersweet love song for life.Occupying a unique place in the Australian progressive music scene, Arcane’s transcendental live performances and 2009’s critically acclaimed, dark and enigmatic concept album 'Chronicles Of The Waking Dream' have earned them a inimitable reputation as one of Australia’s premier progressive rock bands.Sharing stages with artists as diverse as Anathema (UK), Soilwork (Swe), Queensryche (USA), Dead Letter Circus, Ne Obliviscaris and hundreds more, Arcane's live show, often accompanied by a backdrop of staggering visualizations, is a vast sensory experience.Arcane's immersive sound, and the vocals of Jim Grey quickly found favor throughout Australia, headlining the annual Progfest tour, providing touring support for Ne Obliviscaris, and performing to capacity crowds at Sonic Forge Festival in Melbourne. A crowd funding campaign in July, 2013 heralded the 2015 release of 'Known/Learned' a 16 track conceptual double album. Arcane blends the technicality of progressive metal with the atmospheric intensity of bands like Tool, Riverside and Anathema.  The world is about to discover what their Australian fan base already knows – that Arcane is a rising star in the world of progressive music.
    $14.00
  • Deluxe mediabook edition with one bonus track."This autumn seems to become a sophisticated season when it comes to progressive metal music. There have been already some quite exciting records that have been published; like the new album from Gazpacho and now there are two German prog bands coming with new albums too. Next to Vanden Plas it is Subsignal that offers a new journey through the world of sound."The Beacons of Somewhere Sometime" is the cryptic title of the new long player which is the forth one of the the band that arose out of the ashes of Siege Even. Brain and soul behind the band are guitarist Markus Steffens and singer Arno Menses who started Subsignal as a project in 2007. Things developed very positively and what began as a project became a fix part of the German prog metal scene."The Beacons of Somewhere Sometime" isn't build on a conceptual storyline. But there is a red thread through the various tracks on this long player. The overarching theme is about loss and parting.When it comes to the music Subsignal became harder again. The predecessor "Paraiso" was in general a bit softer with some tracks that have been close to AOR. The new album brings back heavier riffs. "Tempest" is a first indicator for this, underlined by songs like "Everything is Lost".But in the end it's not about heavier or softer when it comes to Subsignal's music. It's the band's lambent way of composing great songs that come with big melodies merged with a lot of emotional depth and thoughtfulness. "The Beacons of Somewhere Sometime" is full of those attributes and it's the passion for details, that makes Subsignal's sound complex as well as approachable also for non-musicians.This long player is the soundtrack for an exciting journey through eleven new tracks from a band that combines technical capabilities with an outstanding sense for good songs. "The Beacons of Somewhere Sometime" belongs to the highlights of 2015 and I would be surprised not finding back the album in some of the 2015 polls." - Markus' Heavy Music Blog 
    $18.00
  • "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