Hard Rock

"Deep Purple are one of the most influential British rock bands of all time. With 120 million albums sold worldwide, they are one of the most loved British bands of all time.

$16.00
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The band's fifth album arrives in a 2CD digipak.  Disc one features a new remastered version via mastering engineer Andy Pearce.  Disc two is packed with 15 previously unreleased mixes and tracks.  Fresh liner notes and interviews round out the package.

$15.00
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The band's fourth album arrives in a fresh 2CD digipak.  The first disc features a new remastering via Andy Pearce.  Disc two features 14 previously unreleased mixes of the album.  You get fresh liner notes and interviews.

$15.00
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The classic 1971 album presented in a fresh 2CD digipak.  The first disc features remastering by Andy Pearce.  The second disc features 11 previously unreleased mixes of the album.  Fresh notes and interviews with band members.

$15.00
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"Michael Schenker, one of music's greatest rock guitarists, will release Michael Schenker Fest "Live" Tokyo – a stunning new live recording and filmed concert released by inakustik on Blu-ray (and 2CD, 2CD+DVD Combo, and LP). The Blu-ray release will be available for purchase on March 24.

$21.00
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Michael Schenker, one of music's greatest rock guitarists, will release Michael Schenker Fest "Live" Tokyo – a stunning new live recording and filmed concert released by inakustik on Blu-ray (and 2CD, 2CD+DVD Combo, and LP). 

$16.00
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"Economy counts for a lot on an AC/DC record. As meaty as they are, they sound best when they're lean -- when there's not much fat on the bone, when they choose not to indulge in a fourth chord. Rock or Bust, the group's 15th studio album, benefits from a modest sense of scale.

$5.00
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2014 Jimmy Page remaster.

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Jimmy Page 2014 remaster.

$6.00
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"Throughout its nearly decade-long run, the G3 series of tours has always featured guitar wizards Satriani and Vai at the helm, with a mystery third guest always in the rotation to contrast against the mentor-and-student duo.

$7.00
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  • Monumental album from Ritchie Blackmore/Ronnie James Dio. Worth it just for "Stargazer" alone. Remastered edition. Essential.
    $5.00
  • 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
  • Now here is a beautiful slice of contemporary progressive rock.  Anubis is an underrated band from Australia - bands down under don't seem to get the attention they deserve.  Hitchhiking is their third full length album.  2011's A Tower Of Silence was a big hit around here and frankly when it arrived it came as a huge surprise.  This long awaited follow up reinforces that the prog rock world needs to take notice.  The music has a cinematic Floyd-like feel.  Vocals from Robert James Moulding are emotion driven and have plenty of impact.  This is not a band who's music is filled with tons of soloing but what's here is solid.  In other words this is not old school prog - its very forward thinking but with a modern sound.  Highly recommended."I have long dreamt of an Australian progressive rock album that would inspire me to click the repeat button, in order to drift through its world all over again, and I am happy to declare that Hitchhiking to Byzantium has been on constant rotation for weeks at this point. Bringing an enchanting blend of Floydian melancholy and the energy of Rush to the table, Anubis have come to stake their claim as heavyweights in the Oz scene with their third opus.Whilst being equally impressed with their 2011 album A Tower of Silence (which I have only just heard recently also), I have found myself returning to Byzantium more to explore the subtle nuances contained within the album’s ten tracks. ‘Fadeout’ as an opening diddy is like riding a gentle breeze for just a short while before being swept up in all the drama and opulence of ‘A King with No Crown’, a reference quality track on every level, cinematic in scope and full of drama and tension and certainly an inspired choice as opening single for the album. ‘Dead Trees’ is a classic prog cut with all the bells and whistles sporting a vocal performance that harkens to a young James Labrie and a chorus that will have you by the balls from the first time you hear it.I mentioned a notable influence from Floyd and Rush earlier, but if I was to be honest, I would love to ask them if they are fans of American prog band Tiles and those wonderful Brits Anathema, because both bands are called to mind on this album amongst others like Sweden’s Anekdoten. The title track is a sublime centrepiece and features a plaintive aura that is sent soaring when spine-tingling female backing vocals lace the chorus. It’s so hard to choose a favourite song when they are all so filled with creamy goodness, but any of these three  - ‘Blood is Thicker than Common Sense’ (a seductive groover), ‘Tightening of the Screws’ (a majestic slice of melancholia reminiscent of early The Pineapple Thief) or ‘Partitionists’ (a lyrical and musical marvel) - could easily take the title for this humble listener.The final triptych features dark drama in ‘Crimson Stained Romance’, a song that reminded me most of a classic Floyd epic, the 15+ minute ‘A Room with a View’, which is nothing short of a sweeping symphony of moods and tones and the closing ‘Silent Wandering Ghosts’ sounds exactly like its title would suggest, haunting and transcendent with an outro to die for.These seven talented lads are a gifted lot, with every performance of outstanding quality, enhanced by a jaw-dropping production that let’s every instrument tell its own little story and play its part in this emotionally resonant work that as the band state themselves: "I feel that there's more of us in there - the hurdles that life throws at us and the only way to feel true inner peace - by examining the love around you. It's certainly an introspective record - but it's real life. It's about you, it's about me, it's about all of us. Hitchhiking to Byzantium. That journey is life."And somehow I believe them." - Loud Mag
    $15.00
  • 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
  • THE 4 DISC 40 PAGE HARDBOUND EDITION INCLUDES A CD WITH BONUS TRACKS, 5.1 SURROUND (24/96 DTS) AND HI-RES STEREO 24/96 LPCM) MIXES ON BOTH DVD AND DTS LOSSLESS BLU-RAY. "Nothing is more consistent in the world than change. In the realm of music, change either comes with the speed of an arthritic glacier, or so fast the music community is left breathless trying to keep up; there rarely seems to be any middle ground. As far as bands and their evolution go, they fall into two categories: bands who virtually never change their sound, and bands that do so frequently. Fans as a general rule seem hostile to bands changing their sound, “selling out” being the most common accusation. A key factor of successful change is that a band has to be able to do it well, and their new sound must stand up against other albums with such a sound.With that in mind, few bands have been so consistent, not only in changing but changing well as Liverpool’s Anathema. They started out as a slow and heavy doom metal band, and they were very good at it. Over time they left that far behind – indeed it is now all but a distant memory, with many newer fans being hardly familiar with those early albums. They evolved, adding alternative and progressive rock touches, but always sounding like themselves: dark, melancholy, and deeply emotional. They hit the peak of their progressive sound with 2012’s highly acclaimed ‘Weather Systems’ and followed it up with the stylistically similar ‘Distant Satellites’ in 2014, which I felt was rather underwhelming and derivative of the previous. Anathema, however, have changed themselves again with the upcoming ‘The Optimist.’  While retaining hints of their progressive flavor, it is heavily electronic in nature – one could say moody, dark electric pop. And, unsurprisingly, given their track record, they have delivered another excellent and engaging album.The genesis of the new album lies in their 2001 album ‘A Fine Day To Exit,’ an album which tells the story of a man and his attempt to escape from his life, its problems, and possibly start anew. The story was unresolved, and his fate unknown, and so the narrative of this new album is meant to answer the question of his fate. The album starts with the brief “32.63n 117.14w” which are the coordinates of Silver Strand beach in San Diego, the character’s last known location and the beach where the cover for ‘Fine Day’ was taken.  The album begins with the sound of crashing waves and a man walking through sand panting for breath before entering his car and flipping through radio stations until a steady electronic beat begins. It flows directly into “Leaving it Behind” where the first guitar picking of Vincent and Daniel Cavanagh begins and the album launches into one of the few true rockers of the album. The track is classic Anathema of recent years; Daniel’s rich voice soars over strongly melodic yet driving prog-tinged rock driven by the crisp drumming and percussion work of Daniel Cardoso and John Douglas. This song will make a perfect opening number for upcoming shows and will leave any fan of the band pleased and looking forward to more.The album continues with the string and electronic dominant “Endless Waves” which is sung by the band’s other lead singer, the lovely, crystal-voiced Lee Douglas, who officially joined the band in 2010. It has become common over the last few albums for Daniel and Lee to trade off the lead vocal duties on the first and second tracks and then mix it up through the rest of the album, and ‘The Optimist’ follows that pattern. The tracks continue the character’s journey quite literally with the instrumental “San Francisco” and then “Springfield,” which continues his quest to either disappear completely, or find himself and come to grips with his life. The piano and electronic aspects are especially highlighted through here, and the keyboard work of the two brothers is never flashy but just enough to capture the emotion. The rise and fall of the music and is handled with finesse quite beautifully.As with much of their previous work, the atmosphere of the album is as important as the individual songs. With the addition of so much electronic key work, the result is an almost urban feeling that hovers over the whole album. In that way, it is not dissimilar to Ulver’s excellent ‘Perdition City’ with its overall feeling of isolation in the midst of millions of people. And by often commenting on the electronic feel of the album, I do not mean to imply that it is an electronic album in the way that the previously mentioned Ulver album is. There are plenty of guitars and rock moments along the way, only the electronics hover over the album in a way they have not done on earlier albums. This mix of old and new blends in a manner which makes it familiar while still being unexpected, fresh, and unmistakably, Anathema.The band does go into a very different direction from anything they have done on the Douglas sung “Close Your Eyes,” which can accurately be called a lounge jazz number. Mostly piano driven with moody horn work and light jazzy drumming, one can imagine the character sitting in a dim, smoky jazz club sipping a drink while Lee is on stage singing to a small crowd. It was an unexpected twist, but works very well. Daniel picks up the vocal duties again on the much more familiar sounding and sparsely sung “Wildfires.” It finds the character questioning who he is before a climactic building of pounding drums and crunchy guitars largely overwhelm the floating vocals which end with the repeating line, “it’s too late” before quieting back down and moving into the final song “Back to the Start.”Fittingly with such a title, the album closes as it began with the sound of crashing and classic-sounding Anathema. The lyrics sum much of the theme of the album (if not their whole career) up as Vincent sings, “They don’t understand ‘cos they don’t talk for me/There ain’t no master plan/ I came in to make peace/ the more we’re made to suffer the more we’re made to care”. The song builds powerfully with both vocalists sharing duties and perhaps being the two characters of the drama which comes back to the start. The band deliberately leaves the fate up to the listener, whether he returns to his old life or escapes and leaves to a new one. Which ending you prefer is likely up to your personality; the romantic (in the classic sense) in me would like to believe he returned and resolved things, but the opposite is just as probable and satisfying in its own way. Regardless, it is a perfect closing to the album.With ‘The Optimist’, Anathema have crafted an entirely new, yet familiar-sounding album that requires the listener to not only give it multiple spins to come to grips with it, but richly rewards them for doing so. As a sequel to ‘A Fine Day to Exit,’ it succeeds in bringing closure to the story, and the decision to leave the conclusion up to the listener is skillfully and intelligently done. While I wouldn’t recommend this as the first album for a new Anathema listener, anyone who has been following the band in recent years should be very pleased with it. Highly recommended." - Metal Wani
    $49.00
  • 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
  • One of the great overlooked prog metal albums of the 90s made available again. This album with the odd name was only released in Japan by Toshiba-EMI in 1998. It was the debut album from this Swiss trio and featured the great Thomas Vikstrom on vocals. The music was keyboard driven, a bit off kilter and totally amazing. The band didn't release anything again until this year's Retrospective but the similarities are superficial. Retrospective is a great album but a bit more conventional. Cosmic Handball has a lot more personality. Its been remixed and remastered which can only help as the original production was a bit murky sounding. Highest recommendation.
    $5.00
  • Brilliant double live set clearly demonstrates that Mr. Hackett can still bring the thunder to the stage. The set was drawn from shows in Paris, London, and New York during the 2009/2010 tour. With a great line up and a set list that digss into his solo career as well as Genesis gems, this is impossible to pass up. Simply awesome!
    $12.00
  • 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
  • Thirty nine years after the release of their debut album, a reconstituted version of Alphataurus has formed to record their sophomore album...and they nailed it.  Guitar sounds are a bit on the modern side but the keys are the deal.  Soaring synth lines and organ solos dominate.  Five long intense tracks that sound like they fell out of the Wayback Machine.  Comes housed in a mini-lp sleeve with stunning wrap around artwork by Adriano Marangoni, the same artist that did that incredible triple gatefold back in the day.  Highly recommended to fans or Rock Progressivo Italiano.
    $16.00
  • With almost forty minutes of new material, AGUSA delivers a wide array of seamlessly-executed, organic rock on the aptly titled Agusa 2. The band’s tranquil output blends tripped-out psychedelic and progressive rock structures are inspired by more folk than occult influences, instilling visions of nature, the cosmos, and dreamlike passages, meandering into realms of a possibly supernatural or parallel existence. While not a fully instrumental recording, backing vocal mantras only seep in through purposeful cracks in the construction of these immense movements, adding an even more spacious feeling to the overall flow of the album.AGUSA was formed in the springtime of 2013, when Tobias Petterson and Mikael Ödesjö, former members of Kama Loka, recruited Dag Strömqvist and Jonas Berge for their early ‘70s progressive rock project. In the Summer, the outfit ventured out to the countryside where Dag lived, to a place called Agusa — virtually only a loose gathering of homes deep in the forest. Within these secluded surroundings, and the most amazingly sunny, warm Summer day, the new collective had an extensive, extremely inspired jam session which somewhat solidified the direction of their sound, so of course, the name AGUSA was simply perfect for the outfit.In the Autumn of 2014, the band went into the studio to record their first album, Högtid, which was released on vinyl and digital media in early 2014. After a handful of gigs during the Winter, Dag decided to leave AGUSA to travel around India, and following a number of auditions, Tim Wallander, also a member of blues trio Magic Jove, joined the band. In the beginning of 2015, the refreshed lineup went into Studio Möllan once again to record their sophomore full-length, this time having asked a close friend of theirs, Jenny Puertas, to play flute on the recording. The match was so perfect that the band instantly invited her into the band on a full-time basis, expanding their lineup once again. They began performing with this new arrangement weeks later, and have not looked back.CD mastering is courtesy of Bob Katz, done to his usual audiophile standards.
    $13.00
  • Now here is a band that singlehandedly may be turning prog metal on its head and giving it a good kick in the ass at the same time.Need is a Greek prog metal band that has been around for a bit but like most bands from that country they don't get much attention outside of their homeland.  Orvam is their third album and it finds them stepping up their game quite a bit.Orvam: A Song For Home blends a variety of influences and dishes up something completely mesmerizing.  The band's musical DNA includes Fates Warning, Tool, Nevermore, and lots of prog rock.  All of these influences will crop up but tossed together in a unique way.  Its heavy but complex - ethereal and hypnotic.  Hell the band even weaves in some Mediterranean themes revealing their real roots.  Vocalist Jon V. is the anchor to the musical and he does a phenomenal job, sounding like vintage Ray Alder.  I love how amid all the grinding guitar riffs the band mixes a splash of old school Hammond organ.  Cap this monster off with the 18 minute title piece and you've got an instant classic.  The whole production was expertly mixed by Neil Kernon and masterfully mastered by Alan Douches.  BUY OR DIE!
    $12.00
  • Cynthesis is a new band that reunites three of the original members of Zero Hour (Jasun and Troy Tipton, and Erik Rosvold) along with Enchant drummer Sean Flanagan.ReEvolution is the middle part of a dystopian trilogy begun with 2011’s DeEvolution. The central character, a shaman, is sent out to gather more slaves. He comes across a tribe and senses a light within them that triggers a distant memory of his past.  He realizes this is the original tribe he was taken from.  He brings them back to the city and encounters what was done to the population and sets them free.While Cynthesis maintains much of the Zero Hour tech metal influence, it also demonstrates the more melodic and atmospheric side of Jasun Tipton’s songwriting.  ReEvolution will appeal to fans of both progressive rock and metal.
    $13.00
  • So here's my personal confession...after Neal left I felt that Spock's Beard lost their way.  Nick is a fine vocalist but there was something quirky about Neal's writing that had a reverential old school quality that I found lacking.  The albums didn't grab me.  Nick left and Ted Leonard took over on vocals.  Whether it was Enchant or Thought Chamber, he's always stood out and he fits Spock's Beard quite well.  The new drummer Jimmy Keegan slipped into the blend with no dificulty.  The result is (to my mind) a resurgence from this band.  Ryo Okumoto always puts on a show - in particular his heavy reliance on Hammond organ reminds me quite a bit of Steve Walsh.  In fact the sound of the whole album has a Kansas vibe. Coincidentally David Ragsdale guests on one track.  I'm not sure I can remember the last time I said this about a Spock's Beard album - Highly recommended."Very few bands are so recognizable that you know who you are listening to within 2 seconds.  That is all it takes at the beginning of the first track on The Oblivion Particle to know you are listening to Spock’s Beard.  There is no slow buildup or keyboard swells, just straight BAMM!, here we go.  And if the opening notes don’t get you, the organ 5 seconds in will.  The band’s 12th studio album, this one the second with singer Ted Leonard and drummer Jimmy Keegan, is a culmination of years of perfecting a sound and identity, one that not even 2 major lineup changes could fracture. With this new album, Spock’s Beard up their game again and show that this lineup is here to stay.If there was a track that defined what Spock’s Beard are, it might be the opening track, “Tides of Time.”  There are certain checklist items that mark their sound and they are all in this track.  The organ, the harmonies, the acoustic breakdown, the rocking middle and the epic ending.  Each member finds their moments to shine on this one and it provides a jaw-dropping sound overload that could leave one satisfied at that moment; only there is another 60 minutes to go.The album zigs and zags through a few more experimental moments, mixing in some surprises with more traditional Prog elements.  The album’s second track and first single is “Minion”, is a perfect example.  The opening a cappella harmonies provide the sort of memorable chorus and harmonies we’ve come to expect from the group.  While, the following distorted keyboard section is also standard Spock’s Beard.  But the verse and middle of the song is much darker and takes us on a surprising journey.The most unique song the album is the brilliantly titled “Bennett Built a Time Machine”, which the album’s cover is based on.  Drummer Jimmy Keegan takes lead on the vocals here and sounds incredible.  His voice actually fits the track better than Leonard’s probably would have.  The song is one of the album highlights and helps keep the record from sounding redundant.  It is almost a pop song most of the way through until turning on the jets and shifting into Prog mode.There are some heavier moments such as “Hell’s Not Enough” and “Get Out While You Can”. “The Center Line”, however, might be the most similar to something you might have found on their group’s previous album “Brief Nocturnes…”  The track opens with an expansive piano recital piece, before turning into a combo Prog-Western bounce with acoustic guitars carrying the groove. Ted’s voice lifts the choruses flawlessly and creates an almost cinematic soundscape.Even with all of these great moments, it is the album’s closing track that is the best song on the album.  “Disappear” might be one of the best songs the band has recorded since Neal left the group.  “We could disappear, you and me, we could be, anyplace else not here” sings Ted in the chorus as he wonders what might be if we left with no one knowing what happened.  The song is really the closest thing to a ballad on the album, but it doesn’t stay that way for long.  2 minutes in, the song stirs into a frenzy just before a brief cameo by Kansas’ David Ragsdale, appearing with his violin.  Of course, the big epic orchestral ending takes us home as Alan Morse provides the finishing touches with his unique finger picking soloing excellence.Spock’s Beard are Prog rock’s most reliable unit.  They have yet to disappoint and always provide comfort to their faithful fans with music that is both inspiring and breathtaking.  And while The Oblivion Particle shows a harder edged Spock’s Beard, it also displays a group that shows no signs of slowing down and is ready to take on all comers." - The Prog Report 
    $12.00