Humanum Est (Vinyl)

SKU: LHC43
Label:
Long Hair Music
Category:
Progressive Rock
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Aera (not to be confused with the Italian band Area), were a long running German fusion band that recorded for the independent Erlkoenig label in the 70s and into the 80s.

Although the band had a very active rhythm section the real energy came between the interplay of guitarist Muck Groh, violinist Christoph Krieger, and alto/flute player Klaus Kreuzeder. Expect extended jamming that is quite reminiscent of Kraan and Embryo. Authorized vinyl edition.
 

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  • Limited edition import 2CD set with 7 bonus tracks!"When you made the impact that Bigelf did in 2010 with their fourth album ‘Cheat The Gallows’ and the subsequent tour, it’s inevitable that people expected the highly rated band from Los Angeles to hit hard in 2011. But instead we got an astonishing silence. However, all that is about to change with the arrival of ‘Into The Maelstrom’, a new album of melodic prog-doom that eccentric frontman Damon Fox believes will take Bigelf to new heights. “I have been reflecting on the band and pondering what it would take to get us to the next level, I believe we have accomplished this task on the new record.The last three years for Fox have been confusing and difficult, to say the least, as he found the band he’d worked so hard to establish suddenly dissipated. “I’d call our break a spontaneous hiatus. I did genuinely feel that we’d go into 2011 with an album out early in the year, and then we’d build on what we had achieved up until that point. Instead, we came to a standstill. The momentum had vanished, and it halted the band. So, I was forced into an introspective state of hypersleep and had to contemplate my future. I love the other guys in the band as brothers, and I am extremely grateful for they contributed to help get Bigelf this far. I was heartbroken when that line-up came to an end but change nonetheless was upon the band.“Forging ahead, I didn’t feel that I could get it done on my own”, Fox admits. Thankfully, he found a kindred spirit in famed drum god Mike Portnoy, with whom he’d bonded with in 2010 when Bigelf toured with Dream Theater. “We hung out a lot back then, and got very close. Mike and I discussed how similar our situations were with our respective bands going through our ‘Let It Be’ phases. This was around the time when Mike had his dramatic press-laden departure from Dream Theater. I knew Mike loved Bigelf, and he told me not to give up on it and to keep the band going. His encouragement really helped me to carry on through dark times.”"Getting the songs fully realized was something of a laborious experience", Fox explains. “In the past while I had written most of the material, I always had a incredibly gifted band to bounce ideas off of and we would often jam out to fully realize the song . But this time, I had to write, arrange and envision everything on my own. Once I got the selection of songs together, I sent the demos to Portnoy (who had agreed to play on the album). Mike is the busiest man in Prog, so the next time he was in LA, we laid down the drums at Linda Perry's studio, Kung-Fu Gardens where we did ‘Gallows’. I also wrote a song with her for the new album. The rest of the sessions and instrumentation were recorded at my home studio ITM.“I feel this album is going to prove to a lot of MP haters that Portnoy can really lay down a groove and has a serious vibe as a drummer. It’s not just about his chops and his pyrotechnic style, for which he’s known for, especially with Dream Theater. The feel and emotion in his playing on this record is really unique and it’s unlike anything else he’s done before in my opinion” Lovable lefty bassist Duffy Snowhill, who’s been with the band since 2000, is bringing his thundering Viking bass tones to the recording of ‘Into The Maelstrom’. Luis Maldonado is also climbing aboard the Elf vessel for his first trek. “Luis is a close friend who I’ve known for many years. He has his own band, Into The Presence, and works with a lot of established artists as well. Luis is a phenomenal guitarist, he delivered some really blistering leads on the new album. I'm supplied all of the rhythm guitar tracks and managed to squeeze in a few leads as well too. People usually associate me with keyboards – and there are copious amount on the album, to be certain – but originally Bigelf was founded around my guitar riffs, and it was really rewarding to be able to play guitar again from a nucleus standpoint.”‘Into The Maelstrom’ was produced by Fox (who also handles all the vocals), and believes this album proves that Bigelf are now exploring alien musical landscapes. “There’s a fresh aura and energy on there that’s completely different to our previous releases, but it also sounds like Bigelf. I view this album as being very psychedelic cinematic. It has a ‘Mad Max’ post-apocalyptic feel – a futuristic world that’s rather dirty and desolate filled with chaos and despair. The bludgeoning Sabbath guitars and “Karn-Evil” keys are still there, but the modern setting is what makes the record have a creative edge.While ‘Into The Maelstrom’ isn’t a concept album as such, Fox does reveal that there is a theme that links much of his lyricism. “It’s about traveling through time into one’s past and into the future, to experience and examine your pain and fears, in order to move forward in life. A lot of my baggage from the my travels provides the cathartic inspiration. Deep, personal feelings like the tragic death of my best friend and former Bigelf guitarist A.H.M. Butler-Jones. And my fears of mankind eventually destroying itself a la, ‘Planet Of The Apes’. I suppose the opening song, ‘Incredible Time Machine’, sums it all up.”Fox is clearly inspired and reinvigorated by the new focus Bigelf have made here. For him it’s not just about how the album sounds, but also the process involved in getting there. “Making the record has been a certain kind of journey. A few years ago I had to completely let go of Bigelf, which was painful but it came back with force and vision. As such, the music began to shape from a different perspective and I have been able to see an alternative way of accomplishing my goals. To me, ‘Into The Maelstrom’ is a genesis, a bridge between the band and a larger audience. Strap yourselves in ladies and gentlemen, you're in for a wild ride.”"
    $15.00
  • Latest in the 40th anniversary series featuring remixes by Steven Wilson.  Here is what you get:CD contains a new stereo remix plus 3 alternate mixes.  The DVD contains 5.1 remix of the album, a 24/96 and 24/48 stereo remix, the original album mix and alternate takes and mixes in 24/48.  The video content is the complete Beat Club performance and is worth the price alone.  
    $20.00
  • "SAUROM is a folk melodic metal band from Spain with sound influences of Iron Maiden, Helloween and Blind Guardian. SAUROM have a unique medieval sound and are well known for the strong Celtic feel to their music. Their music is compared with the popular Spanish band MAGO DE OZ with a heavier sound. Vida is their 6th album, full of melodic riffs, melodies, catchy choruses and medieval sounds."
    $13.00
  • The release of 2012's critically acclaimed Trouble With Machines ushered in an exciting era for Chicago-based Progressive Rock band District 97. In 2013, the band toured both Europe and the US with legendary bassist and vocalist John Wetton (King Crimson/UK/Asia), which was documented on 2014's live release, One More Red Night: Live in Chicago. 2013 also saw the band nominated for a Limelight Award by Prog Magazine. Rather than rest on their laurels, District 97 took to the studio in 2014 to record the new material they'd been honing at home and on the road. The resulting album, In Vaults, continues and accelerates the upward trajectory of great songwriting and incredible musicianship that's been evident since the band's 2010 debut, Hybrid Child. One listen perfectly illustrates why John Wetton says, “I've said it before, and I maintain that D97 is the best young progressive band around right now. Gifted players, great material, and a brilliant, charismatic singer in Leslie Hunt."In addition to its evocative and powerful songwriting and performances, In Vaults features the immaculate mixing of Rich Mouser (Spock's Beard, Transatlantic), mastering by Grammy winning engineer Bob Katz and the stunning imagery of Björn Gooßes of Killustraitions. 
    $13.00
  • 2012 remastered edition of the 1979 album.  Comes with three bonus tracks.
    $15.00
  • Interesting studio project from the Altrock/Fading team.  This is 70s influenced progressive rock with a dark edge to it.  Vocals are in English and overall it doesn't have the typical Italian sound.  If you told me this was a British band I wouldn't think twice.  I'm digging the Mellotron-type sounds!  Highly recommended."Not a Good Sign is a project by AltrOck and some bands’ members of the label. Marcello Marinone, Paolo «Ske» Botta and Francesco Zago, after a successful collaboration in Yugen and Ske, propose a new blend of their musical attitudes. The result is an ominous, fascinating sound melting vintage keyboards, powerful guitars and voice, besides ethereal and autumn nuances, supported by a compelling rhythmic drive.In 2011 Botta and Zago began to write the music, and Zago provided the lyrics too. Soon Gabriele G. Colombi and Alessio Calandriello, from La Coscienza di Zeno, joined the band. The drummer Martino Malacrida completed the line-up in 2012. In these tracks many of you will recognize the Old Prog School from the 70s, but in a modern key, with a pinch of hard-rock and psych. Resonant vocal melodies and lyrics complete the gloomy but colourful imagery of the band."Personnel:Paolo «Ske» Botta, keyboardsAlessio Calandriello, vocalsGabriele Guidi Colombi, bassMartino Malacrida, drumsFrancesco Zago, guitarsGuests:Maurizio Fasoli, grandpiano (Yugen)Sharron Fortnam, vocals (North Sea Radio Orchestra, Cardiacs)Bianca Fervidi, cello
    $18.00
  • "Tracer release their new album ‘Spaces In Between’ on October 3rd (UK release) on the Cool Green recordings label.  The Australian desert rockers, who are based in Adelaide, comprise of brothers Michael and Leigh Brown and Andre Wise. They have had success with two previous independent releases, but ‘Spaces In Between’ will I feel launch Tracer to new heights.Tracer’s blend of 90’s stoner and 70’s classic rock is steeped in epic guitar sounds, clever hooks and raw, uncompromising vocals.I hope (and imagine) that Tracer can reproduce live on stage the intensity and passion and raw rock n roll that is so evident in this album. With the UK tour coming up I think we should all go and check out these Aussie contenders!“So what’s the album really like?” I hear you say.   The album starts with ‘Too Much’ and a great start it is. A guitar riff straight from the 70’s classic-rock bible. A solid, constant rhythm throughout. A very catchy rock song, which is understandably the first single from the album.Check out the video belowTrack two; ‘Push’ has a more laid back feel. It still rocks, but in a groovier kinda way. If Jimi Hendrix and Paul Rodgers had a lovechild, it would sing like this!‘Walk Alone’ continues the 70’s rock vibe. A solid drum beat throughout which has a simple yet traditional guitar riff over the topThe fourth track, ‘Louder Than This’ is stoner rock at its finest. Distorted vocals over a solid pounding drum beat, with guitars turned to eleven. There is almost a Slade vibe to this song. I can imagine Noddy Holder belting this out in the 70’s.The next track ‘Devil Ride’ goes back to the rockier tempo of track one. Definitely the catchiest chorus on the album so far.  I have a feeling that ‘Devil Ride’ might just be the next single.Track six is another thumping tune. ‘ The Bitch’ is the song which will get the crowd going wild in the mosh-pit, although they will still sing along to the chorus, with devil-horns flying high.The seventh track, ‘Voice In The Rain’ has a much slower pace than most on the album. The Paul Rodgers comparison to Michael Browns vocal is most evident here. A great performance.The album’s title track ‘Spaces In Between’ is the stand out track. The bass line complements the raw guitar sound and you find yourself singing along to ‘The Spaces In Between’ line of the chorusTrack nine is ‘Dead Inside’. This starts slow and Bluesy, rocks in with screaming vocals and guitar solos, slows back down again then totally rocks out towards the end. A clever song, which highlights the bands musical talents.‘Save My Breath’ is another pulsating rocker with some nice stop/start moments and even a little psychedelic middle eight!‘All In My Head’, the eleventh track, is a mellow rocker with another catchy chorus.The album closes with ‘Won’t Let It Die (Run Mary)’. A shot of Bad Company, a dash of Led Zeppelin and topped up to the brim with Jimi Hendrix.  Get the idea? A laid back song but with great guitar work, especially the solo. This will have you singing along by the end." - I Review Rock
    $12.00
  • Second album from this Swedish trio.  Like a lot of the bands on Transubstans, Three Seasons has a sound very much rooted in the spirit of 70s hard progressive rock.  Organ dominates the sound but some tasty Hendrix inspired licks are frequently prominent.  I'm reminded of Deep Purple, Lucifers Friend, and Ken Hensley period Uriah Heep.  Vocals remind me a little bit of Robert Plant (maybe just a little).  This one is a real stoned out trip in the Wayback Machine.  Highly recommended.
    $15.00
  • Beautiful laid back psychedelic offering from this Swedish supergroup. Members include Reine Fiske (Landberk/Dungen), Johan Holmegard (Dungen), Christoffer Gunrup and Moussa Fadera. The music has a distinct 70s west coast vibe. It all has a gauzy lysergic haze over the sound but Reine's burning solos and the Mellotron remind us of the band's true roots. This one is like a wonderful dream you are trapped in and never want to wake up from. Highly recommended."With a name like The Amazing, a certain standard is already expected; just as well the Swedish ‘supergroup’ don’t disappoint. Gentle Stream, the band’s sophomore efforts (2010’s Wait For a Light To Come was a ‘mini album’) is only eight tracks long, but totals in at a prolific forty-five minutes, and sees Reine Fiske et al pull together to create an alluring sound, one which has already gained the comparisons of Pink Floyd and Nick Drake.Title-track ‘Gentle Stream’ opens the album, with somber strumming of the guitars, which is indeed reminiscent of David Gilmour, and the dreamlike vocals of Christoffer Gunrup. The opening of ‘The Fog’ would be perfectly at home on a track like Simon and Garfunkel’s ‘Dangling Conversation’, that is until the heavier plucking of Fiske comes into play, combined with melodic chiming, it gives the track that neo-psych feel the band are known for. Gunrup’s vocals are as beautiful as ever on this track, and sound so relaxed and calm that you don’t even realise "bring the bastards down" is a regular line. It’s things like this that elevate the album from being blithe and casual, which is how it seems on first listen. Of course, this isn’t a bad thing, and the whole album is simply exquisite to listen to, but the juxtaposition of such de-stressing music with slightly potentially darker lyrics is a strange, yet good one.‘Dogs’ is a contender with ‘The Fog’ for best track on the album. It would be silly to deny the likeness to Pink Floyd when the beginning of this track launches, but again, those vocals make the song completely their own. The percussion (from Johan Holmegard) is particularly strong here, and truly lifts the song and helps it come to life.Thankfully for them, and luckily for us, The Amazing live up to their name, having put together a harmonious and elegant album; excellently produced and beautifully orchestrated." - The 405FOREIGN CUSTOMERS PLEASE NOTE THAT YOU WILL INCUR ADDITIONAL SHIPPING CHARGES DUE TO THE HEAVIER WEIGHT OF VINYL.
    $29.00
  • 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
  • 2nd album is a fine one but Damian Wilson is replaced by Glynn Morgan who is fine in his own right but I dig Wilson better. New edition with bonus trax!
    $18.00
  • 2 track CD single taken from the "Remagine" disc, features the single version of "Being Everyone" as well as the previously unreleased track "Taste The Day".
    $2.00
  • Current UK pressing of the classic second album. Features the monumental title track as well as "Set The Controls For The Heart Of The Sun".
    $14.00
  • Classic mid-70s fusion album from ECM. Timeless features the trio of guitarist John Abercrombie, Jan Hammer on keyboards, and Jack DeJohnette on drums. This is non-stop firepower that will satisfy any Mahavishnu Orchestra fan. Jan Hammer goes off his nut on Mini-Moog and Hammond organ. Essential.
    $17.00