Men Who Climb Mountains (2LP Vinyl)

SKU: MDF-LP-1035
Label:
Madfish
Category:
Progressive Rock
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2 LP vinyl edition in a gatefold sleeve includes an 8 page lyrics booklet.

"Its been three years since the last Pendragon album.  To be honest I hadn't checked in on them in quite some time so it was interesting to listen to their latest - it was very different from what I expected.  Guitarist Nick Barrett has gone all Roger Waters on us - he wrote all the music and lyrics - so this really has evolved very much into a personal vehicle for him.  The usual bandmates of Peter Gee and Clive Nolan are on board and now joined by new drummer Craig Blundell.  Men Who Climb Mountains is a concept album but Barrett isn't spelling it out - you're going to have to work at this one.  The musical mission of the band has clearly changed over the years.  Don't have any hesitation - its full on prog but much more contemporary sounding.  The symphonic flourishes from the old days aren't quite so obvious - which isn't to say you won't notice Clive Nolan's presence.  Its simply that this is a bit more of a guitar driven vehicle than decades ago and Barrett's mournful solos have that nice Hackett-esque feel that always draws my attention.  I have to say I'm impressed.  Highly recommended."

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  • Standard edition comes (at the moment) with a slipcase "o" card wrapper."It’s been quite a past few years for the incredible Anathema. Honors have been bestowed upon them, they’ve released an instant classic album in “Weather Systems”, and last year they released one of the best live concert films I’ve ever seen, “Universal”. Anathema is on top of the world, and they are only getting bigger. With all of this on their shoulders, they approach the world once again with their new album, “Distant Satellites”, a fitting name for a massive album. Again, with all of their recent success creating huge expectations, can this band meet such critical reception? Needless to say, Vincent Cavanagh on vocals, Danny Cavanagh on guitar, Jamie Cavanagh on bass, John Douglas on percussion, Daniel Cardoso on drums, and Lee Douglas with her wonderful vocals were all up to the challenge.“Distant Satellites” is a very different album from “Weather Systems”, or anything else they’ve done, for that matter. It is different, yet somehow instantly familiar. It includes everything that makes them Anathema, but adds new and exciting elements to their already excellent formula. If you’ve never heard Anathema, their formula (in their last few albums, anyways) includes soaring guitars, amazingly catchy melodies, spiritual lyrics, and emotional flow both vocally and structurally. They are the masters of melody, and they remain complex and progressive even while being simple and accessible. They are truly masters of their craft.This new album, then, is no different in those terms. The melodies return in force, such as the serene beauty of “The Lost Song” parts 1-3. And, yet, there is something different here. The melodic lines are somewhat more complex, less in-your-face, and more organic. This especially shows in the song lengths, most of them being over five minutes. This allows for more growth and more progression. Indeed, then, the melodies on “Distant Satellites”, while not being as instantly lovable or recognizable, are certainly more difficult and possibly will have a longer “shelf life” in my mind. Yes, the orchestrations seem to be lower key, as well, allowing the vocalists to express themselves more personally then ever.There are other improvements, too. I feel that the musicianship is more fervent and on a higher plateau of difficulty than Anathema has tried. Drummer John Douglas, especially, plays amazingly well from start to finish, accenting the music with awesome pounding and fills. The rest of the band are at their peak, too, with Vincent and Lee being especially great with emotional and meaningful vocal performances.“Distant Satellites” is different in more meaningful ways, too. Utilizing post-rock/metal structures is nothing new for Anathema, but they really do perfect them here, as on “Dusk”, a dark, climactic song. Yet, there is a sense of continuity between tracks, too. This is obviously the case between the three parts of “The Lost Song”, but it’s also apparent throughout the album, as if Anathema is telling us a story, convincing us of our true selves and our connection with the universe and with each other.This album is wonderful in the first half, but my excitement reached new heights in the second half. Anathema has taken it upon themselves to change things up a bit. They wanted to progress their sound, but make it all seem so natural. So, in the second half, the album climaxes with one of the best songs, simply called “Anathema”. But then, we are thrown for a loop somewhat, as “You’re Not Alone” features a hefty portion of electronic vibe. It’s great, but the best is still to come.Next, “Firelight”, a darkly ethereal instrumental track that is completely electronic, is thrust upon us, and is followed up by what may possibly be the best song Anathema has ever produced, “Distant Satellites”. This track combines everything that has ever made Anathema great: soaring melodies, climactic structure, gentle spirituality, amazing vocals, and now an electronic beat that is both complex and catchy. Vibrant, mesmerizing, and pure, this track elates me every time I hear it. It takes this album, and my heart, to new heights. The album finishes with a gentle ballad that just seems so fitting, yet it still has the strong electronic influence.So, is “Distant Satellites” a winner? In every way! Is it their best album? I don’t know; it has the potential, but it might take time, just like “Weather Systems” did. What I can tell you is that this new album is more mature, more progressive, more interesting and eclectic, and less formulaic then anything Anathema has crafted yet. It does sacrifice some accessibility and some instant likability for these things, but I respect their decision massively, and I fully expect to see “Distant Satellites” at the tops of many lists at the end of 2014." - Progulator
    $9.00
  • "When Tosin Abasi released his debut solo album under the moniker ANIMALS AS LEADERS in 2009, few would have predicted the band’s meteoric rise to the apex of the progressive rock/metal world. Although Abasi earned acclaim as the lead guitarist in the Washington, D.C.-based metalcore act Reflux, it was still a long-shot that an instrumental album of progressive metal with jazz, electronic and ambient flourishes would develop anything more than a cult following.Fast-forward two-plus years to Weightless, the group’s sophomore effort, and ANIMALS AS LEADERS is revered worldwide as a trailblazing pioneer of modern heavy music. The group’s genre-defying compositions have earned extensive praise — Steve Vai called the band “the future of creative, heavy virtuoso guitar playing.” Guitar World Magazine also featured Abasi on the cover twice over the course of this album cycle, further cementing his legendary status within the current progressive scene.Now in 2014, ANIMALS AS LEADERS delivers what is quickly going to be hailed by fans and media alike as the group’s career defining release that will ultimately redefine the progressive world as we know it. This third full-length release is a bombastic, dynamic and innovative explosion incorporates elements spanning across the entire musical spectrum. It also marks the recording debut of drummer Matthew Garstka, whose technical proficiency and unique style allows Abasi and guitarist Javier Reyes the room to push their boundaries to previously unthinkable heights.Reyes states: “I think some of the new tracks are some of AAL’s strongest and musical material yet and extremely happy with how the album came out. Everyone who took part with this album (Misha Mansoor (Periphery), Adam Getgood (Periphery), Diego Farias (Volumes), and Navene Koperweis) is extremely talented and I think we’ve done a great job of capturing it onto what is now the third ANIMALS AS LEADERS album.”"
    $12.00
  • Deluxe mediabook edition.  CD plus a DVD with 5.1 surround mix, 24 bit stereo, and a "making of" video."Always fond of conceptual storytelling, Ian Anderson goes himself one better with his latest prog-folk-metal concept album. The 15 songs of Homo Erraticus inhabit not one but two metafictional layers. The Gerald Bostock character, hero/anti-hero of the seminal Jethro Tull album Thick as a Brick and its recent sequel Thick as a Brick 2, is back again, having now discovered a manuscript left behind in the 1920s by a malaria-ridden old British soldier delightfully named Ernest T. Parritt.Parritt's supposed writings range over northern European history from the Mesolithic era to his own - and on into his future, through the whole 20th century and into our own time and beyond. Winnowed into lyrics written by "Bostock" and set to music by the real protagonist of the story, Ian Anderson, these materials give Anderson - whose creative scope and energy remain robust even as his singing voice has thinned with age - a walk-in-closetful of pegs on which to hang a sequence of songs evoking nothing less than the history of mankind in his part of the world.The first track, "Doggerland," commemorates the area of the southern North Sea that used to be dry land connecting today's British Isles with the rest of Europe. Doggerland vanished under the waves as the last Ice Age ended but, as fisherman discovered not long ago, the sea floor retains much archeological evidence of human occupation. The succeeding songs address migrations, metalworking, invasions (from the Romans to Burger King), the arrival of Christianity, the Industrial Revolution, and so on. To appreciate the songs, you'll want to (at least once) follow along with the notes and lyrics in the accompanying 32-page booklet.The Foreword, in which Anderson discusses the history of Jethro Tull and why he hasn't used the band name for his last few recordings, will especially interest longtime Tull fans. The real question is, will the songs themselves? Some yes, some no. The gruff metal of "Doggerland" gives way to the sweet, plinking folk of "Heavy Metals." (I imagine Anderson chuckling to himself at the irony - no pun intended - of creating such a gentle-sounding song with that title, and on that literal topic.) Both satisfy my Tull craving. "Meliora Sequamur" (Let Us Follow Better Things), which paints a picture of 12th century schoolboys amid religious chant (and cant), does too, and "The Turnpike Inn" is a solid rocker, and the hard-Celtic style of "The Engineer" moves briskly.I like the instrumental track "Tripudium ad Bellum" (Dancing to War). It starts off with an echo of a theme from the original Thick as a Brick (there are others elsewhere on the album), then resolves into a 5/4 march, like a more insistent "Living in the Past." War's aftermath appears in the next track, the sad, deliberate "After These Wars," in which I really feel the lack of Anderson's full-strength vocals. While he was never among rock's greatest singers, that didn't matter - when he sang his songs, you always felt he was all there, and that's what mattered. But now, and not only in the harder songs that shade into old-school heavy metal, his voice just isn't always a match for his music's energy any more.On the other hand, his gift for crafting pleasing, original melodies, writing smart, clever lyrics in complete sentences and true rhyme, and setting much of it in non-traditional time signatures remains strong. The first verse of "After These Wars" reads:After battle, with wounds to lick andbeaus and belles all reuniting.Rationing, austerity: it did us good after the fighting.Now, time to bid some fond farewells andwalk away from empires crumbling.Post-war baby-boom to fuel with post-Victorian half-dressed fumbling.No one in pop music writes like that anymore.Listening to the album as a complete conceptual work, my overall feeling is that there isn't very much new here. Since the 1960s Anderson and Tull have explored countless different musical paths and styles. Some of these produced some of my all-time favorite songs and recordings. Others I hated. But he never seemed to be resting on his laurels. Here I feel like I'm reading a chapter that's not much different from the last chapter.But listening to the songs individually, I like a lot of them. As I write this I'm trying to count the beats of the off-time closer, "Cold Dead Reckoning," with its grim imagery of a future of lost souls navigating their way over a metaphysical Doggerland "amongst the ranks and files of walking dead." I hear crunching minor-key guitar-bass-piano unison figures, a sprightly flute solo. A hopeful verse about "angels watching over" at the end doesn't convince me, as the music continues to growl on as before. Yet there follow a sweet, gentle instrumental coda, reminded us that while things may not turn out well for humanity as we teem over and ruin our only planet, our capacity to create and to appreciate beauty will be with us as long as we live. So let's raise the cup of crimson wonder to Ian Anderson as he charges not-so-gently through his seventh decade." - Seattle Pi
    $17.00
  • The North American Freak Kitchen catalog reissue program continues.  Freak Kitchen is Mattias Eklundh (guitar.vocals), Christer Ortefors (bass) and Bjorn Fryklund (drums). The band describes their album as "A corny little heavy-pop-rock-Latin-world-jazz-avant-garde-metal-blues-record straight from hell!". "Organic" is the band’s sixth album.  It features a guest appearance by Guns N Roses guitarist Ron “Bumblefoot” Thal.  Pure guitar driven insanity with tongue firmly planted in cheek.  Essential for fans of Frank Zappa, Bumblefoot, and Steve Vai."If there was such a thing as indie metal, Freak Kitchen would define the genre perfectly. This metal band hails from Sweden and was formed back in 1992. Their outstanding musicianship and authentic musical style makes this power trio a real treat for those of us lucky enough to find their music. The bands’ distaste for big corporate labels has not prevented them from getting their music out, just not on a scale one would expect them to be considering the high level of quality music that they put out. So, as they state on one of their songs: “I’m so alternative, I am so independent, this is the way to live the independent way of life.” I guess one could say the guys walk the talk!Frontman Mathias IA Eklundh is considered a premier guitar player, having himself released several instrumental solo albums, Freak Guitar (1999) and Freak Guitar - The Road Less Traveled (2004). Also of some importance I guess is the fact that I’ve read in several live performance reviews that Eklundh will often play his guitar using foreign objects, some of which are described as vibrating dildos! Oh yeah, and he can really sing too! Eklundh is also the founder of Mattiasology, of which Steve Vai (peace prophet) and Paul Gilbert (space prophet) are listed as members of the Grand Church of Freakiness.Organic is Freak Kitchen sixth studio album, which was released in different parts of the world on April 27, 2005, just don’t expect to find it in North America yet. When you hear them for the first time, and believe me - you will eventually hear them - it’s really like nothing you’ve heard before. It’s like mixing a heavy metal guitar sound with alternative rock and adding mild progressive elements and a clearly indie rock vibe. It’s going to turn your head as it did mine. If you’re into metal you’re going to wonder “what the hell is this” and if you’re into indie rock, you’re going to wonder the exact same thing? It’s a blending of styles that requires time to soak up. But after you get over the initial impact of it all, it grows on you very quickly and I mean that in an exponentially freaky kind of way.The album opens with the single “Speak When Spoken Too,” which also features the eccentric Bumblefoot (Ron Thal - another Mattiasology prophet) on back up vocals and guitar. The Pantera style guitar riffs will have you questioning the bands musical style and the evident alternative rock vibe will probably remind you of System of a Down. There's a whole lot of humour spread out throughout the album as well.The band plays hook laden guitar driven songs full of interesting arrangements and cool little guitar antics and solos. The crystal clear production, the occasional blast beats, the crazy guitar sounds, the humorous lyrics about everyday life (infidelity, racism, the role of parenting) and the radio-friendliness of it all makes this a very memorable listening experience." - Sputnik Music
    $14.00
  • Paper Charms' is a newly remastered 3 disc set gathering together all of PFM’s BBC Radio and TV appearances in a 2CD and DVD set, including two radio concerts for BBC Radio in 1975 and 1976 (at the BBC’s Paris Theatre in London) and their apperance on the classic BBC 2 TV series ‘The Old Grey Whistle Test’.DISC ONE - CDBBC RADIO ONE "IN CONCERT”21ST MAY 19751.    CELEBRATION2.    FOUR HOLES IN THE GROUND3.    DOVE…QUANDO4.    MR. NINE ‘TILL FIVE5.    ALTA LOMA FIVE ‘TILL NINEINCLUDING P.F.M.’S ARRANGEMENT OF ROSSINI’S WILLIAM TELL OVERTURE6.    LA CARROZZA DI HANSDISC TWO- CDBBC RADIO ONE "IN CONCERT”15TH APRIL 19761.    PAPER CHARMS2.    OUT OF THE ROUNDABOUT3.    FOUR HOLES IN THE GROUND4.    DOVE…QUANDO5.    ALTA LOMA 5 ‘TILL 96.    CHOCOLATE KINGS7.    ALTA LOMA FIVE ‘TILL NINE (REPRISE) INCLUDING P.F.M.’S ARRANGEMENT OF ROSSINI’S8.    WILLIAM TELL OVERTUREDISC THREE – DVD (NTSC – REGION 0)1.    FOUR HOLES IN THE GROUNDTHE OLD GREY WHISTLE TESTBROADCAST ON THE 22ND OCTOBER 19742.    CELEBRATION3.    MR. NINE ‘TILL FIVETHE OLD GREY WHISTLE TESTBROADCAST ON THE 23RD MAY 19754.    CHOCOLATE KINGSTHE OLD GREY WHISTLE TESTBROADCAST ON THE 13TH APRIL 1976
    $30.00
  • "It has been an eventful year or so in the world of Haken. In September 2013, the sextet released what can only be described as a masterpiece of progressive music in the form of their third album, the magnificent ‘The Mountain’. This album received almost universal critical acclaim upon its release and even led to interest from the likes of Mike Portnoy (Flying Colors, Transatlantic) and Dream Theater’s Jordan Rudess. In the case of the former, it led to an invitation to play the inaugural ‘Progressive Nation At Sea’, but thanks to both ringing endorsements, the door to the American market has opened more widely of late. And if that wasn’t enough, Haken recently received no less than three nominations in the Progressive Music Awards, quite an achievement for a band so relatively young.However, with the smooth, also comes the rough and almost immediately following the release of this ‘breakthrough’ album, bassist Tom MacLean announced his departure from Haken. An apparently amicable split, it was nevertheless a hurdle that had to be overcome at a point when the largest wave of the band’s career was about to be crested. An international audition invitation was extended and, following an extensive search, a young American by the name of Conner Green was assimilated into the Haken collective. Welcome sir!In many ways, ‘Restoration’ a three-track EP is as much a bedding-in of their new colleague as it is an opportunity to maintain the momentum created by ‘The Mountain’ whilst a new full-length album is brought to life. That said, to consider ‘Restoration’ a stop-gap is disingenuous in the extreme. It may only contain three tracks, but when the three tracks last well over half an hour and sound this good, who cares?The three compositions that make up this EP are very loosely based on tracks from the bands 2007/08 demo days, thoroughly re-envisioned, re-worked and re-produced in order to reflect the changing personnel and the experience gained since the demos were originally written. The result is, frankly, stunning.Whilst it took me a good many spins and many hours of effort to get fully submerged into the world of ‘The Mountain’, the music on ‘Restoration’ is much more immediate to these ears. No less complex and challenging of course, but for some reason, the music has ‘clicked’ much more quickly here.The EP opens up with ‘Darkest Light’, (Official video below) an energetic track that ably demonstrates the up-tempo and powerful side of Haken well. It’s an agile composition too that alters pace and timing signatures seemingly at will and pulls in influences from everyone from Dream Theater to Meshuggah. The latter is primarily due to the impressive combination of Ray Hearne’s powerful drumming, the chunky guitar tones courtesy of Charlie Griffiths and Richard Henshall and Green’s intricate bass work. Importantly however, the song is never derivative and contains everything you now expect from a band at the height of their powers. It’s a piece of music that oozes class but also offers that touch of playful cheekiness that has become synonymous with the Haken sound.‘Earthlings’ is a completely different proposition entirely. For my money, its closest reference point would be ‘Deathless’ from ‘Visions’ in so far as it is a much more introspective track with real atmosphere and a quiet, brooding intensity that is utterly beguiling. The melodies are much more immediate, much more pronounced and the whole thing builds beautifully and stubbornly towards a fulfilling climax that pushes all the right buttons.The undisputed star of the show however, is ‘Crystallised’. At over 19 minutes, it offers a return of the Haken ‘epic’, joining the likes of ‘Visions’ and ‘Celestial Elixir’ in an already formidable armoury. If anything, ‘Crystallised’ may be even better than the aforementioned, thereby easily taking its place among the very best that Haken has ever created.First and foremost, the sheer ambition is staggering. The composition begins unassumingly enough but quickly reveals a more grandiose underbelly thanks to some lush orchestral arrangements. From then on, the gloves well and truly come off and Haken take us on a wondrous journey full of twists and turns, light and shade, lengthy and dextrous instrumental segments and gorgeous melodies that stay with you long after the music has ended.There are echoes of those Gentle Giant influences and nods towards ‘Cockroach King’ et al in some of the a capella segments as well as hints of ‘Pareidolia’ at other times, thanks to that by now familiar delivery of vocalist Ross Jennings. Never once do the extended instrumental passages, led by the flamboyant keys of Diego Tejeida feel contrived or out of place; they are full of those classic progressive overindulgences, further reinforcing the importance of the likes of Yes, early Genesis and many others, but crucially, they fit in with the core of the composition and seamlessly segue from one to another perfectly.And then, everything comes together in what I can only describe as a stunningly epic finale, the kind where the hairs on the back of your neck stand on end and you find yourself grinning from ear to ear, enveloped in a musical utopia. The melodies are so uplifting and gorgeous that, coupled with the grandiose return of the orchestral embellishments, mere words find it hard to adequately express just how good it makes you feel.The bones of these songs may have been written many years ago in the band’s infancy. However, they have been brought back to life in the most brilliant way possible; taking everything that’s been good about the band in recent years and applying them to their early past to create something truly special. I only wish that ‘Restoration’ was six, seven or eight songs long. Mind you, if it were, I think I might have fainted from bliss before reaching the conclusion." - Man Of Much Metal blog
    $14.00
  • After spending some time battling (and winning) a life threatening disease, Andy Latimer has reactivated Camel.  The reassembled lineup consists of Andy Latimer (guitar, flute, keys), Colin Bass (bass), Guy LeBlanc (keyboards), and Denis Clement (drums).  Latimer recently took the band on a short European tour (it will be ongoing in 2014).  I'm not sure of the motivation to re-record The Snow Goose.  Perhaps it was so he had new merch to sell on the tour.  I honestly don't know but here it is.For the most part this new version is quite faithful to the original.  There are some new bits and pieces that integrate well and won't give you pause.  Of course each of the musicians add their own signature to the production.Good to see him back up and running full blast.
    $16.00
  • "NEWLY REMASTERED EDITION OF THE RARE 1978 ALBUM BY CANADIAN PROGRESSIVE ROCK BAND FM BOOKLET WITH FULLY RESTORED ARTWORK & ESSAY. Esoteric Recordings are pleased to announce the release of a remastered edition of the 1978 mini-album by the Canadian Progressive Rock group FM, Direct to Disc . The band began life in 1976 with CAMERON HAWKINS (Synthesisers, Bass, Vocals) and NASH THE SLASH (Jeff Plewman) (Electric Violin, Mandolin, Vocals) coming together as a duo, making an appearance on national TV in Canada in the Summer of 1976. By March 1977 FM became a trio with the addition of MARTIN DELLAR on Drums. The Canadian Broadcasting Company offered to release the band s debut album, Black Noise on the CBC label later that year. By the end of the year Nash the Slash had been replaced by BEN MINK on Electric Violin and Mandolin in time for the sessions for Direct to Disc , an album that featured one track per side and was recorded directly to a master disc from which records were pressed, rather than from a master tape. This mid-priced Esoteric Recordings release is the first time Direct to Disc has been issued in Europe and has been newly remastered and includes an illustrated booklet and a new essay."
    $14.00
  • ""RUSH: CLOCKWORK ANGELS TOUR" was filmed and recorded last November at the American Airlines Arena in Dallas, Texas, during Rush's highly successful Clockwork Angels Tour. The eleven month-marathon world tour crossed North America twice and ventured overseas to Europe in support of the band's acclaimed 2012 studio release "CLOCKWORK ANGELS."In capturing the tour's electrifying three hour set, "RUSH: CLOCKWORK ANGELS TOUR" pairs Rush classics ("Tom Sawyer," "The Spirit Of Radio," "2112"), with a nod to the 80's Rush era (The Analog Kid," "Territories," "Subdivisions") alongside newly reworked arrangements specifically for the tour featuring the Clockwork Angels String Ensemble ("Headlong Flight," "YYZ," "Red Sector A"). The string section marks the first time the trio has brought additional musicians on the road with them. To showcase their latest studio release, the epic set list also features nine tracks off "CLOCKWORK ANGELS." Other highlights include tracks rarely performed and never before recorded live ("The Body Electric," "Middletown Dreams"), in addition to three separate drum solos by the incomparable Neil Peart."
    $22.00
  • This is the gatefold sleeve vinyl edition released on the Kommun2 label...which happens to be run by Agusa's own Tobias Petterson.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.
    $27.00
  • Second album from this British project conceived by multi-instrumentalist Kevin Lawry.  He handles vocals, guitar, bass, and keys while Darin McCloskey in the drummer.  Lawry brought in Brian Anthony to handle all Mellotron parts.  The best way to describe this band would be "doom prog".  It has a clear 70s vibe - perhaps a bit like Atomic Rooster - but a band like Cathedral (the British one) come to mind.  There is a dark element present here.  The quieter, Mellotron-laden, parts could have easily been lifted off of Camel's Mirage album.  The songs tend to settle into a groove with loooong spacey parts ever present with outbursts of Iommi riffing cropping up at just the right time.  Great stuff.
    $24.00
  • "Oh Wow!. That was my reaction and remains my reaction to this album every time I spool it up and listen to it. What surprises me here on PA is that the ratings for the Pendragon albums are as low as they are - 3.85 isn't low by any means however I would have expected to see average ratings in excess of 4 for many of the band's albums. For sheer musical beauty there is very little that equals these musicians in full flight. The lovers of two of the very favourite bands here being Genesis (up to Duke) and Marillion (Fish era) should be over the moon with Pendragon as this group of musicians encompass the feelings and musical emotions of those two iconic bands brilliantly. The melodies soar and the musicianship is top drawer. Nick Barrett's voice takes some getting used to at first but it by no means spoils the music and you do get used to it pretty quickly to the extent that you wouldn't want to hear anyone else on vocals with the band.This album soars with melodic brilliance and with emotion and all of the instruments go towards making up the sound - the highlights being Barrett's lead guitar and Nolan's keyboards which are backed by the brilliant drumming of Fudge Smith and the more than adequate bass of Peter Gee. I can't single out a single track which is out of place or doesn't belong - they are all huge. To discuss this album on a track by track basis would be futile and it is enough to say that the album is a full on adventure in melody - and how it is!" - ProgArchives
    $29.00
  • In Hoc Signo is the blowtorch debut from this Italian band playing in the "Rock Progressivo Italiano" style.  Its a young band based out of Rome.  Their goal was to use vintage sounds and replicate the sounds of the 70s and they do it in spades.  Mellotron M400, Hammond B3 Organ, Mini Moog Voyager, Electric Piano, Elka Synthex - all the good keyboard stuff that will send chills down your spine.  Killer lead licks on violin and guitar fight for space with the keys.  I'm reminded of Quella Vecchia Locanda, PFM, King Crimson and Le Orme!  If this isn't enough the band added a couple of guests: Anglagard's Mattias Olsson plays on a track and helped with arrangements.  The legendary David Jackson plays sax and flute.  This one kills and it kills and it doesn't stop killing.  BUY OR DIE!
    $16.00
  • "2013 five disc (three CDs + two DVDs) digipak. It takes a legend to bring a myth back to life. A unique treat for music fans worldwide, Steve Hackett's critically acclaimed live production 'Genesis Revisited' has so far triumphed in Europe, Japan and North America alike and is still going strong; on May 10th it celebrated its success at a sold out London's Hammersmith Apollo with an ecstatic audience. Genesis Revisited - Live at Hammersmith - a unique performance with guests including Nik Kershaw, John Wetton, Jakko Jakszyk, Steve Rothery and Amanda Lehmann. The pioneering guitarist comments: "The 5.1 DVD with stereo CD is a feast for all the senses. I was blown away by the fantastic response to those May UK gigs!""
    $22.00