Earn 1 Loyalty Point With Every $1 Spent!

Page not found

The requested page "/cd/days-grays-2cd-digibook" could not be found.
Laser Pic

customers also bought

SEE ALL
  • I can't remember a buzz on a band's debut since Circus Maximus.  Perhaps due to the album being released in Japan a year ago and its unavailability elsewhere, maybe because they are lined up to play ProgPowerUSA.  Whatever the reason the album finally gets a wide debut and it was worth the wait.  Damnation Angels is a British symphonic metal band fronted by a Norwegian singer.  He goes by the name PelleK and was a contestant on Norway's version of X Factor.  The band's stock in trade is epic sounding metal that pays a huge debt to Kamelot.  The instrumental passages take on the grandeur and scope of Nightwish.  PelleK does a sold job out front - he's obviously listened to a Khan quite a bit.  Highly recommended.
    $14.00
  • Phase - Midnight Madness is the third release in our limited edition Modulus series.  Pressed in an edition of 500 copies, it comes housed in a old school style tip-on mini-LP jacket.  A 12 page booklet features detailed liner notes from the members of the band.Phase was a New Jersey based quartet formed in 1978.  It featured Regan Ryzuk (piano, Moog, Celeste), Dave Anderson (electric and Anscor stereo guitar), Carl Scariati (Carl Thompson electric bass), and John Hvasta (drums/tympanis).  All members were young but highly accomplished musicians with a serious interest in jazz, classical composition, and progressive rock.  Their high energy instrumental music clearly demonstrated these influences.  The music of Phase can easily be classified as fusion but there are strong undercurrents of progressive rock that weaves its way through the album - not just in terms of the instrumentation or playing, but the compositions as well.The band signed a deal with QCA/Red Mark Records in Cincinnati.  The band left New Jersey and heading out to Ohio to record Midnight Madness.  The album was recorded and mixed very quickly.  It saw a release in 1979 and unfortunately sank without much of a trace.  Keyboardist Regan Ryzuk reissued the album two years label, rebranding and repackaging the release under the Fusion Quartet moniker.Hearing this music for the first time was quite a revelation.  I was blown away to say the least.  When I'm asked to describe the music I typically reply "Return To Forever meets Emerson Lake & Palmer".  Not only did this quartet have chops from hell but the compositions were challenging as well.  If you are a fan of RTF, Mahavishnu Orchestra or the prog giants ELP, Yes, Zappa, and PFM you will find much to enjoy here.Please keep in mind that when this edition sells out it will be gone forever.   
    $27.00
  • "Progressive rock and boy-band pop seem like natural enemies at first. The former's fascination with ornate, elongated passages of finger-exhausting musicianship is in almost every way the opposite of the latter's emphasis on catchiness first; it's hard to imagine turn-of-the-millennium hits like "Bye Bye Bye" with extended guitar and keyboard solos. Yet ever since A Doorway to Summer, their 2005 debut, Moon Safari has put to rest the notion that progressive-minded songwriters can't make pop that's as hook-driven as it is ostentatious. Grandiloquent epics like "Other Half of the Sky," from the 2008 double album Blomljud, weave together widescreen arrangements with the band's signature five-part vocal harmony, a feature unmatched by few groups in any genre, anywhere. It's easy to isolate the audience with solipsistic soloing and obtuse orchestrations, but from day one Moon Safari has made prog that—assuming the layperson were more amenable to songs that run upwards of thirty minutes—could lead them to something like a pop crossover hit.But while the union of hook-heavy vocal interplay and '70's prog stylistics gives Moon Safari an unmistakable, unique sound, it also handicapped them in a significant way for their first two LPs. The group's accessibility on A Doorway to Summer and Blomljud, along with its technical prowess, is unassailable, but the high-fructose sweetness of its style leads to a diabetic rush when stretched out onto songs that span ten to thirty minutes. For example, "Other Half of the Sky," the titanic thirty minute showstopper off of Blomljud, has so many memorable hooks that by the time it's run its time out, it's hard to remember all of them. The classic problem of "too many voices leads to a noisy room" was the defining problem of Moon Safari's otherwise enjoyable sound for some time. All that changed, however, in 2010 with the release of Lover's End.It is no exaggeration—even as the decade remains young—to say that Lover's End is one of the finest progressive rock records of the '00's. Hell, it's not even crazy to say that it's one of the finest pop albums of the '00s; anyone, even those turned off by prog's eccentricities, can find something to love on this mellifluous collection of songs. From the a cappella charm of "Southern Belle" to the hook-loaded "New York City Summergirl," Lover's End is chock full of goodness from beginning to end. What explains its genius is that in contrast to A Doorway to Summer and Blomljud, the songs are given exactly the amount of space they need, and not a second more. Some songwriters may feel hamstrung by the verse/chorus structure, but it's a perfect fit for Moon Safari's joyous approach to music.With their newest studio outing, Himlabacken, Vol. 1, Moon Safari continue the refining of their sound, and while this isn't the breakthrough that Lover's End was, it nonetheless attests to the brilliance of this group. Whereas the latter was bound by a loose concept (love and heartbreak), Himlabacken Vol. 1 is less a lyrics album than its predecessor. The cost of this is that the music is less distinct in its cohesiveness, but there are no shortage of catchy passages and amped-up solos. "Mega Moon" comes off as a tribute to musical theatre, with "The Very Model of A Modern Major General" vocal delivery interweaving with Queen-esque bombast to an impressive effect. "Too Young to Say Goodbye" sees and matches the polyharmonic beauty of "Lover's End (Part One)." By sticking to concise song formats—the longest cut here runs nine and a half minutes—Moon Safari ensures that things never run out of steam, an essential quality to any good progressive rock band.If nothing else, Himlabacken, Vol. 1 proves that there's one thing Moon Safari can't be accused of: being unaware of themselves. Grand finale "Sugar Band" is as much a statement of identity as it is a slice of epic pop: "Sweet and saccharine are we," they declare, followed by "syrup's the blood in our veins." (Less successful is the clumsy Katy Perry innuendo of, "suck our big candy canes," which is thematically consistent but tonally off.) Both "Sugar Band" and "Little Man," one of the few Moon Safari songs to feature a solo vocal, are emblematic of the mushiness that might turn some prog fans away from their music. The latter, while obviously a touching document of a father's love for his son, does feel a bit out of place in how deeply personal it is; part of the strength of this group's sonic is the universality of its pop appeal, and the intimacy behind "My Little Man" makes listening to it an almost voyeuristic experience. "Mega Moon" and "Sugar Band" are better at capturing the convivial spirit of the band that's accessible to all.As with past outings, even those drawn to vocal harmonies might find it hard to stomach all of the sweetness of Himlabacken, Vol. 1. But what ultimately makes this LP successful is its unpretentious commitment to fun. Moon Safari are a rare collective that prove daunting musical chops aren't anathema to accessibility, and with Himlabacken, Vol. 1 they've made a recording that, while not the magnum opus that Lover's End was, is as true a capturing of their ethos as there could ever be. Sating a sweet tooth brings to mind the phrase "guilty pleasure," but there's no guilt involved with music as first-class as this. Who knew being in a boy band could sound so classy? " - Sea Of Tranquility
    $14.00
  • Previously only available as limited self-released fanclub/tour-edition, “Lost’n’Found - Live in Tilburg” re-visits an outstanding performance at one of the biggest shows during RIVERSIDE’s European tour in 2015 for their acclaimed “Love, Fear and the Time Machine” album and also documents the group’s last tour with original guitarist and founding member Piotr Grudzinski († 2016, R.I.P.).“Lost’n’Found - Live in Tilburg” is now made available widely as limited Mediabook 2CD+DVD (The concert is coming on DVD for the first time ever!), as Gatefold 3LP on 180g. vinyl with the full concert on two CD’s as bonus and as Digital Album.RIVERSIDE’s Mariusz Duda checked in with the following comment:“We're really pleased to tell you that our live release “Lost’n’Found - Live in Tilburg” with a concert from the "Love, Fear and the Time Machine Tour 2015" recorded at the fantastic 013 venue in Tilburg, The Netherlands, will be officially released later this year via InsideOutMusic.The tour promoting "Love, Fear and the Time Machine" was groundbreaking, exceptional, and, as it turned out later, also the last one with Piotr Grudziński. We played, among others, a special version of "The Same River" and a 20-minute version of "Escalator Shrine".The reissue of this recording we had previously sold exclusively during our shows in very limited edition, is enhanced by artwork from Travis Smith, extended booklet layouts and...a DVD with the concert, for the first time.”
    $21.00
  • "So I’m writing a review of the new album by Magic Pie, and I figure I should be clever.  The Pie is tasty, a confection, a dessert par excellence, a bit tart and sweet, etc., etc.  And that doesn’t even address the “magic” part. And it all sounds stupid.  Like I’m trying to be clever. And failing.So let’s drop the a la mode and whipped cream (crud, there I go again) and just get to it.  Magic Pie’sFragments of the 5th Element is outstanding.  It’s a great listen with Prog singles and an epic. It showcases outstanding musicianship.  There are hooks galore.  It is not a concept album, and yet there is something of a lyrical theme. This is one of my favorite releases of 2019.Things kick off with “The Man Who Had It All,” which introduces a character out of John Steinbeck called Jeremiah.  He’s a wino who has just died, a guy who loved life and wants his compatriots to carry on without him.  There are no regrets for living in the seamy side of society—just a guy who had fun and had a smile on his face when he passed.  Musically, Magic Pie sends Jeremiah off with a fanfare that segues into vocals/piano/bass—and then moves into a dissonant section followed by a Prog waltz.  And that’s in the first two minutes of the song (a music hall segment is yet to come).  And there are hooks in every part!  “The Man Who Had It All” is a song that has it all.“P & C” (pleasure and consequences) follows.  And somewhat surprisingly, at least in terms of Prog, it’s another song about drinking and partying.  But this time, the guy isn’t going to die, drunk, with a smile on his lips.  Yes, there are ramifications…Thirteen Tequilas, joined with a bottle of red.No doubt! Best rush I’d ever had.Woke up next morning, – managed to crawl out of bed.Bulldozers truckin’ throu’ my head. So….I made a clear decision.Behold! A man with a missionto build a wall-defencive,between pleasure and consequences.Singer/lyricist Eirikur Hauksson sings as if he knows that scene—he does—and is determined to turn things around.  Coming to that decision isn’t easy, of course, and guitarist/band leader Kim Stenbergemphasizes that with some outstanding soloing.  Keyboardist Erling Henanger is given two breaks, one a jazzy improv that explores another Prog genre, the other a quiet synthesizer part that shows the protagonist’s soul finding peace before the final resolution to do better. Did I mention that the first two songs are each about 5:35?  Succinct, varied, interesting, compelling.  That’s the way to kick off an album.“Table for Two” is a love song (not for booze)—although not in ballad form. There’s a recurring fanfare that is broken up by a dreamy chorus section.  This is the love a husband has for a wife after years of being together, remembering back to how it was early on.  He sets up a candlelit table in the attic, reminiscent of those cafes of long ago.  They don’t have much except for each other—and that’s more than enough.Stenberg’s guitar turns bluesy on “Touched By An Angel.”  This, too, is a remembrance of love—but of love lost, the pain and yearning of a man who was once in the heavens and whose life is now hell.  He wants her back, in the worst way.  The initial, quiet blues swells to an emotional roar in the chorus.  This one really showcases the talents of singer Hauksson.  In those quieter moments, he explores the lower part of his range and sounds remarkably like a crooning David Bowie.  And with Stenberg providing a guitar counterpoint, this one packs a punch.Then comes the 23-minute Prog epic to wrap things up…But first, a word about Magic Pie, for there’s an interesting dynamic at play with in this Norwegian band (well, Hauksson is originally from Iceland).  Kim Stenberg is more than just the lead guitarist.  He writes, arranges and produces the music; he pretty much has final say on everything.  He is a self-described introvert who wears hats and sunglasses to ward off the world and provide a persona of mystery.  He’s happy letting Hauksson, with his long hair and rock star moves, be the front man of Magic Pie. Until Hauksson came on board a dozen years ago, Stenberg also was the lyricist.  But Eirikur needed to feel the words and message, so Kim gave up those duties.  That keeps Magic Pie from becoming a Prog Roger Daltrey–Pete Townsend-The Who situation, where the singer is basically the doppelganger mouthpiece for the guitarist/composer.And in the case of  Fragments of the 5th Element, Eirikur Hauksson’s words and performances are among the most intimate and personal of his time with The Pie.  These vignettes are part of his story, and he’s going to tell them—no matter how much pain he has to relive.Which brings us to “The Hedonist,” the Prog epic that closes the album.  The title says it all—the protagonist wants to live a life of pleasure.  Sure, he knows there is a lot of pain and sadness in the world but there’s little he can do to change things.  Except…it sounds like the guy is trying to convince himself of that.  Being a hedonist can be fun for only so long, especially when reality keeps slapping you in the face.Are you still here? I’m ready, help me riseout of the abyss, into your Paradise.Guide my journey safely to your shore.This wayward traveler wants to pay his score…Please, leave an open door.There is plenty of religious language in this one without any overt mentions of God or salvation. Yet there is the feeling that “the hedonist” is somewhat secretly seeking redemption, renewal.  And there’s more.  When I first listened to this one, before I read the lyrics, when I focused on melody and chord progressions and arrangements, looking for impressions and comparisons, I was struck by similarities with Neal Morse.  Yeah, for those of you who know me, I’m a Morse super-fan.  But I’m serious!  There are moments “The Hedonist” could come from Similitude of a Dream or The Great Adventure.  Toss in the lyrics…And as one should have with Prog epics, there are time and key changes galore.  Intricate vocal harmonies.  Some strings and a flute.  Recurring musical themes. But this is still Magic Pie.  Hauksson is his own singer.  Stenberg is an incredible guitarist who deserves a lot more attention than he’s getting.  And “The Hedonist” is a great song, with so many parts that just grab you and won’t let go.  You will be hooked by the hooks.  And it is a showcase for these guys and the other members of The Pie.I’ve already mentioned Erling Henanger, the keyboardist and backing vocalist.  He can go from classical riffs to jazzy breaks to fiery Prog progressions.  His sound is key to Magic Pie. Bassist Lars Petter Holstadand drummer Jan T. Johannessen are a somewhat unobtrusive rhythm section, but they are very strong and vital to keeping the whole thing together and moving forward.  I guess you could say they are the crust to The Pie (sorry, I know, I promised not to go there).  And rhythm-acoustic guitarist and singer Eirik Hanssen is a key component to the fullness of the sound—and his voice works very well with that of Hauksson. And to cap things off, the mix is done by the legendary Rich Mouser.  The sound/production are outstanding.I admit, I’m a relative newcomer to Magic Pie; a friend introduced me to them a couple of years ago with King for a Day.  I really liked that one and proceeded to work back through their catalogue. But Fragments of the 5th Element is, by far, this band’s best. It is delicious and scrumptious.  It will have you wanting another piece of The Pie.  Yep, that’s contrived cleverness.  But Magic Pie is anything but.  Order some and thank me later." - Sonic Perspectives
    $9.00
  • After a 10 year absence Enchant are back.  The band started in 1993 making them one of the earliest prog metal band.  Actually they are sort of an interesting band in that they seem to exist in both the prog rock and prog metal realms.  Some metal fans think of them as a bit lightweight and some prog rock fans think they are too heavy!  One thing is for sure they are wildly successful.  This is definitely prog but it never loses sight of the melody.  Fronted by the great Ted Leonard (who is now doing double duty with Spock's Beard) this one is a no-brainer - whether you are metal or prog head.  "irst impressions are the similarities to Spock’s Beard. Hardly surprising since Ted Leonard has been singing with them since 2011. He’s been with Enchant longer; their first CD came out in 1993. And familiarity doesn’t breed contempt here, fortunately.Bay area progressive rockers, they steer a straight course composing guitar-structured songs that they extemporise over. Guitarist Douglas A Ott is also the band’s main producer, with The Great Divide having been recorded at his own studio, but if in the past the band’s followed his direction they’re now more involved after a ten year gap working on other projects. Also, while integral, Ott doesn’t dominate Enchant’s sound but flows in and out adding a hard rock bias to their generic musical flavouring. Drummer/percussionist Sean Flanegan and bassist Ed Platt have the solidity of early Kansas and musically there are some pretty snazzy and often too brief keyboard solos from Bill Jenkins.A rolling cyclical bass line forms the basis of opening number ‘Circles’ with Leonard pondering life going round well, like a circle – while the lyrics aren’t profound they feel right and though this isn’t a concept album, despite the band stating otherwise, there are common themes concerning the human condition in a loosely existential manner. Mainly straight verse and choruses ‘Circles’ breaks out into more complicated time signatures before an acoustic comes to the fore, vocals return, an electric guitar take over and it concludes with a nicely warm keyboard solo. ‘Within An Inch’ follows with a steady rock backbeat over which Ott’s playing echoes Camel’s Andy Latimer interrupted briefly by some John Ellis punk-styled sirening. ‘The Great Divide’ follows suit in a more epic manner, the arrangement akin to Genesis in their golden period.Enchant don’t play with the fairies, despite what their name suggests. If anything they’re two steps removed from an AOR sound leaning in towards early Asia with some latter day Beatles thrown in, and a less grandiose take on Spock’s Beard. One might refer to them as technically proficient rather than emotionally overwrought, meaning there is a heartfelt flavour to their songs, and they tend to grow on you.The subdued opening to ‘Life In A Shadow’ throws a brief curveball echoing the Canterbury sound of Hatfield & The North before a heavy chorded chorus takes this into a rocking tune with soulful harmonies. ‘Deserve To Feel’ pours on the technical drumming and dribbling triplet bass figures with some flashy pyrotechnics predominantly on guitar but with keen keyboard flourishes, moving into a more intricate musical score as Jenkins and Ott trade inspired lines towards its conclusion. Likewise, ‘Here And Now’ builds reflectively moving towards emotional drama.Finely composed, played well, Enchant’s The Great Divide might not have you falling under its spell, but you may well be surprised how you find yourself being drawn to playing it." - The Midland Rocks
    $13.00
  • In a time where progressive music is rising and there are so many options available to new listeners, it takes serious guts and personality to turn heads anymore. Norway’s Leprous has done just that in recent years, and it has been such a joy to watch them emerge into the limelight of awareness within the progressive community. It is no wonder, however, as Leprous continues to mature and to cling ever closer to their hearts when crafting new music.Leprous is a visionary band that defies genre labelling, not just in the style, but also in their attitude. After releasing “Tall Poppy Syndrome” (2009), “Bilateral” (2011) and “Coal” (2013); these artists released their monster album “The Congregation” (2015) that spurred high acclaim and an enormous world tour. Leprous, however, is not a band that takes success resting on their hind quarters, as they believe in pushing boundaries, learning from their mistakes, and following their instincts. They are prepared to release their new album “Malina” this summer, and it is set to offer a left hook to the progressive world.Of all things, Leprous is not a band that can be caged into any single genre. They aren’t interested in any of that. What they do believe in, however, is pursuing their artistic passions and following wherever their hearts may lead. They have been celebrated for years for their evocative mix of polyrhythmic grooves, melancholy atmospheres, melodic vocals, and biting lyrics; but their new album represents a pure stream of consciousness in the changes they have made to their sound. It’s in this imaginative style of composition that the band finds “a lot of the beauty about composing and creating: There’s always movement.”The band, however, found their instincts leading them away from simply polishing the melancholy progressive metal of “The Congregation”. They followed their conviction about creating music that feels right in the moment, which they consider to be the core of all true musical expression. In the process, Leprous has become a band that is “more accurately defined as a rock band than a metal band”, though even that label is unsatisfactory and binding to them. This is music that expresses their souls, embodies their passion, and confirms their genius.  They believe in making quality music that speaks to who they are right here and right now.About these changes, the band had this to say, "This album is the perfect example on how you can start with avision and ending up with a result that has nothing to do with the original idea. The writing of the album started out with the idea to perfect the sound and working method we began with on "The Congregation". While the writing process was actually pretty similar (30 sketches, elimination process etc etc) we gradually started noticing stuff with the sound and the songwriting on the previous album that we wanted to sound different. Gradually we realised what needed to be done. This album needs to sound more alive, more organic and more dynamic. The longer into the process the more obsessed we got with this idea”.“Malina” is set to be a change in direction in more ways than one. Right away, you can see that the cover art is more colorful and more mysterious than they’ve ever had in the past. The album itself has been nothing short of a labor of love. The album took 4 times as many days in the studio to record as past albums, as the band was certain that the sound they wanted would be found in the recording studio, and not in a digital mask that would be applied during the mixing stage.With this concept in mind, David Castillo of Ghostward Studios was brought in to produce and record the album to meet the band’s demands for a specific sound and the then went with Jens Bogren again to mix the album.  The band was however adamant about what this album needed to be, “We wanted it to sound like it sounded.  We did not want to "digitalise" the sound.”The members of Leprous have poured their blood, sweat, and tears into the process of creating “Malina”. They’ve challenged themselves to mature and grow in ways they themselves did not expect. It’s because of these amazing qualities that the band is set to conquer the music scene once again in 2017. Combining a new album with a fresh sound with their upcoming, biggest headline tour yet Leprous is ready to bring their passion and badass energy to fans and new audiences worldwide this year.
    $14.00
  • The new Tiles album is a 2CD set in a digipak with a 28 page book.Please note that we will cut off pre-orders for this package on March 31st.  Please do not combine any other items with this bundle - they will be removed form your order.After an eight year absence, T I L E S returns with a vengeance by delivering the mesmerizing 2-CD magnum opus “Pretending to Run.”  Clocking in at over 96-minutes, “Pretending to Run” is an ambitious and richly crafted song cycle spinning the tale of a man blindsided and disillusioned by betrayal.Once again, T I L E S teamed up with producer Terry Brown – and with mastering by Grammy award winning engineer Peter Moore, “Pretending to Run” boasts a powerful and detailed sonic landscape.  Complementing the dramatic and multi-layered storyline is Hugh Syme’s striking and surreal imagery.  Featuring a lush 28-page full-color booklet, the design and packaging for “Pretending to Run” is an elaborate and stunning work of art.Lending their talents to “Pretending to Run” is an extraordinary collection of special guest musicians: Ian Anderson (Jethro Tull), Mike Portnoy (Dream Theater, Winery Dogs), Adam Holzman (Steven Wilson Band), Mike Stern (Miles Davis), Kim Mitchell (Max Webster), Colin Edwin (Porcupine Tree), Kevin Chown (Tarja Turunen, Chad Smith), Max Portnoy (Next to None), Matthew Parmenter (Discipline), Mark Mikel (Pillbugs), Joe Deninzon, and other notable guests from the Detroit area… Destined to be on the radar of Prog fans everywhere, “Pretending to Run” is a distinctive  presentation framed in the grand traditions of progressive rock.  Clearly and unmistakably T I L E S, but infused with a more expansive sound as the guest artists propel the band into new directions sure to please fans old and new.Special guest performances by:Ian Anderson (Jethro Tull)Mike Portnoy (Dream Theater, Winery Dogs)Adam Holzman (Miles Davis, Steven Wilson)Mike Stern (Miles Davis)Kim Mitchell (Max Webster)Colin Edwin (Porcupine Tree)Kevin Chown (Tarja Turunen, Chad Smith)Max Portnoy (Next To None)Matthew Parmenter (Discipline)Mark Mikel (Pillbugs)Joe Deninzon (Stratospheerius)  
    $15.00
  • “Eras - Vinyl Collection Part IV” is the final Devin Townsend vinyl box sets. The box contains the albums; The box contains the albums: “Ziltoid The Omniscient” (Gatefold 2LP + etching on side 4) “Z² - Dark Matters” (Gatefold 2LP) “Ziltoid Live At The Royal Albert Hall” (Gatefold 2LP + etching on side 4) “The Retinal Circus” (Gatefold 3LP) All on 180 gram vinyl plus LP booklet with liner notes and comments by Devin Townsend, all wrapped up in a sturdy 2-piece box set, worldwide limited to only 2000 copies “Ziltoid Live At The Royal Albert Hall” and “The Retinal Circus” have so far never been released on vinyl before.Ziltoid The OmniscientSide AZTO By Your Command Ziltoidia Attaxx!!!2 Solar Winds Side BHyperdrive N9 Planet Smasher Omnisdimensional Creator Color Your World Side CThe Greys Tall Latte Don't Know Why Travelling Salesman Another Road Side DEtchingZ² - Dark MattersSide AZ² From Sleep Awake Ziltoidian Empire Side BWar Princess Deathray Side CMarch Of The Poozers Wandering Eye Earth Side DZiltoid Goes Home Through The Wormhole Dimension Z Ziltoid Live At The Royal Albert HallSide AZ² From Sleep Awake - Live Ziltoidian Empire - Live War Princess - Live Side BDeathray - Live March of the Poozers - Live Wandering Eye - Live Earth - Live Side CZiltoid Goes Home - Live Through The Wormhole - Live Dimension Z - Live Side DEtchingThe Retinal CircusSide AEffervescent!/True North - Live at The Roundhouse, October 27th 2012 Lucky Animals - Live at The Roundhouse, October 27th 2012 Planet of the Apes - Live at The Roundhouse, October 27th 20122 Side BTruth - Live at The Roundhouse, October 27th 2012 War - Live at The Roundhouse, October 27th 2012 Soul Driven - Live at The Roundhouse, October 27th 2012 Planet Smasher - Live at The Roundhouse, October 27th 2012 Baby Song - Live at The Roundhouse, October 27th 2012 Side CVampolka - Live at The Roundhouse, October 27th 2012 Vampira - Live at The Roundhouse, October 27th 2012 Addicted! - Live at The Roundhouse, October 27th 2012 Colour Your World - Live at The Roundhouse, October 27th 2012 The Greys - Live at The Roundhouse, October 27th 2012 Side DHyperdrive - Live at The Roundhouse, October 27th 2012 Ih-Ah! - Live at The Roundhouse, October 27th 2012 Where We Belong - Live at The Roundhouse, October 27th 2012 Detox - Live at The Roundhouse, October 27th 2012 Side EBend it Like Bender! - Live at The Roundhouse, October 27th 2012 Life - Live at The Roundhouse, October 27th 2012 Kingdom - Live at The Roundhouse, October 27th 2012 Juular - Live at The Roundhouse, October 27th 2012 Side FLove? - Live at The Roundhouse, October 27th 2012 Colonial Boy - Live at The Roundhouse, October 27th 2012 Grace - Live at The Roundhouse, October 27th 2012 Little Pig - Live at The Roundhouse, October 27th 2012  
    $138.00
  • NOTE: THE MEDIABOOK CONTAINS TWO BONUS TRACKS"Norway’s inventive Rock mavericks LEPROUS return with their seventh studio album, “Aphelion”. Although unmistakably the work of the same band that made “Pitfalls” in 2019, “Aphelion” immediately stands out as a radical statement: Veering from some of the most intense material of their career to some of the most delicate music in the LEPROUS career, “Aphelion” is an album of beautifully crafted and meticulously arranged mini-masterworks. Recorded at three different studios (Ghost Ward / Sweden, Ocean Sound Recordings / Norway and and Cederberg Studios / Norway), mixed by Adam Noble (Placebo, Biffy Clyro, Nothing But Thieves) and mastered by Robin Schmidt (The 1975, Placebo, The Gaslight Anthem, etc.), "
    $8.00
  • Limited Deluxe Collector's Box Set:Artbook180g 2 LP Gatefold Vinyl w/ Exclusive Artwork and Exclusive LP Color (White)Exclusive picture disc 7"60 cm x 60 cm poster10 art cardsSlipmatPatchPinHand-numbered certificate of authenticityTwo-time Grammy-nominated and millions-selling progressive music titans Dream Theater announce the forthcoming worldwide release of their 14th studio album, ‘Distance Over Time’ on 22nd February 2019. ‘Distance Over Time’ showcases a newfound creativity for Dream Theater while maintaining the elements that have garnered them devoted fans around the globe. The album also marks the first for the band’s new label InsideOutMusic / Sony Music. The artwork was created by long-time cover collaborator Hugh Syme (Rush, Iron Maiden, Stone Sour). ‘Distance Over Time’ was produced by John Petrucci, mixed by Ben Grosse and mastered by Tom Baker.“When I listen back to the album, I can distinctly recall every moment of the writing process; where I was standing in the room, what inspired us in that instant and the meaning behind each song. As a producer, my goal was to try and create the best-sounding Dream Theater record we’ve ever made so that listeners can just be enveloped in the music. I really wanted this recording to truly reflect the spirit, joy and passion that went into making the album and for people to walk away feeling some of the organic nature, personality and raw energy that the band captured while together in the studio. For me, I think it accomplishes that and I hope that other people will feel the same way,” explains John Petrucci.In June 2018, Dream Theater secluded themselves in a private location in upstate New York to begin writing for the new record. While spending the summer living together in the property's adjacent residence, the band spent their days and nights crafting the music that would make up the new album in the ‘Yonderbarn’; a beautiful and spacious barn that had been meticulously transformed into a state-of-the art film and recording studio. Following an intense & extremely productive period of group writing sessions and wanting to retain the magic that was captured in this scenic and inspiring location, they decided to record the album in the very room they had all convened to write together in. Living together during the writing and recording for ‘Distance Over Time’ marked another first for the band’s 33-year career. The result is a heavier collection of songs that showcases the early roots of the band while exploring new territory as musicians and as friends.“It was like going back to summer camp,” adds James LaBrie. “Being around each other the whole time made it that much more of a profound experience. I think the songs reflect the energy. It was a lot of fun to have a situation so powerful at this point in our career.”It has been 3 years since Dream Theater released new music. To announce the details of the brand new album, Dream Theater enlisted the help of one lucky contest winner to break the news of the record to the loyal fans of the band. An Alternate Reality Game was launched that encompassed a “treasure hunt” whereby fans were able to search for clues hidden in various photos, videos, social media posts, and more. Ultimately, one lucky winner was given access to content before everyone else including the release date and cover artwork, and the winner would be the one to share the first taste of never before heard music. Dream Theater is also planning to hit the road in support of the new album. The ‘Distance Over Time’ Tour of North America was recently announced and kicks off on March 20, 2019 in San Diego, CA. The tour will run for seven weeks before wrapping up in Mexico City on May 4, 2019.Progressive metal pioneers Dream Theater — James LaBrie (Vocals), John Petrucci (Guitars), Jordan Rudess (Keyboards), John Myung (Bass), and Mike Mangini (Drums) — share a unique bond with one of the most passionate fan bases around the globe as evidenced by their two GRAMMY® Award nominations and 15 million records sold worldwide. The 1992 opus Images & Words received a gold certification and landed on Rolling Stone’s coveted “100 Greatest Metal Albums of All-Time.” Guitar World placed the follow-up Awake at #1 on “Superunknown: 50 Iconic Albums That Defined 1994.” 1996’s A Change of Seasons notably soundtracked NBC’s coverage of Downhill Skiing at the 2002 Winter Olympics. Fans voted the 1999 Metropolis Pt. 2: Scenes from a Memory the “Number One All-Time Progressive Rock Album” in a 2012 Rolling Stone poll. Not to mention, it ranked as the “15th Greatest Concept Album” by Classic Rock. 2009 saw Black Clouds & Silver Linings crash the Billboard Top 200 at #6 as A Dramatic Turn of Events [2011] and Dream Theater [2013] maintained a three-peat in the chart’s Top 10. Consequence of Sound dubbed 2016’s The Astonishing, “An absolutely unique experience.” Beyond three platinum and two gold videos, the group was inducted into the Long Island Music Hall of Fame in 2010. On its 14th full-length and first release for InsideOutMusic / Sony Music, Distance Over Time, the band recharge the brotherhood that has kept them creating music together for over 30 years. It’s Dream Theater at their most dynamic, direct, and definitive.
    $145.00
  • Prospekt are a British Progressive Metal band influenced by bands such as Dream Theater, Symphony X, Opeth and Circus Maximus, as well as film scores and fusion. Prospekt combine the fierce technicality of progressive metal with the symphonic elements of contemporary prog.From brutal riffs coupled with odd time-signatures, to majestic melodies, the principle of Prospekt’s music is to create an intelligent and atmospheric mix of melodic, modern progressive metal. Incorporating passionate higher ranged vocals, frenetic guitar work, haunting orchestration and solid grooves, every composition remains both interesting and original.The Colourless Sunrise was mixed by  Adam "Nolly" Getgood of Periphery and mastered by Jens Bogren at Fascination Street.
    $5.00
  • Ultimately, progress will not be stopped. Pain of Salvation have been firmly at the forefront of the progressive rock and metal scenes for nearly three decades now. Led by mercurial multi-instrumentalist Daniel Gildenlöw, the Swedish band have consistently demonstrated a sincere passion for moving their own extraordinary music forward, while always remaining lyrically enlightened and ferociously intelligent. As a result, the band’s return in 2020 could hardly be better timed.Since selecting the Pain of Salvation banner back in 1991, Gildenlöw’s crew have arguably been the definitive prog band of the modern era. From elaborate and pointedly metallic early classics like The Perfect Element, Part I (2000) and Remedy Lane (2002) to the obtuse wizardry of Be (2004) and the genre-blurring mischief of Scarsick (2006), Pain of Salvation’s all-encompassing musical vision has delivered some of contemporary prog’s most brave, bold and startling moments. Perennially restless, the band switched to a more retrogressive style for Road Salt One (2010) and Road Salt Two (2011), conjuring a precocious blend of ‘70s blues rock and proto-metal with Gildenlöw’s unerringly inventive instincts.Also one of modern rock’s most revered and acclaimed live acts, Pain of Salvation reached a new peak of efficacy on 2017’s In The Passing Light Of Day, an intricate but soulful concept piece that focused on notions of mortality and joy. Both a technically dazzling metal band and a freewheeling prog ensemble, Pain of Salvation have earned their formidable reputation by simply being their brilliant, creatively fearless selves.Fast forward to 2020 and the world is in a state of disarray. But music’s power to uplift and unite has never been in doubt, and the new Pain of Salvation album PANTHER is guaranteed to provide prog fans with a much-needed dose of sumptuous musical substance. Since the release of In The Passing Light Of Day, the band have deftly weathered the departure of guitarist Ragnar Zolberg, discovering a newfound enthusiasm for what happens next in the process.“We did In The Passing Light Of Day and that ended with the departure of Ragnar from the band,” Gildenlöw recalls. “In the past, 10 or 20 years ago, that would probably have made me doubt the future of the band and all of that. I went through that a lot in the past with members leaving or things not turning out in a good way! It’s always difficult and it’s always something that makes you sad, when your little band family is disrupted, but I never came to the point where I doubted where to go or what to do. The other band members were pushing us on to continue, so I just kept writing music.”The result of that sustained surge of creativity is PANTHER, the eleventh Pain of Salvation album and a very obvious landmark release in a career full of them. PANTHER is a concept piece that delves into the conflicts and contradictions between so-called normal people and those who are wired entirely differently.“I guess a lot of the songs that came out dealt with not being part of the norm of society,” Gildenlöw says. “Because we live in a time where we’re more aware of people not fitting the norm and we’re doing everything we can as a society to acknowledge all of these individuals, but at the same time, they’re more disowned than ever, more medicated than ever. The album is painting pictures of a world, I guess. If this was a movie it would be scenes from a city. It’s set in one city, and it’s populated by dogs and the panthers, the so-called normal people and the spectrum people. That’s the setting for the entire album.”As with all Pain of Salvation records, PANTHER will demand multiple listens before it reveals all of its secrets, both musical and narrative. But one things is certain: Gildenlöw’s ability to create a unique and fascinating musical and lyrical world has only grown in recent times. Both traditional and radical, PANTHER is the epitome of a modern prog concept album.With such a deep and varied catalogue, Pain of Salvation – completed by guitarist Johan Hallgren, keyboardist Daniel ‘D2’ Karlsson, bassist Gustaf Hielm and drummer Léo Margarit - have taught their fans to expect the unexpected at all times. Although instantly recognisable as music from the wild mind of Daniel Gildenlöw, PANTHER once again refines and redefines the Swedes’ sound, with echoes of the past vastly outnumbered by vivid, new textures, tones and sonic sleight-of-hand.“For this album, I started off looking for sounds. I always feel I need to move and change and find new ground for myself. Maybe it’s not intentional, but looking back I see that I chose a different starting point every time, or a different methodology, which makes everything else unfold in a different way. It’s a way of making sure that I’m not repeating myself.”Meticulously pieced together by Gildenlöw in Eskilstuna and The Cabin, and mixed together with Daniel Bergstrand (Meshuggah, In Flames, Devin Townsend) at Studio 33 in Stockholm as well as mastered by Thor Legvold / Sonovo (Tambours de Bronx, Purified in Blood, Susanne Sundfør, Gazpacho) in Los Angeles, PANTHER ended up becoming a very intense and personal labour of love for Pain of Salvation’s leader.“It’s been somewhat of a lonely process, but I was finding sounds that I felt were communicating something, and then built something around that,” says Gildenlöw. “It started off a chain of events that led to PANTHER. Just like we did with the last album, you have a song and you find a new sound that you like, and then you start pulling the other songs into that world, step by step. So there’s a lot of odd sounds and a lot of trying to think anew, particularly from my point of view. I don’t have to try to make it sound like Pain of Salvation – the sound is basically what I do when I write music.”Old school PoS fans need not panic, however. Panther still features plenty of guitars and recognisable prog rock and metal tropes: It’s just that Daniel Gildenlöw can’t help but do things differently, every time he hits the studio.Yet another groundbreaking monolith to progress, passion and the joy of music itself, and with artwork consisting of fantastic illustrations made by André Meister, PANTHER is destined to be one of 2020’s most significant releases. Sprung from the maverick mind of prog’s most ingenious contributor, it’s a triumph for artistic imagination and an exhilarating new chapter in the life of a truly great band.“I don’t think that an album can change the world in any way, but I think that every small drop in the ocean can make a difference,” Gildenlöw concludes. “Hopefully people will look around at life as it surrounds us and they’ll realise that this is something we choose. We don’t have to have things as we have them right now. Then I hope, as always when it comes to our albums, people will take time to absorb it all. Our albums work best when they have a little time to sink under the skin. Hopefully with our track record, people know what’s coming!”"
    $19.00
  • "Still masters of conveying dark, atmospheric introspect through their music, Swedish metal legends Evergrey are set to return with their eleventh studio album, ‘The Atlantic’ in early 2019. Spread thick with melody and following on thematically from its predecessors, ‘The Storm Within’ and “Hymns For The Broken”, closing out an oceanic concept trilogy, vocalist Tom S Englund and the band have indeed weathered some heavy storms to see this record come to light. And their efforts were not for nothing.Unbeknownst to some, upon its initial completion, work on ‘The Atlantic’ was stolen from the bands studio during a break in robbery. Reflected on by Englund as “the worst fucking timing ever”, the singer also confesses that had it not happened, it is likely that the current incarnation of the album would not be what it is now, which is a heightened sense of aggression and vulnerability in light of its initial misfortune. A sentiment reflected in the bands leading single, “A Silent Arc”. A multi-layered composition which takes the listener through both chaos and tranquility,  “A Silent Arc” makes for a strong handshake to new efforts from Evergrey.While it may have been an obvious single choice, it certainly wasn’t the bands only potential front-runner. ‘The Atlantic’ is riddled with worthy contenders, perhaps none more so than “Weightless”. Englund and guitarist Henrik Danhage produce what is arguably the strongest grooves on the record in the form of the tracks infectious man riff, further capitalized on by Rikard Zander’s haunting keyboard melodies and bassist Johan Niemann‘s undeniable grit and grumble. Drummer Jonas Ekdahl has a commanding presence throughout the record also, a notable example of which can be found in his complex, yet beautiful percussive tom work on “A Secret AtlantisA constant in which fans can depend on throughout each and every Evergrey record is the dynamic and emotive vocal delivery from Englund, and here we find no exception. Englund’s ability to capture the heart of a song and translate it through his voice is one of the primary reasons that he was, and very much remains, integral to Evergrey. “All I Have” graces ‘The Atlantic’ with its presence on it. Its lengthy run time and technical proficiency are a treat in themselves for those more affiliated with that side of the band, but they are simply eclipsed by its chorus. From the moment it hits you can feel it bring Englund to his knees in honesty, mortality, and offering whatever left of himself that he has to give in a performance that encapsulates his talent as a sincere and moving vocalist. A heartwarming moment made heartbreakingly good by the level of investment Danhage gives to his solos on this piece.There is no such thing as a standard Evergrey record. Despite being part of a trilogy, even their more recent works have been as rich and as layered as those that came before them, never going stale. This collection of songs closes out that trilogy, which has been a deep and emotional journey for the band, and it does so with class. ‘The Atlantic’ displays intoxicating juxtapositions in true Evergrey fashion. Fierce yet soothing, with an underlying torment that feels almost melancholic, Evergrey have, once again, gone and outdone themselves." - Metal Wani
    $15.00