I Wash My Soul In The Stream Of Infinity

Second album from the Swedish quartet of Nicklas Barker (Anekdoten), Mathias Danielsson (Makajodama), Ronny Eriksson, and Tomas Eriksson. Like their first album, I Wash My Soul In The Stream Of Infinity is pure psychedelic bliss. The songs have their roots in jam sessions. Overall there is a very German underground/krautrock feel. These long jams vary in tempo - from the buzz saw opener "Fire! Fire!" on through the blissed out Yatha Sidhra-like acoustic "Pagan Moonbeam". Lethal guitar leads augmented by dollops of Mellotron and organ are the order of the day. All served up with phat analogue sound. If its possible to get high from a round aluminum disc this is the one that will do it for you. Highly recommended to those you seek to explore the innermost nooks and crannies of their brain.

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  • A new Glass Hammer is like a universal constant.  I can always expect exemplary old school prog rock.  For an old timer like myself Glass Hammer is right in my wheelhouse.  This is their 17th studio album (amazing!) .  If you are unfamiliar with the band you should know it revolves around the core of bassist Steve Babb and keyboardist Fred Schendel.  There have been a lot of musicians through the doors of their studio over the years but somehow they always seem to find an endless supply of them.  The line up seems to be fairly stable at the moment.  Salem Hill mainman Carl Groves handles lead vocals along with Susie Bogdanowicz returning as well.  Guitars are handled by Kamran Alan Shikoh and drums by Aaron Raulston.Glass Hammer music is a reverential amalgam of Yes, ELP, Kansas and what the hell throw in a little bit of Genesis.  Steve and Fred proudly wear their influences on their sleeves.  Want wicked keyboard pyrotechnics?  Fred brings the thunder.  In fact they all do.  The Breaking Of The World arrives with epic length tracks and audiophile quality sound.  I wouldn't want it any other way.  BUY OR DIE!
    $12.00
  • "When cooking up one of your favorite old recipes, sometimes adding different spices and/or ingredients to the usual mixture will excite your taste buds, and in the end, bettering the original formula. The same can be said for music, and CRYSTAL BALL is a perfect example. As one of Europe’s hard rock mainstays for better than a decade, after the release of their 2007 album, “Secrets”, the band took a break from recording for a few years. They returned in 2013, after adding a new vocalist to the mix, with the album “Dawnbreaker”, and their musical recipe was perfected. And now in 2015, with renewed energy and passion, along with a brand new album, they are set to prove that some things only get better with time.On their 8th studio album, “LifeRider”, CRYSTAL BALL has masterfully blended in a bit more AOR presence with their usual dose of Melodic Heavy Metal and pounding Power Metal elements, creating a hybrid sound that is crafted to please the Metal masses. Consisting Scott Leach on guitar, Markus Flury on guitar, Cris Stone on bass, and Marcel Sardella on drums, and Steven Mageney on vocals, this seriously talented band is offering up, what I believe to be, their best album to date.The opening track, “Mayday”, is a true rock anthem, and with its big infectious chorus, this one will be stuck in your head for days. “Eye To Eye” (featuring the great Noora Louhimo from BATTLE BEAST) is a track that displays all of the elements that have made this band great; power metal guitar chords, massive melody, and powerful lead vocals. On the song “Hold Your Flag”, I picked up a lot of DIO influences; heavy rhythmic guitars and dark melodies, and Mageney’s vocals really shine, summoning a strong “Sacred Heart” vibe. Speaking of Ronnie Jame Dio, they’ve included two songs made a famous by the great one himself, “Sacred Heart” (DIO) and “Sign of the Southern Cross”(BLACK SABBATH), and to be honest, these classic covers gave me chills. But by far, my favorite song on this album is “Gods of Rock”. Opening with a bluesy groove riff, this is one of the heaviest Traditional Heavy Metal songs on this offering (along with “Rock of Life” and “LifeRider”) and will definitely leave you with a stiff neck after just one listen. They do show their softer side on “Bleeding”, an AOR style ballad that showcases Mageney’s lower register to perfection. Great song! There is not a weak moment anywhere to be found on this 15 song release and should, without question, solidify CRYSTAL BALL’s headliner status.“LifeRider” was one of the releases I looked forward to the most in 2015, and it did not disappoint. CRYSTAL BALL will definitely gain traction with this release and should be playing to massive crowds whenever they take the stage. Sometimes there are questions when a successful band changes faces, especially the lead singer, but with two great albums under their belt, and “LifeRider” being one of the best I’ve heard this year, the future looks brighter than ever for this amazing band. If you’re a fan of AOR, Melodic Heavy Metal, or Power Metal, this album comes highly recommended." - Metal Temple
    $16.00
  • Our good friends in Delain have signed a worldwide deal with Napalm Records.  The band is planning a new studio release for early 2014.  In the interim we have Interlude.  Its a CD/DVD collection of unreleased and non-album material.  Some of this dates back to the April Rain line up while other tracks are from the We Are The Others sessions.  The band also kindly included some live tracks from their Female Metal Voices X festival appearance.  Further, there is a (PAL Region 0 format) DVD that includes video footage from the festival, promo videos, and backstage footage.  My extremely biased opinion is that this is a must own.
    $16.00
  • Ultra-technical, futuristic instrumental jazz/metal is the order of the day, served with a side of kick-ass. Fans of Gordion Knot and Spiral Architect will rejoice, but fans of Don Caballero, Dysrhythmia, Cynic, and even Coprofago will all probably find something to sink their teeth into. -Deadtide.com “Cortical Tectonics” is the third full length release from this Georgia based instrumental tech-metal trio. The band has shown tremendous growth since their beginnings in 1999, evolving out of the death metal/mathcore scene. Dropping their vocalist along the way the band decided to emphasize intricate arrangements, creating compositions that only the most adept musicians could play. Canvas Solaris’ music resonated equally with fans of technical metal co-horts Spiral Architect and Cynic as well as bands like Don Caballero and Dillinger Escape Plan. “Cortical Tectonics” demonstrates continued growth from three musicians who are not content to retread old ideas. Now drawing inspiration from progressive Gods like King Crimson, Voivod and Mr. Bungle, they have added more textural elements, with keyboards and acoustic instruments playing a more prominent role in the music. The music now has a more expansive sound but still retaining their trademark technical elements. Tracks like the 17 minute epic “Reticular Consciousness” is an example of how the Canvas Solaris sound has evolved. It’s a composition that draws on space and quiet interludes making the transitions to hyper-technical passages all the more effective. This is the REAL progressive music!
    $13.00
  • High quality Japanese SHM-CD in a mini-LP sleeve."Sucessfully experimental album ahead of it's time.Influenced by the cutting edge musical experiments that abounded in late '70s New York Daevid radically changed direction from his previous acoustic troubadour style. Utilising the then embryonic sampling and video technology he radically cut-up, re-mixed and over dubbed the New York Gong LP 'About Time' to produce 'Playbax 80'. It resulted in this stunning and at times assaulting set, and it's still way out there."
    $14.00
  • "The amazing musicians from Uzbekistan are back with “Sodom and Gomorrah,” a concept CD that features the acclaimed original FROMUZ line-up of Vitaly Popeloff (guitars), Albert Khalmurzaev (keyboards, guitars, vocals, harmonica), Vladimir Badirov (drums), and Andrey Mara-Novik (bass), plus Evgeniy Popelov (keyboards, vocals).“Sodom & Gomorrah” was originally composed by multi-instrumentalist Albert Khalmurzaev as the soundtrack for a theatrical musical production of the same name at the Youth Theatre of Uzbekistan. Reinterpreting the Biblical tale of “Sodom and Gomorrah” as a conceptual foundation, it tells the story of our modern world, ravaged by global addictions and vice that can only be remedied through a change from within the very heart of the human condition.This concept is conveyed through the well-established passion and incendiary musicianship that has become the hallmark of FROMUZ.  This is modern progressive rock at its very finest.FROMUZ originally performed “Sodom and Gomorrah” live over the course of three years, starting in 2004, actively working with the Youth Theater in Tashkent, Uzbekistan, as well as performances at prestigious theater festivals in St. Petersburg, Russia, the International Chekhov Festival (Moscow, Russia), and more.  The band recorded the soundtrack during this time-frame, but it wasn’t until 2012 that the decision was made to return to those tracks, editing, mixing, and mastering them for an official release."
    $12.00
  • The Diablo Swing Orchestra dates back to 1501 in Sweden, where history tells the tale of an orchestra that played like no other, with music so seductive and divine that the ensemble overwhelmed audiences all over the country. Their performances rapidly earned a reputation of being feral and vigorous and gained the orchestra a devoted crowd of followers. Their concerts attracted more people than High Mass in church and as a result the orchestra was accused of being treacherous and in league with the devil. The members were accused of being everything from heretics to the spawn of Satan. “The Devil’s Orchestra” was the epithet used by the church in it's attempt to halt the orchestra’s success. However, this eventually became a catchphrase that spread throughout the crowd, and before long it was the popular name of the orchestra. With the accusation of heresy a bounty was put on the orchestra, and as the hostilities from the church grew stronger the orchestra finally felt the need to flee. But they decided that if they were to disappear they should go out in style, by giving one last concert. Before doing so they all signed a pact saying that their descendants were given the task of reuniting the orchestra in 500 years, and that they should continue the orchestra’s work of spreading thought-provoking music. Six envelopes were sealed and given to trustees of the orchestra to pass on to family members. The final concert was a great success. Thousands of people came to see it, and the massive sing-along of the crowd made the performance the most talked about in history. Eventually, the armed guards arrested the orchestra. They were subsequently sentenced to death by hanging. Stockholm 2003. By mere accident two of the original orchestra descendants met in a music shop and began to discuss music. It later turned out that they both had received a strange letter from some ancient relative containing instructions on how to reunite The Devil’s Orchestra. By searching through archives and records they managed to track down the other ancestors. Daniel's sensibility for words and melodies made him the main composer. Annlouice's angelic yet powerful operatic voice gave a bombastic feeling to the music. Andreas swinging and energetic drumming provided the orchestra with a deep and solid foundation. And together with Andy's powerful finger style playing and funk-oriented slapping they made sure the songs had a steady groove. Pontus electronic and experimental influences proved useful as the orchestra wanted a contemporary sound. Johannes's emotive cello-playing, theoretical knowledge and stunning technique completed the orchestra. With reference to the old catchphrase they took the name Diablo Swing Orchestra and are determined to honor the legacy of their ancestors. Since the release of their debut “The Butcher’s Ballroom” in 2006/2007 the orchestra has gained a loyal fan base of their own. People have embraced their sound with open arms and they have been perceived as a fresh breath of air in a genre getting more and more stale and formulaic. The album was also well received among critics earning many rave reviews recognizing the new ideas the band brought to the scene. DSO’s sophomore effort titled “Sing-Along Songs for the damned & Delirious” proves that they are no one hit wonder but are here to stay. The new record set to be released in September 2009 is a smörgåsbord of different levels of musical insanity building on the foundation laid down on “The Butcher’s Ballroom”. Touring will begin in September starting with Progpower USA and will continue in Europe later in the fall.
    $13.00
  • "By the late-80’s, thrash became refined, advanced and varied, subgenres of the subgenre itself appeared, from power thrash to progressive while very few kept the original essence of the early days in their music. Even the extreme Teutonic acts embraced much more accessible sounds, moving away from their initial schemes because they had to evolve inevitably to prevail among the rest. During those times of diversity for thrash, Evildead put out their debut, which combined melody and violence in almost equal percentages. The enormous pile of generic groups demanded making a difference from the rest and these guys did it in their own way, although the uncertainty of those days eventually condemned them to languish in obscurity.The album features pretty direct thrash tunes of total aggression, “Unauthorized Exploitation” and “F.C.I./The Awakening” in particular are plenty of power and speed, with that rapid tempo and those sharp riffs attacking so intense. However, they’re not the topical raging thrash intended to be only heavy and rough because Evildead’s performance and song-writing preceding process show some sophistication and grace. The music is violent but at the same time slightly melodic on some sequences, immaculately played and exact, proving the experience and skills of veteran Juan García and Albert Gonzales specially, whose lines lead and determined the tunes. Some of those rabid riffs are quite intricate, not excessively difficult but they make a difference from other band’s lack of precision and exhausting palm mute riffing. So they alternate sonic violence with tenuous technique on those, while “Living Good” and the title-track increase the complexity of structures, introducing distinct riff series, lengthier instrumental passages and much more melody, which becomes a characteristic element of this material. On other hand, it seems the band is trying to not play it that technical and remain accessible and casual, far from the ambitious patterns Juan developed on his Agent Steel years. That resolution becomes evident on “B.O.H.I.C.A.”, the most scruffy chaotic number of the pack, which sounds like uncontrolled hardcore combined with humoristic lyrics. But there’s another exception of opposite nature here: “Holy Trials” is the most progressive composition, tender with some constant acoustic guitar arrangements that make it sound sentimental at times, along with much more meticulous riffs and alternative structures. Apart from those 2, the rest offer no difference: “Parricide” includes a killer intro with both guitarists having a friendly duel of weighty riffing, then it follows the usual band patterns of energetic rhythms and diverse riffs, while “Gone Shooting” puts bigger emphasis on vocals.Those who expected some trace of previous Juan García projects’ sound here will be disappointed, because this was never intended to be a sequel of Agent Steel or Abattoir. The band preferred to make it simpler, straighter without an excessive presence of melody and instrumental complexity. The lack of pretention is clear on some of these numbers, which are focused on the basic characteristics of thrash, making them limited and predictable sometimes. Although Evildead can’t deny their natural predilection for difficulty and melody, both inevitably present during the album, providing their music of excellence and class which most of their peers lacked. Luckily, melody isn’t a tiring element here like it became on post-80’s Artillery and Whiplash, but it’s obvious this material is far from extreme. Phil Flores’ voice contributes tremendously to make this stuff so polite and slightly commercial. His lyrics are incessant and omnipresent, his choruses repetitive and his tone particularly sweet. It’s one of those singers who could’ve sung for a hard rock group instead perfectly, whose presence lacks strength and attitude but manages to fit the nature of these cuts. His words are about entertaining usual issues of pollution, toxic waste and environmental apocalypse, though also combined with mysticism and evil inherited from excessive hours in front of TV watching horror movies. The group name makes it clear and in fact, this mixture of urban thrash identity and horror stuff wasn’t that common, probably just Rigor Mortis introduced some cinema inspiration in their imagery. It’s not only about zombies and witchcraft, expressions like “girl beware of my probing anal tongue dart, I'll kiss your bush, and spread your cheeks apart” on the final composition prove lust and sarcasm are also part of their policy.It’s a very competent record, surprisingly refreshing and aggressive, admirably executed and well-produced. It could’ve got further for sure, maybe the presence of thousands of other common thrash albums around relegated it to discreet success and I’m not talking about selling CDs. In contrast with most of inoffensive subgenre work of that period, Evildead still included velocity, brutality (in small portion) and some obscure lyrics in their music, showing some nostalgia for the good old times. Sadly, like what happened with many other promising bands, this enjoyable material came in the wrong time, shortly afterwards thrash was no longer popular." - Metal Archives
    $14.00
  • "The Chicago Transit Authority recorded this double-barreled follow-up to their eponymously titled 1969 debut effort. The contents of Chicago II (1970) underscore the solid foundation of complex jazz changes with heavy electric rock & roll that the band so brazenly forged on the first set. The septet also continued its ability to blend the seemingly divergent musical styles into some of the best and most effective pop music of the era. One thing that had changed was the band's name, which was shortened to simply Chicago to avoid any potential litigious situations from the city of Chicago's transportation department -- which claimed the name as proprietary property. Musically, James Pankow (trombone) was about to further cross-pollinate the band's sound with the multifaceted six-song "Ballet for a Girl in Buchannon." The classically inspired suite also garnered the band two of its most beloved hits -- the upbeat pop opener "Make Me Smile" as well as the achingly poignant "Color My World" -- both of which remained at the center of the group's live sets. Chicago had certainly not abandoned its active pursuit of blending high-octane electric rockers such as "25 or 6 to 4" to the progressive jazz inflections heard in the breezy syncopation of "The Road." Adding further depth of field is the darker "Poem for the People" as well as the politically charged five-song set titled "It Better End Soon." These selections feature the band driving home its formidable musicality and uncanny ability to coalesce styles telepathically and at a moment's notice. The contributions of Terry Kath (guitar/vocals) stand out as he unleashes some of his most pungent and sinuous leads, which contrast with the tight brass and woodwind trio of Lee Loughnane (trumpet/vocals), Walter Parazaider (woodwinds/vocals), and the aforementioned Pankow. Peter Cetera (bass/vocals) also marks his songwriting debut -- on the final cut of both the suite and the album -- with "Where Do We Go from Here." It bookends both with at the very least the anticipation and projection of a positive and optimistic future. Potential consumers should note the unsurpassed sound quality and deluxe packaging of the 2002 CD remaster." - Allmusic Guide
    $9.00
  • "Ashent, an Italian Progressive Metal band, return in 2012 with their third release, Inheritance. This being a milestone for any band, it also sees Ashent returning after a period of change, with changes in the band's lineup. After the 2009 release of Deconstructive, Ashent announced three new members would be filling in: Titta Tani (Goblin,Daemonia, ex-Necrophagia, ex-DGM) on lead vocals, Gilles Boscolo on keyboards and Alessandro Cossu on second guitar. And so, with lineup changes like these, it comes as no surprise that Ashent are redefining themselves a bit. Inheritance finds Ashent taking a very unique stance on Progressive Metal, melding together various styles and sounds to create a somewhat unusual blend. Along with what might be considered the "typical" combination of Progressive Metal instruments with heavy guitars and synths, Ashent mixes in some Mellotron, Hammond, and Saxophone. This gives their sound an almost Neo Prog take on Progressive Metal. And dynamically, Ashent swings between more atmospheric and mellow sections to some louder, chaotic blends. Ashent has a way of using chord progressions where they fill every chord out to the point of almost bursting, adding dissonant tones to the more conventional structures. This is not only achieved with the instrumentation (often combining atmospheric keyboards that are reminiscent of Devin Townsend with some heavy, rhythmic guitars) but also with some very full harmonies in the vocals. Add to this a very dynamic rhythm section, and the music can at times be a little overwhelming. And Ashent deploys many different textures throughout the album, with modern synths, orchestral parts, sequencers, choirs, and even some fusion, making for a very dynamic experience. All this combined also gives them a sound that has a very new, crisp and modern feel to it. This is definitely an album that breaks the mold, and as such will leave some scratching their heads, while others will praise it highly." - Sea Of Tranquility
    $14.00
  • Remastered with 2 bonus tracks."Over the course of their first three late-'70s albums, Foreigner had firmly established themselves (along with Journey and Styx) as one of the top AOR bands of the era. But the band was still looking for that grand slam of a record that would push them to the very top of the heap. Released in 1981, 4 would be that album. In producer Robert John "Mutt" Lange -- fresh off his massive success with AC/DC's Back in Black -- guitarist and all-around mastermind Mick Jones found both the catalyst to achieve this and his perfect musical soulmate. Lange's legendary obsessive attention to detail and Jones' highly disciplined guitar heroics (which he never allowed to get in the way of a great song) resulted in a collaboration of unprecedented, sparkling efficiency where not a single note is wasted. "Nightlife" is only the first in a series ("Woman in Black," "Don't Let Go," the '50s-tinged "Luanne") of energetic, nearly flawless melodic rockers, and with "Juke Box Hero," the band somehow managed to create both a mainstream hit single and a highly unique-sounding track, alternating heavy metal guitar riffing, chorused vocals, and one of the ultimate "wanna be a rock star" lyrics. As for the mandatory power ballad, the band also reached unparalleled heights with "Waiting for a Girl Like You." One of the decade's most successful cross-genre tearjerkers, it has since become a staple of soft rock radio and completely eclipsed the album's other very lovely ballad, "Girl on the Moon," in the process. And last but not least, the surprisingly funky "Urgent" proved to be one of the band's most memorable and uncharacteristic smash hits, thanks to Junior Walker's signature saxophone solo. Through it all, vocalist Lou Gramm does his part, delivering a dazzling performance that confirmed his status as one of the finest voices of his generation. Three years later, Foreigner would achieve even greater success on a pop level with the uneven Agent Provocateur, but by then Jones and Gramm were locked in an escalating war of egos that would soon lead to the band's demise. All things considered, 4 remains Foreigner's career peak." - All Music Guide
    $5.00
  • "Evolving from its unique style based on dark Doom and Gothic Metal, AVA INFERI offer a surprisingly catchy work on their fourth album, which delivers their trademark progressive elements in a more subtle manner and leaves ample room for melodies and power. AVA INFERI is the brainchild of legendary Norwegian composer Rune Eriksen (ex-Mayhem) and singer extraordinaire Carmen Simões (MOONSPELL). Their new beautiful dark gem "Onyx" sparkles with Dan Swanö's perfect mix and mastering."
    $12.00
  • This one came out of left field and hit me like a ton of bricks. Possible Album Of The Year candidate. Trioscapes is an instrumental fusion project conceived by Between The Buried And Me bassist Dan Briggs. He enlisted tenor sax player and flautist Walter Fancourt and drummer/percussionist Matt Lynch to do a cover of Mahavishnu Orchestra's "Celestial Terrestial Commuters" and it turned into a full length project.Briggs is an absolute monster bassist. He does some insane things with his axe, processing it to sound like a guitar at times. Other times he lays down some heavy Hugh Hopper fuzz bass. Fancourt and Lynch are also outstanding. Highly aggressive and propulsive, you won't miss any guitar I assure you. Briggs is a hard core prog rock fan and the other guys must be as well - you can easily hear the Mel Collins-era King Crimson vibe mashing up with Zappa-esque arrangements. Soft Machine and Mahavishnu Orchestra also come to mind. These guys create a big ruckus and its going to kick your ass from beginning to end. Lots of non-metal releases slipping out with the Metal Blade imprint lately. BUY OR DIE!!
    $12.00
  • AOR/Melodic metal fans will drop dead when they hear this killing album. Cornerstone consists of Royal Hunt's Steen Mogensen and former Rainbow vocalist Dougie White helped out by an array of musicians including RH's mainman Andre Andersen. No surprises here - it really does sound like a cross between Rainbow and Royal Hunt.
    $12.00