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  • MY BROTHER THE WIND is an improvisational cosmic rock collective consisting of members of widely known Swedish acts Makajodama, Magnolia, Animal Daydream and most notably Anekdoten, one of the more widely recognized names in the 1990s prog rock revival.Recorded live in the studio with no overdubs during a single day in January 2013, Once There Was A Time When Time And Space Were One captures the collective's progressive soundscape qualities with incredible analogue studio production. The band utilized 6 and 12 string acoustic and electric guitars, Mellotron, flute, bass, drums, congas and more to complete the task. Expect 45 minutes of the band's most succinct material to date, recorded deep in the snowy, forested, Swedish wilderness.In 2013, MBTW expanded into an even wider fanbase, having been invited to play the mighty Roadburn Festival in Tilburg, Holland, as well as at Duna Jam in Sardinia.  At the invitation of Opeth’s Mikael Okerfeldt, guitarist Nicklas Barker returned to Roadburn to perform an improv set with Dungen guitarist Reine Fiske.Those who frequent the works of Popol Vuh, Amon Duul, Sun Ra, Träd, Gräs Och Stenar, Albert Ayler, Ash Ra Tempel, Gong, Pink Floyd and other visionary, psychedelic rock artists are advised to investigate this act. "Lush and instrumental for its duration, My Brother the Wind‘s third full-length, Once There was a Time When Time and Space were One (released by Free Electric Sound/Laser’s Edge), rolls out of the speakers much easier than its title rolls off the tongue, though both title and the work itself satisfy rhythmically. The Swedish four-piece — they now seem to be a bass-less trio with Nicklas Barker (Anekdoten) and Mathias Danielsson (Makajodama) on electric/acoustic 12-strong guitar and Daniel Fridlund Brandt on drums, but Ronny Eriksson plays bass on the album — reportedly recorded live to two-inch tape on a vintage machine, and the passion they put in bleeds readily into the nine-song/45-minute outing, fleshed with liberal splashes of Mellotron courtesy of Barker to play up a ’70s prog feel in a piece like the 12-minute “Garden of Delights.” That’s hardly the only point at which those sensibilities emerge, but even more than that, the primary vibe here is one of gorgeous heavy psych exploration, the band adventuring and feeling their way through the material as they go.On peaceful moments like the title-track, which arrives as the penultimate movement before “Epilogue” leads the way back to reality — accordingly, “Prologue” brings us in at the start — that exploration is positively serene, the 12-string complemented by spacious electric tones spreading out across vast reaches, but Once There was a Time When Time and Space were One offers more than drone and psychedelic experiments. Subtly pushed forward by Brandt‘s drums, pieces like “Into the Cosmic Halo” and even “Epilogue” enact classic space rock thrust, and even “Song of Innocence Part 1,” the first part of the journey after the backward atmospherics of “Prologue” introduce, has some cosmic feel amid its echoing solos. Its subsequent complement, “Song of Innocence Part 2,” swells to life on an even more active roll, waves of amp noise up front while drums and bass groove out behind, waiting for the guitars to catch up, which they do in a suitably glorious payoff, relatively brief but masterfully engaging, setting a momentum that continues well into “Garden of Delights,” a focal point for more than its length.Because the songs flow so well one to the next, some directly bleeding, others giving a brief pause, and because later cuts like “Thomas Mera Gartz” — named in honor of the drummer for ’70s Swedish proggers Träd, Gräs och Stenar — and the title-track have a quieter take, it’s tempting to read some narrative into the shifts of Once There was a Time When Time and Space were One, but with the material not being premeditated, I’m not sure that’s the intention so much as a signal it’s well arranged. In any case, the album offers an immersive, resonant listen, with tonal richness to spare and the presence of mind to keep a sense of motion even in its stillest parts and a balance of organic elements — Danielsson‘s recorder and Brandt‘s percussion on “Misty Mountainside,” the 12-string, etc. — amid a wash of effects and swirling psychedelia. This attention to sonic detail makes Once There was a Time When Time and Space were One more than just a collection of jams, and adds further purpose to the already worthy cause of My Brother the Wind‘s thoughtful musings, wandering and not at all lost." - The Obelisk
    $13.00
  • Beautiful, haunting experimental metal from this Icelandic band.  Like some other extreme metal bands (think Ulver and Opeth) they have evolved into something very different.  If Sigur Ros recorded a black metal album it might sound like this.  If you like to be challenged by metal outside the norm this is highly recommended."I’m a prime example of being caught in a rat race, a cog too much a part of the corporate clockwork and maybe that’s why on some basic level I identify so strongly with the timeless concept behind Sólstafir‘s fifth and much anticipated release. Ótta comes three years after the release of Svartir Sandar, with the concept of the album staying close and personal to their Icelandic roots. So much so that that the album flows according to an old Icelandic form of time-keeping similar to the monastic hours or Eykt (one eighth of a solar day), And so, Ótta consists of eight tracks, beginning with a representation of midnight, moving through each Eyktir in the day, coming to a close in the period between 9 pm and midnight. Hardly a riveting concept on paper, but thought provoking nonetheless.Much like the post-metal genre being built on rising crescendos, so “Lágnætti,” “Ótta,” “Rismál” and “Dagmál” are the slow and steady climb before you reach the boiling point of “Middegi” and “Nón,” only to have their power stripped away quite dramatically with “Midaftann” and “Náttmál.” Now stop for a moment, close your eyes and feel “Lágnætti” (low night) wash over you. The intro rises up, uncoiling with slow deliberation, pure atmosphere at first, culminating in an isolated and memorable piano melody that along with frontman Aðalbjörn Tryggvason’s vocals, would fit right in on Coldplay‘s Viva La Vida. “Lágnætti” quickly settles in and gives you that familiar feeling that Ótta is indeed the next logical progression from Svartir Sandar. The album grabs hold of and builds on the very same subtleties and charm, the same enveloping moodiness and even the same delicate eccentricities of the earlier release, rather than following on with the bolder adolescence like Köld and Í Blóði og Anda (In Blood and Spirit).Aðalbjörn Tryggvason’s vocals have been perfectly matched to each track and at times it’s tough to imagine it’s the same vocalist. For much of the front-end of Ótta and then again towards the back-end, our intrepid frontman dabbles in the same instrumental, minimalistic style he used on Svartir Sandar. In “Lágnætti” and the title track, he could take the place of Chris Martin fronting Coldplay, and then in “Rismál” and “Midaftann” he creates a new and fantastical beast seemingly from leftover parts of Shining and Katatonia. Giving the release more time to soak in, you’ll find hints to the glory of the past, like his screamy shouts leftover from Köld‘s “Love is the Devil (and I am in Love)” and then in “Middegi” and “Nón” there are hints of the glory locked and loaded in Svartir Sandar‘s “Þín Orð.”Instrumentally Ótta feels like a swirling melting pot of flavours, colours and textures. The title track stands out, surely competing with Ulver‘s “Not Saved” as one of the most addictive pieces of music I’ve come across, all thanks to its bluegrass-like banjo frivolity playing with the violins. And while I have no idea whom to credit for the piano arrangements on “Lágnætti” and “Midaftann” and they don’t don’t hold quite the same dizzying quirk of Svartir Sandar‘s “Æra,” they’re beautiful, melodic, well played and hold just the right amount of tragedy and atmosphere. Aðalbjörn Tryggvason, Sæþór Maríus Sæþórsson and Guðmundur Óli Pálmason go minimalist on the guitars and drum lines, only playing what’s absolutely necessary. The guitars are delivered with a tasty distorted fuzz that takes away from the cleanliness of the album, and while solos are used sparingly, stand-out moments do filter through on “Nón” and “Miðdegi.”The production used on Ótta sounds largely like what worked so well on Svartir Sandar, and if it ain’t broke don’t fix it. There’s enough fuzzy warmth and focus of dynamics to keep the album an interesting and comfortable listen. What more can I say here, I’m unable to find fault with this album. It’s not one you’re going to skip around and listen to in bits and bites and needs to be experienced as a whole. Ótta is a serious piece of art and yes, it does indeed stop time!" - Angry Metal Guy 
    $12.00
  • “Known/Learned’ is the third album from this thought provoking progressive band from Brisbane, Australia.  It’s a sprawling 2CD collection of themes and moments, captured between recurring characters. While never explicitly told in the traditional vein of the ‘concept album’, the imagery of Known/Learned depicts fragmented moments in the lives of a father and his daughter, their loss, their love, their journey. A bittersweet love song for life.Occupying a unique place in the Australian progressive music scene, Arcane’s transcendental live performances and 2009’s critically acclaimed, dark and enigmatic concept album 'Chronicles Of The Waking Dream' have earned them a inimitable reputation as one of Australia’s premier progressive rock bands.Sharing stages with artists as diverse as Anathema (UK), Soilwork (Swe), Queensryche (USA), Dead Letter Circus, Ne Obliviscaris and hundreds more, Arcane's live show, often accompanied by a backdrop of staggering visualizations, is a vast sensory experience.Arcane's immersive sound, and the vocals of Jim Grey quickly found favor throughout Australia, headlining the annual Progfest tour, providing touring support for Ne Obliviscaris, and performing to capacity crowds at Sonic Forge Festival in Melbourne. A crowd funding campaign in July, 2013 heralded the 2015 release of 'Known/Learned' a 16 track conceptual double album. Arcane blends the technicality of progressive metal with the atmospheric intensity of bands like Tool, Riverside and Anathema.  The world is about to discover what their Australian fan base already knows – that Arcane is a rising star in the world of progressive music.
    $14.00
  • "Sólstafir have created yet another incredibly luscious record, filled to the brim with many ideas and emotions that will leave a mark on your soul, but only if you let it.The moment I first feasted my eyes on the beautiful album art for Endless Twilight of Codependent Love, I was left with nothing but high expectations for this record. Historically, Sólstafir have never been a group to disappoint in any way and have consistently been pumping out quality records. Love them or hate them, their music is something unique to them and them alone. Endless Twilight of Codependent Love is a slow, melancholic journey that will only move you if you let it move you. The question is, are you willing to open yourself up?Sólstafir have never been known to compose songs that provide instant gratification. They’ve always strived to write their songs to be incredibly organic and not be confined to any rules or defined structures. Although once a black metal band, Sólstafir have evolved over the years into something that is genuinely unique to them, with that sound being rooted in post-rock, with folk and other various influences. Whenever I think of music that represents Iceland, I always immediately think of Sigur Rós, Björk, and Sósltafir as the ‘big three’.Listening to this record without any lyrical context, as I did the first couple of times, led to a very underwhelming experience in all honesty. At first, it felt like the songs were just too long and didn’t go anywhere interesting. It seemed as if Sólstafir were just aimlessly wandering throughout these tracks, with the songs going nowhere. But once I sat down and read about the conceptual background, my next playthrough was a wholly different experience. I couldn’t believe that I was listening to the same record, given that I was now aware of what inspired the music.At first, Sólstafir’s lyrical content was based around Nordic mythology but their recent efforts, including Endless Twilight…, have taken a different, much more personal lyrical approach. As of late, their lyrical content focuses more on various issues such as depression, alcoholism, and the negative connotation regarding said topics in men; how they’re perceived as weak for expressing their struggles. The members in Sólstafir are all very open with one another regarding their hurdles and mental battles, and they all collectively create this musical safe space to express and learn about these feelings and perspectives. One particular theme emphasized in this record is mental illness. For example, “Her Fall From Grace” delves into experiencing a loved one slowly wither away due to their crippling depression. This is something no one should have to go through, but it happens in every dark corner of the world and people, more often than not, silently cope with this without any support. Given this context, the emotion and atmosphere captured on Endless Twilight of Codependent Love personify this feeling extremely well.Now having this all in mind, as mentioned earlier, every playthrough after was an entrancing experience. At first, I was just listening for the sake of listening, but once I invested my time and effort to further understand the record, the music just hit that much harder. It took me for a long rollercoaster ride of emotions and I did not buckle myself in properly. Although the lyrics for every track, with the exception of “Her Fall From Grace”, are in Icelandic, you can just feel the anguish and sorrow portrayed in the vocals, despite not being able to understand them. This is one of those records where in order to properly appreciate it, you need to lose all sense of time and any preconceived expectations. Sit down, kick back, and let this record consume you.Music-wise, there is plenty of variation throughout Endless Twilight…. At one moment, you’ll be embraced by luscious soundscapes with the inclusion of violins and piano, as heard on “Rökkur” and “Or”, as well as upbeat yet still melancholic passages that follow later in the track. The record starts off incredibly slow and moody with “Akkeri”, and shortly into the track, it kicks into high gear as it leads to a groovy jam session with some killer cowbell. “Drýsill” has a magical, massive outro I cannot get enough of, with layered background vocals as the rest of the band goes absolutely nuts. For the most part, the tracks tend to start off leisurely and sorrowful, but they build to something truly satisfying and emotional towards their end.Once “Dionysus” comes around you’ll want to strap yourself in, as this track takes a turn from the sound heard on the preceding tracks and is paced even faster. It has a galloped pacing that reminds me of “Barracuda” by Heart; it is this track in particular where you can really feel the anguish and suffering in the vocals. In addition, “Dionysus” reminds me quite a bit of the new Wayfarer record that recently dropped, with that Spaghetti Western, black metal/post-rock sound. “Or” is a groovy little ditty that makes me feel like I’m watching a noir film once it starts. Towards the end of this song, I am doing my best to sing along in Icelandic while I ugly cry. Despite being in an entirely different language than I am used to, this record is infectious when it means to be.I am not going to lie, Endless Twilight of Codependent Love definitely had me fooled. I was not sold at all on the record and felt that it was a huge snoozefest at first. But once I took the time to learn more about the album and was more patient with it, I had the complete polar opposite experience. This new adventure was one that was mystifying and had me head over heels for the dreamy and sorrowful soundscapes, along with the twists and turns that awaited in nearly every song. Add Sólstafir’s newest effort to the list of records that age like a fine wine, because this record just gets better and better with each successive listen, that is for damn certain." - Everything Is Noise
    $12.00
  • Clear Dawn is the second album from this incendiary fusion ensemble.  Aurora Clara is the multi-national band led by guitarist Raul Mannola.  Once again the great Jerry Goodman guests on violin on the opening track.  If you are a fan of the 70s great fusion bands - Mahavishnu Orchestra, Nova, Return To Forever et al you need to hear this guys.  BUY OR DIE!!"CLEAR DAWN is the second album of the Madrid-based international Jazz-Fusionband AURORA CLARA. A work full of colours, fascinating rhythms, vertiginous unison lines, and inspired improvisations in the framework of elaborated and original compositions. The acoustic 12-string guitar mixed with flute, violin, and an electric Funk/Jazz rhythm section creates a very unique soundscape."“It is, however, my great pleasure to report that Aurora Clara’s second album, Clear Dawn, eclipses its first brilliant release, Transformation “ (Walter Kolosky, Music journalist and podcast host specialized in Jazz-Rock)Raul Mannola - guitarsFlamenco guitarist with 30 years of professional experience and over 10 solo albums, with roots in Blues and Jazz. Born in Buenos Aires, Argentina to Finnish parents. One of the most outstanding musicians when it comes to merging Flamenco with Jazz and Rock. The first to play Flamenco on the 12-string guitar.Juan Carlos Aracil - fluteFlutist from Alicante, Spain. Specialist in Flamenco and Flamenco-Jazz with an exceptional talent in improvisation. He has an impeccable sense of rhythm, developed over years of work with the virtuoso Flamenco dancer Juan Ramírez.Denis Bilanin - keyboardsHailing from Rumania, is a keyboardist with a very heavy groove, and a sound reminiscent of the 1980’s, but at the same time very atmospheric. He plays and produces many different styles, like Funk, Afrobeat, R&B, World Music, and Mainstream.Jorge Barrero - bassA Colombian musician, resident in Madrid for the last two years, he specialises in different Latin and African American music styles, such as Andean music, Colombian folk, Rock, Funk, Jazz etc. A brilliant virtuoso player, who encompasses all the modern techniques.Marco Anderson - drumsDrummer and multi-instrumentalist born inYorkshire, England. Musician with more than 40 years of professional career playing almost every musical style imaginable. Was drummer with The Groundhogs, seminal UK progressive blues band, and has featured in live performance and recordings with Steve Vai (Saurang Orchestra) and Carl Orr (Billy Cobham), amongst many others.Boris Momtchilov - drumsBorn in Bulgaria, resident in Spain for four decades, this drummer started to play in rock bands in Madrid, evolving towards alternative and progressive rock styles. He is Influenced by Balcanic folklore and the fusion of cultures.Collaborations:Jerry Goodman – violin (1) Zeke Olmo – congas (4, 7)
    $11.00
  • "Chill metal? In our genre-naming culture, Zaius would do well to jump in front of that one in terms of colorful self-description. In all seriousness though, it does seem to pretty accurately describe what is going on with their music. The up-and-coming instrumental act has been at it for a few EPs at this point, with Prosthetic officially launching their full-length debut, Of Adoration.Casually blending metal with post rock, there’s never a moment on the album that feels abrasive or even aggressive in tone. While that might be a turn off for some, some of the strongest instrumental band work usually comes in this form. Without having to stick vocals in front of their music, they don’t have to feel relegated to the ‘verse/chorus/verse’ formatting and just simply go with gut instinct. Zaius have a good grasp on this, and never wander too far into random territory. Instead each track seems to focus itself on the mood and setting of the material, giving it just enough structure. It can all flow together if you let it, but each track on its own still stands strong. Gentle melodies still contain a fair bit of power (see “Echelon”), and they work best to stick into your head in an almost hypnotic approach. There’s a good blend of melancholy and tenderness, with songs like “Anicca” slowly building up towards something a bit heavier in their back-end. The type of material that you could easily imagine being the soundtrack for a video game on the dreamier side of things. Some moments of heaviness level things once in a while, such as “Magnolia,” and give the band a chance to flex some muscle in a way that doesn’t feel out of character.Of Adoration carefully strings together floaty, airy music that still has enough riff power to keep you attentive as they weave pensive melodies. Some really beautiful passages to be had, which will whisk you away to a peaceful journey." - Dead Rhetoric
    $15.00
  • ""It is a rare thing these days for a post-metal band to break the mold. So many bands play sludgy, lurching, epic metal that it can be hard to tell what band is trying to sound like Isis this time. This brings me to the breath of fresh air that is Secrets of the Sky.The Oakland based sextet takes what is a great but tired genre and adds a dash of black metal and a bit of prog. Imagine if you tossed Neurosis, more recent Immortal, and Porcupine Tree into a blender. Sounds like a fucked up mix, right? It's an awesome fucked up mix though.The Sail Black Waters consists of 4 tracks that are rooted in sludge, that manage to take twists and turns throughout it's all-too-short forty-one minute run-time. There are moments of dreamy soundscapes, harmonized clean vocals, and crescendos aplenty.A band they bring to mind is the Australian black-metal-with-a-violin band Ne Obliviscaris. They don't necessarily sound alike, especially because Secrets of the Skysimple aren't playing as fast, but their progressions are quite similar. Also, Secrets happen to employ a violin as one of the several talents of vocalist Garett Gazay. Their use of it is much more subtle than Ne Obliviscaris to the point where it becomes a game listening for it.In short, a phenomenal debut." - Metal Injection
    $14.00
  • Collector's edition in clamshell box including CD with bonus tracks 'Hrollkalda Þoka Einmanaleikans' and 'Hann fór Sjálfur' in Digipak with 20-page booklet + black teddy cloth wristband with embroidered SOLSTAFIR logo in white + printed fake-leather magnet + black webcam cover with white SOLSTAFIR logo.All items are exclusive to this collector's edition!"Sólstafir have created yet another incredibly luscious record, filled to the brim with many ideas and emotions that will leave a mark on your soul, but only if you let it.The moment I first feasted my eyes on the beautiful album art for Endless Twilight of Codependent Love, I was left with nothing but high expectations for this record. Historically, Sólstafir have never been a group to disappoint in any way and have consistently been pumping out quality records. Love them or hate them, their music is something unique to them and them alone. Endless Twilight of Codependent Love is a slow, melancholic journey that will only move you if you let it move you. The question is, are you willing to open yourself up?Sólstafir have never been known to compose songs that provide instant gratification. They’ve always strived to write their songs to be incredibly organic and not be confined to any rules or defined structures. Although once a black metal band, Sólstafir have evolved over the years into something that is genuinely unique to them, with that sound being rooted in post-rock, with folk and other various influences. Whenever I think of music that represents Iceland, I always immediately think of Sigur Rós, Björk, and Sósltafir as the ‘big three’.Listening to this record without any lyrical context, as I did the first couple of times, led to a very underwhelming experience in all honesty. At first, it felt like the songs were just too long and didn’t go anywhere interesting. It seemed as if Sólstafir were just aimlessly wandering throughout these tracks, with the songs going nowhere. But once I sat down and read about the conceptual background, my next playthrough was a wholly different experience. I couldn’t believe that I was listening to the same record, given that I was now aware of what inspired the music.At first, Sólstafir’s lyrical content was based around Nordic mythology but their recent efforts, including Endless Twilight…, have taken a different, much more personal lyrical approach. As of late, their lyrical content focuses more on various issues such as depression, alcoholism, and the negative connotation regarding said topics in men; how they’re perceived as weak for expressing their struggles. The members in Sólstafir are all very open with one another regarding their hurdles and mental battles, and they all collectively create this musical safe space to express and learn about these feelings and perspectives. One particular theme emphasized in this record is mental illness. For example, “Her Fall From Grace” delves into experiencing a loved one slowly wither away due to their crippling depression. This is something no one should have to go through, but it happens in every dark corner of the world and people, more often than not, silently cope with this without any support. Given this context, the emotion and atmosphere captured on Endless Twilight of Codependent Love personify this feeling extremely well.Now having this all in mind, as mentioned earlier, every playthrough after was an entrancing experience. At first, I was just listening for the sake of listening, but once I invested my time and effort to further understand the record, the music just hit that much harder. It took me for a long rollercoaster ride of emotions and I did not buckle myself in properly. Although the lyrics for every track, with the exception of “Her Fall From Grace”, are in Icelandic, you can just feel the anguish and sorrow portrayed in the vocals, despite not being able to understand them. This is one of those records where in order to properly appreciate it, you need to lose all sense of time and any preconceived expectations. Sit down, kick back, and let this record consume you.Music-wise, there is plenty of variation throughout Endless Twilight…. At one moment, you’ll be embraced by luscious soundscapes with the inclusion of violins and piano, as heard on “Rökkur” and “Or”, as well as upbeat yet still melancholic passages that follow later in the track. The record starts off incredibly slow and moody with “Akkeri”, and shortly into the track, it kicks into high gear as it leads to a groovy jam session with some killer cowbell. “Drýsill” has a magical, massive outro I cannot get enough of, with layered background vocals as the rest of the band goes absolutely nuts. For the most part, the tracks tend to start off leisurely and sorrowful, but they build to something truly satisfying and emotional towards their end.Once “Dionysus” comes around you’ll want to strap yourself in, as this track takes a turn from the sound heard on the preceding tracks and is paced even faster. It has a galloped pacing that reminds me of “Barracuda” by Heart; it is this track in particular where you can really feel the anguish and suffering in the vocals. In addition, “Dionysus” reminds me quite a bit of the new Wayfarer record that recently dropped, with that Spaghetti Western, black metal/post-rock sound. “Or” is a groovy little ditty that makes me feel like I’m watching a noir film once it starts. Towards the end of this song, I am doing my best to sing along in Icelandic while I ugly cry. Despite being in an entirely different language than I am used to, this record is infectious when it means to be.I am not going to lie, Endless Twilight of Codependent Love definitely had me fooled. I was not sold at all on the record and felt that it was a huge snoozefest at first. But once I took the time to learn more about the album and was more patient with it, I had the complete polar opposite experience. This new adventure was one that was mystifying and had me head over heels for the dreamy and sorrowful soundscapes, along with the twists and turns that awaited in nearly every song. Add Sólstafir’s newest effort to the list of records that age like a fine wine, because this record just gets better and better with each successive listen, that is for damn certain." - Everything Is Noise
    $24.00
  • "German progressive metal ensemble The Ocean have always stood out from their genre brethren. For one thing, they strike a persistently compelling and idiosyncratic balance between delicately moody accentuations and abrasively complex underpinnings. Plus, their paleontologically-focused concepts offer academically absorbing lyricism and an innovative way to link all of their LPs.That's as true of 2004's Fluxion debut as it is 2020's Phanerozoic II: Mesozoic / Cenozoic, and fortunately, newcomer Holocene keeps the tradition going wonderfully. In fact, it feels extra connected to its predecessor since the closing song on Phanerozoic II is called—you guessed it—"Holocene." Simply put, it delivers everything fans could want and should anticipate from another Ocean outing by primarily staying loyal to what they do best. (After all, when you have a formula this good, you don't want to mess with it too much, right?)Retaining the same line-up as the prior record, Holocene is intended as the "closing chapter to their … album series" in that it's "an appendix to the two Phanerozoicalbums and [2007's] Precambrian." The band adds: "It's tackling the Holocene epoch, which is the current and shortest chapter in earth's history, but it is essentially an album about the angst, alienation, loss of reason and critical thinking, rise of conspiracy theories and deconstruction of values in the modern age."For better or worse, then, it's a highly relevant—and perhaps necessary—musical statement.As stated earlier, The Ocean predominantly stick to their tried-and-true chemistry, yet the heightened emphasis on "the electronic world" positively gives Holocene its own flavor, too. Similarly, having Swedish producer Karl Daniel Lidén on board (instead of longtime collaborator Jens Bogren) effectively achieves the comparatively "organic sound" the group's aiming for.Guitarist Robin Staps reflects: "The writing process of every album we've ever made started with me coming up with a guitar riff, a drumbeat or a vocal idea. This album is different since every single song is based on a musical idea that was originally written by Peter [Voigtmann, synth]. He came up with these amazing synth parts that were already sounding huge in pre-production, and he sent me some of those raw, unfinished ideas during mid lockdown 2020 … and while it was all electronic, it had that definite Ocean vibe to it."Indeed, that fusion of classic Ocean techniques and newly employed programmed trimmings is apparent from the jump, with fascinating opener "Preboreal" softly radiating foreboding digital tones as it establishes a mostly gentle arrangement comprised of mesmerizing rhythms, urgent guitar lines, and cataclysmic horns. Expectedly, vocalist Loïc Rossetti's corresponding dirges ("No grasp on reality / Attention shaping identities / We've lost our capacities to construct something tangible") are equally gripping and resonant, cementing it as a stunning starter.Follow-up "Boreal" is even more dynamic thanks to its gradual evolution from synthy lamentation (reminiscent of Phanerozoic II's "Triassic")  to explosive prog metal devastation. Later, “Atlantic” doubles down on that dichotomy with some incredibly hooky and heartbreaking guitarwork, whereas the eventual screams and diabolic instrumentation of "Subboreal" and "Subatlantic" find The Ocean tapping into their sludge metal and post-hardcore tendencies.    Although every piece of the Holocene puzzle is magnificently characteristic and intoxicating, it's the relatively atypical "Unconformities" that stands out most. Why? Because it's a gorgeously atmospheric slice of gothic/industrial rock spearheaded by the divine yearning of Norwegian singer Karin Park. Already a celebrated and prolific indietronica artist in her own right, she delivers what Staps rightly deems"the most accessible track of the album, but also the one with the heaviest ending." Juxtaposed by Rossetti's increasingly chaotic and chilling command ("Don't turn on the bright lights!"), Park ensures that "Unconformities" is an indisputable highlight of the group's entire catalog.The Ocean were inevitably going to have a tough time surpassing what they accomplished with the Phanerozoic LPs. While Holocene doesn't definitively best that prior duo, it certainly matches them. By incorporating more electronic elements – as well as the elegance of Park – into their customary yet perpetually alluring recipe, the band has fashioned another immersive journey that's absolutely haunting, courageous, and essential." - Metal Injection 
    $17.00
  • “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
  • "Katla is an Icelandic band featuring ex-Sólstafir drummer and visual artist Guðmundur Óli Pálmason and singer/multi-instrumentalist Einar Thorberg Guðmundsson (Fortíð, Potentiam). Named in tribute to one of Iceland's greatest active volcanos, Katla creates powerful, panoramic music where shimmering guitars, crushing melodies and atmospheric density meet dark, entrancing power. Katla's debut album, "Móðurástin", shines a spotlight on the band's hook-heavy, horizon-stretching sound. The lyrics tell tales of living in a country of contrasts; a land where fire and ice co-exist and dark winters are offset by the summer's midnight sun. Iceland: a country where insular existence has spurred a rich and vibrant culture. "Móðurástin", Icelandic for (a) Mother's Love, might seem like a strange title for a metal album, but Katla dares to be different. What on Earth is stronger than a mother's love? Nothing. Not hate, not lust, not greed. Katla has shaped a towering sound sharpened by experience and forged for fans of heavy, atmospheric music. It is time for Katla to erupt again!"
    $15.00
  • "For those unfamiliar with German progressive/post-metal band The Ocean (Collective), this unique collector’s ‘live’ edition of their double concept album Phanerozoic might either be the perfect, or the absolute worst time, to discover the twenty-year veterans.Conceptually themed around the titular geologic era covering 541 million years until the present, spanning their 2018 Phanerozoic I: Palaeozoic album and 2020’s conclusion Phanerozoic II: Mesozoic / Cenozoicthrough epic-length musical exploration, The Ocean chart the history of tectonic plates, mass extinction events and the changing face of the planet in an intellectual and strangely emotional, personal way. This release doubles as the band’s definitive statement and may just be the greatest thing that they have ever done, however, if that does not sound like your cup of tea, then I suggest you run screaming.Those still on board with all of this, you’re in for an absolute treat as it’s fucking great. Released over a number of jaw-dropping formats, not least triple vinyl in beautiful and limited variants, this is more than just an album, it’s a beautiful piece of considered art, produced in very stressful times for the musical community and an absolute triumph of achievement.Having spent so long without being able to tour and having scored their highest charting position with the second instalment of the album, they performed Phanerozoic I: Palaeozoic for live streaming as part of the Club100 series from the Pier 2 venue in the port of Bremen.Filmed on a big stage in a large hall, the band recreated their full live experience with no expense spared on the production. With the band set up as a traditional gig facing the cameras, The Ocean belt out a masterclass in showing not only why the album was exceptional, but so is their ability.Subtly creeping out of the darkness with a lone keyboard, the swirling synths build until the whole band come in with crushing power and an intense, dramatic light show worthy of peak Nine Inch Nails that serves to emphasise the scale of the music. The album builds and shifts in subtle (and not so subtle) musical movements, building the story of the planet’s formation through tender, searching moments and then hard-hitting moments of roaring Cult of Luna like hardcore.The multiple camera set up, including a roving handheld camera on stage, tells the story of this tight knit unit of musicians as they feel their way through their first perforce as a band for 18 months. Consummate professionals, this is a complete band performance, and as the camera moves between the members, everyone plays their part; from Robin Staps conducting the music on guitar, to Paul Seidel energetically slamming the drums whilst providing backing vocals and Loïc Rossetti on lead vocals, drifting in and out of the focus to provide savage barking or ethereal, almost alien lilting and compellingly emotive moments of empathy.this is not only a culmination and celebration of their finest work yet, but it’s also a Darwinian step up in terms of the band’s evolution…Despite the German’s focused and clinical delivery in their performance and execution, there is a palpable air of relief as the band scythe through the final track Permian: The Great Dying, after the near perfect delivery they allow the mask to slip and rock out with smiles on their faces, all the tension of not playing live together for so long banished, despite the unusual circumstance of delivering a near faultless live performance to an empty room, yet knowing that out in the ether there are people watching.Phanerozoic II by contrast was performed for the stellar Roadburn Redux event in the confines of synth player and sound designer Peter Voigtmann’s studio. Deliberately juxtaposed with the Bremen show, the second instalment is claustrophobic, enclosed with minimal, stark lighting, the band performing in a circle facing each other, giving the atmosphere a voyeuristic, intimate atmosphere.As a fan, you can debate the strengths of each album versus the other in terms of sequencing and content, but Phanerozoic II is a different beast to its counterpart, and as such the presentation, complete with graphic interludes makes the more downbeat and emotionally charged content bristle with equal intensity.The music can tend to drift more seamlessly into flows of peaks and troughs, given the close focus of the camera, working through the individual elements and band members. One moment you’re lost in the haunting melodies and progressive exploration, before a jagged riff and vocal hook drags you into full on headbanging, like on the near black metal crescendo of Pleistocene and the final muted sign off with Holocene.Recorded in the freezing cold, again armed with a battery of HD cameras surrounding the performers on the outside, the constantly moving picture snatches glimpses of this strange, but passionate, performance and is utterly captivating as the lighting subtly shifts in hue, providing contrast and continual linear movement.It is hard to talk about just the music in amongst the incredible presentation, but these recordings rival the studio album versions and showcase the band on a level with the likes of Tool and Cult of Luna, in terms of sonic delivery, with the drawn out, subtle shifts in mood of truly great progressive metal. If you missed these albums the first time round, then this release could be the gateway to a whole new experience.You can accuse the dedication to music as art in its most intrinsic form as pretentious, and there absolutely is an element of that in Phanerozoic Live. If you like your music ragged and full of punk ethos, then The Oceanreally aren’t for you, as make no mistake they’ve been making grandiose music for a long time, and this actually forms the conclusion of a trilogy they started with 2007’s Precambrian. As I said at the start, this is not only a culmination and celebration of their finest work yet, but it’s also a Darwinian step up in terms of the band’s evolution and an absolute treat for the fans." - The Sleeping Shaman
    $20.00
  • "There’s something to be said for the willingness to change. Some bands get stuck in the mud, developing a signature sound and then finding that they are unable to shake free of it. Iceland’s Momentum is not one of those bands. The band technically started in 2002 as a one-man black metal act called Afsprengi Satans. The first transformation came a year or two later as drummer Kristján Gudmundsson began to add musicians that could help play his music in a live setting. Those early sounds ranged from black metal to death metal, and the Momentum moniker arose out of the realization that this wasn’t the same band that Gudmundsson had started.As the band has progressed, from their first recorded demo Death to Christianity to their newest release The Freak is Alive, they have mutated into a three-piece progressive sludge/doom act. Kristján Gudmundsson is still playing drums, with bandmates Ingvar Sæmundsson and Hörður Ólafsson handling guitar and bass duties, respectively. With tinges of post-metal and deep clean vocals that are reminiscent of some kind of Gregorian chant, Momentum certainly does not rest on their laurels.he Freak is Alive is an album I picked up simply because I thought both the title and album artwork were a little ridiculous. I had no prior experience with Momentum, but I was immediately taken with Holaf’s vocal stylings. The album’s lead off track ‘Bury The Eyes Once Gold’ is one of my favorites, and demonstrates the range in Holaf’s voice. His howls are intense and full of emotion, while his clean singing is low and haunting. The track starts off heavy and sets the tone for the rest of the record. ‘Between Two Worlds’ has opens with a clean, melancholy guitar progression. Other standout tracks include ‘Gauntlet’, a six-minute journey that makes use of a sitar, and ‘Creator of Malignant Metaphors’ with its intricate guitar lead. The record has a gloomy, heavy feeling that is well represented in the first two tracks and carried through final seconds of sound. Whether the guitars are clean or distorted, whether the vocals are clean or howling, The Freak is Alive stays heavy and a little sad.Momentum makes good use of odd time signatures, strings and sitar, and melds progressive and post-metal with sludge in a really interesting way. My only issue with the album is that by the time I get to the final two tracks, ‘Undercover Imagination’ and ‘Depth of the Whole’, the melancholia is played out. The last two tracks don’t grab your attention the way the earlier songs do. It leaves the ending of the album weak. Overall though, I appreciate and enjoy what Momentum has done on this record. I’m very glad to have discovered this treasure from Iceland, and I certainly recommend you dive into their previous albums." - Echoes And Dust 
    $5.00
  • "Sólstafir have created yet another incredibly luscious record, filled to the brim with many ideas and emotions that will leave a mark on your soul, but only if you let it.The moment I first feasted my eyes on the beautiful album art for Endless Twilight of Codependent Love, I was left with nothing but high expectations for this record. Historically, Sólstafir have never been a group to disappoint in any way and have consistently been pumping out quality records. Love them or hate them, their music is something unique to them and them alone. Endless Twilight of Codependent Love is a slow, melancholic journey that will only move you if you let it move you. The question is, are you willing to open yourself up?Sólstafir have never been known to compose songs that provide instant gratification. They’ve always strived to write their songs to be incredibly organic and not be confined to any rules or defined structures. Although once a black metal band, Sólstafir have evolved over the years into something that is genuinely unique to them, with that sound being rooted in post-rock, with folk and other various influences. Whenever I think of music that represents Iceland, I always immediately think of Sigur Rós, Björk, and Sósltafir as the ‘big three’.Listening to this record without any lyrical context, as I did the first couple of times, led to a very underwhelming experience in all honesty. At first, it felt like the songs were just too long and didn’t go anywhere interesting. It seemed as if Sólstafir were just aimlessly wandering throughout these tracks, with the songs going nowhere. But once I sat down and read about the conceptual background, my next playthrough was a wholly different experience. I couldn’t believe that I was listening to the same record, given that I was now aware of what inspired the music.At first, Sólstafir’s lyrical content was based around Nordic mythology but their recent efforts, including Endless Twilight…, have taken a different, much more personal lyrical approach. As of late, their lyrical content focuses more on various issues such as depression, alcoholism, and the negative connotation regarding said topics in men; how they’re perceived as weak for expressing their struggles. The members in Sólstafir are all very open with one another regarding their hurdles and mental battles, and they all collectively create this musical safe space to express and learn about these feelings and perspectives. One particular theme emphasized in this record is mental illness. For example, “Her Fall From Grace” delves into experiencing a loved one slowly wither away due to their crippling depression. This is something no one should have to go through, but it happens in every dark corner of the world and people, more often than not, silently cope with this without any support. Given this context, the emotion and atmosphere captured on Endless Twilight of Codependent Love personify this feeling extremely well.Now having this all in mind, as mentioned earlier, every playthrough after was an entrancing experience. At first, I was just listening for the sake of listening, but once I invested my time and effort to further understand the record, the music just hit that much harder. It took me for a long rollercoaster ride of emotions and I did not buckle myself in properly. Although the lyrics for every track, with the exception of “Her Fall From Grace”, are in Icelandic, you can just feel the anguish and sorrow portrayed in the vocals, despite not being able to understand them. This is one of those records where in order to properly appreciate it, you need to lose all sense of time and any preconceived expectations. Sit down, kick back, and let this record consume you.Music-wise, there is plenty of variation throughout Endless Twilight…. At one moment, you’ll be embraced by luscious soundscapes with the inclusion of violins and piano, as heard on “Rökkur” and “Or”, as well as upbeat yet still melancholic passages that follow later in the track. The record starts off incredibly slow and moody with “Akkeri”, and shortly into the track, it kicks into high gear as it leads to a groovy jam session with some killer cowbell. “Drýsill” has a magical, massive outro I cannot get enough of, with layered background vocals as the rest of the band goes absolutely nuts. For the most part, the tracks tend to start off leisurely and sorrowful, but they build to something truly satisfying and emotional towards their end.Once “Dionysus” comes around you’ll want to strap yourself in, as this track takes a turn from the sound heard on the preceding tracks and is paced even faster. It has a galloped pacing that reminds me of “Barracuda” by Heart; it is this track in particular where you can really feel the anguish and suffering in the vocals. In addition, “Dionysus” reminds me quite a bit of the new Wayfarer record that recently dropped, with that Spaghetti Western, black metal/post-rock sound. “Or” is a groovy little ditty that makes me feel like I’m watching a noir film once it starts. Towards the end of this song, I am doing my best to sing along in Icelandic while I ugly cry. Despite being in an entirely different language than I am used to, this record is infectious when it means to be.I am not going to lie, Endless Twilight of Codependent Love definitely had me fooled. I was not sold at all on the record and felt that it was a huge snoozefest at first. But once I took the time to learn more about the album and was more patient with it, I had the complete polar opposite experience. This new adventure was one that was mystifying and had me head over heels for the dreamy and sorrowful soundscapes, along with the twists and turns that awaited in nearly every song. Add Sólstafir’s newest effort to the list of records that age like a fine wine, because this record just gets better and better with each successive listen, that is for damn certain." - Everything Is Noise
    $23.00