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Japanese reissue of this rare 1973 from the great Brazilian multi-instrumentalist.
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"Recorded live in Quebec, Montreal and New York City during 1979, acclaimed avant-garde jazz quartet Oregon’s great musical skills and styles are featured to great effectGuitarist Ralph Towner and clarinet, oboe and sax player Paul McCandless have been ever present since the band’s formationOregon have recently released their 30th album and, at the time of writing, have just finished a European tourDigitally remastered and slipcasedExtensive new notes"$10.00 -
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 -
Wobbler's latest simply blew me away...The band's musical history has shown a variety of influences. While their debut Hinterland demonstrated elements of King Crimson, Gentle Giant, and many other 70s prog bands, later efforts moved towards full blown Yes worship (not that there's anything wrong with that).Personally I was a fan of Hinterland. We released it on our in-house label and it pushed all the right buttons. From Silence To Somewhere reverts back to that sound. Its very English and very 70s. The band has matured and they really have established more of their own identity. Sure you will hear something that might remind you of Genesis or Yes or [Insert your favorite 70s prog band's name here] but it will only evoke the feel - it won't sound like music that was written with tracing paper.There can be only one true answer: BUY OR DIE!$15.00 -
*Fanboy Alert*After 12 years, Loreena McKennitt is finally back with a collection of new compositions. It doesn't sound as though she has skipped a beat. The Canadian vocalist/multi-instrumentalist has created yet another incredible hybrid of Celtic/World/Folk/Prog. The production is always impeccable on her recordings and Lost Souls is no exception - Bob Ludwig mastered this. Her extensive band creates a clearly defined sound that carries over from album to album. Against this backdrop of acoustic and electric instruments is Ms. McKennitt's mesmerizing voice. Listening to Lost Souls time stands still. That seems to be the trademark of a Loreena McKennitt album. It transports you out of your daily life. I swear I can feel my blood pressure drop when I listen to this! Its been a long time but worth it. BUY OR DIE!"The Canadian singer/songwriter's first full-length collection of original material since 2006's Ancient Muse, Lost Souls sees Loreena McKennitt delivering another richly detailed and alluringly cinematic set of worldbeat-infused, modern-folk pieces that hearken back to career-defining albums like The Visit, The Mask and Mirror, and The Book of Secrets. It's the latter LP that's echoed the most -- McKennitt states in the liner notes that a number of the songs were written around the time of The Visit-- with the elegant balladry of "Lost Souls" and the moving Canadian Forces Central Band and Stratford Concert Choir-assisted "Breaking of the Sword" invoking that album's emotional high point: Her lush musical rendering of the Alfred Tennyson poem "Lady of Shalott." Once again, McKennittlooks to poetry for inspiration, with W.B.Yeats and John Keats providing the narratives for "The Ballad of the Fox Hunter" and "La Belle Dame Sans Merci," respectively, while she cites the works of authors Peter Wohlleben (The Hidden Life of Trees) and Ronald Wright (A Short History of Progress) as the motivation behind the evocative and ecologically minded "Ages Past, Ages Hence." While McKennittcontinues to incorporate Galician and Middle Eastern themes into her work -- opener "Spanish Guitars & Night Plazas" builds to a lovely flamenco crescendo, and "Sun, Moon, & Stars" invokes the sights, sounds, and smells of a Moroccan bazaar -- the bulk of Lost Souls is spent wandering the English countryside. It makes sense, as McKennitt's early work was predominantly Celtic in nature, and despite a dizzying area of exotic instrumentation -- nyckelharpa, oud, kanoun, lyra, hurdy gurdy, etc. -- it's clear that the rolling hills and temperate moors of the United Kingdom, as well as the extensive vistas of her Canadian homeland, are where her heart resides." - Allmusic$18.00 -
Solo album from the leader of Amarok. This is something very different but in a way related to Amarok's music. There are progressive elements to the music but don't expect a rock album."Finally, after a long cooking time that has lasted a 30 years, the most ambitious of all my musical projects finally sees the light. Jaume I, Musica of Fets i Llegendes. (Music of feats and legends). It is a personal vision about the life of this medieval monarch, in which I have mixed historical and legendary aspects in an undifferentiated way, and in which I have not had any problem when using the different musical resources (compositional, stylistic and instrumental) that I have deemed appropriate. In this adventure I have been accompanied by a host of extraordinary musicians who have made it rise far above what I thought possible. They are the Ensemble Spatium, the ensemble of persistence.The similarities between many of the songs of this album and the music of Amarok are evident, since they were composed at the same time, when I was working on the different Amarok albums. The music, like in Amarok records, is sung in Catalan and Spanish.The mixture of elements of contemporary and progressive folk, medieval music, classical and world music, the variety of instruments and voices from the East and the West, as well as the contribution of historical and poetic texts, make this CD (published to all luxury) a true initiation journey to this exciting time.”$16.00 -
"Since returning to music from an eight year hiatus in 2013, Kari Rueslåtten is definitely making up for lost time. 2014 saw the release of Time to Tell, her finest solo album to date, with the soft wintry melodies and her beautiful voice making it one of the highlights of the 2014- and later in the year she teamed up with Anneke Van Giersbergen and Liv Kristine to tour as The Sirens – playing a range of material from her previous band The 3rd and the Mortal and her solo career. And only 18 months after Time to Tell she’s already back with her sixth solo album To to North, another beautiful album with a lovely atmosphere, sounding new while hearkening back to previous efforts, and now we’re in December I can confidently say is my album of the year.As usual with Kari, the album is centred around her beautiful voice – her soft ethereal vocals with a Nordic trill areas lovely as ever throughout To the North, a constant on a rather varied album. The sound throughout is crystalline, the production really accentuates her voice, and each of the instruments is clear as can be. The first track Battle Forevermore begins as a soft piano led ballad, with a beautifully sullen voice recounting the story of a love gone sour, with the swell of guitar in the middle building an electric, almost intense atmosphere. The electric guitar throughout To the North was almost absent in the former album Time to Tell, and it adds a lot throughout the album – as on the following rockier piece Mary’s Song – the guitar melodies and subtle synths creating a modern sounding track reminiscent somewhat of the Mesmerized album, with touches of Spindelsinn.The next handful of tracks, show her folkier side, one she’s shined at since her career first began in The 3rd and the Mortal days. The acoustic guitar, wind instruments and subtle percussion on Three Roses In My Hands make for a sombre piece of Nordic sounding folk, while the electric guitar comes in with a soft reverb-y wash in Dance With The King, a more mordern piece but another where her folk side is exemplary in the lyrics and her soft voice.Letting Go sees a return to the flirtations with electronic elements as explored on Pilot, drum loops and a slight effect on the vocals over a supremely catchy guitar riff drenched in delay see a small return to that experimentalism, with tremolo picked guitars and clashing drums coming in at the track’s great climax. Arrow in My Heart is the highlight of the album, the soft guitar creates such a lovely atmosphere, carried along by simple, but perfectly placed drums serving to create a perfect backdrop to Kari’s voice which is as beautiful as it’s ever been in her whole career – her intonation on each line is perfect, especially the high notes near the end of the song. The bittersweet lyrics are lovely, and with the emotion in each one, this is the one you’ll be playing on repeat after the album ends.The last two tracks create a dark, brooding atmosphere that’s almost tangible. The penultimate, Turn, Turn, Turn is a cover of The Byrds track, but inverted from it’s upbeat pop to dark, folky moroseness. The crackle of distortion from the guitar creates a sombre fog, exemplified by a darker side to her voice and the plod of the piano that make it an intospective sullen, brooding piece. The closer To the North is the most atmospheric of the bunch, the otherworldly synths and slow brooding guitars create a thick icy atmosphere akin to being lost in a snowstorm. Her voice takes on a folky Nordic tone once again, and with the layering of synth and guitar it’s the closest in sound to Tears Laid in Earth than anything she’s done in the intervening years since leaving The 3rd and the Mortal. The guitar solo near the end is electrifying, and it’s a cold, wintry closer that more than lives up to it’s name, true Nordic beauty.With such a short gap since Time to Tell, one could have been forgiven for anticipating a continuation of that album, but she’s pushed her sound once again. She takes elements of her previous albums, and even her time from The 3rd and the Mortal, but adds new elements and a crystalline modern production to create a fresh and brilliant release. Overall the album seems more sullen than Time to Tell, an upbeat album in places, but with a brooding atmosphere, more variation and that great production it’s a worthy follow up. And with hauntingly beautiful tracks such as Battle Forevermore, Arrow in My Heart and the title track in particular, it’s easy to fall in love with To the North, so much so that it’s certainly my album of the year." - Swirls Of Noise$7.00 -
"Song For Everyone heralds the return of the groove in Shankar's East-West-minded music, with former Shakti colleague Zakir Hussain on tabla, Trilok Gurtu on percussion, and Shankar's own manipulation of a drum machine tending to the rhythms. The result is a brighter, more outgoing record than its predecessor Vision, veering between Western acoustic and electric grooves and the complex beats churned out by the tabla. Jan Garbarek again shines beams of light on soprano and tenor, engaging Shankar's 10-string double-necked electric violin in some complex interplay on the title track. Some tracks are driven entirely or partially by the drum machine; "Paper Nut" has a particularly infectious revolving pattern. But sometimes Shankar overdoes it; the lengthy "Watching You" has an overly mechanized feeling that can be either mesmerizing or infuriating, depending upon your mood. On another track, "I Know," the Western percussion is gradually swallowed up by the Indian tabla. Fascinating, free-thinking music, beautifully recorded as usual by ECM."- All Music Guide$13.00 -
1976's sophomore album finds the band continuing to explore the ethnic music of different regions from around the world. The music predominantly has an ethnic jazz sound but when guitarist Hasse Walli lets it rip watch out.$14.00 -
"Clive Nolan and his Neo-hard rocking companions return for the eighth Arena album in twenty years, `The Unquiet Sky', taking inspiration from (without being a direct interpretation of) M.R James' short story `Casting the Runes'. It's easy to see why the ghostly tale of supernatural intrigue and occult mystery from 1911 would appeal to Mr Nolan, and the album reveals plenty of the sleek and heavy symphonic rock with poetic lyrics that the British band is known for. The previous disc `The Seventh Degree of Separation' was a divisive and somewhat controversial release for a new line-up of the group that now included vocalist Paul Manzi, a transitional album that saw them adopting a more streamlined hard rock/metal sound. But long-time fans of the group will be pleased to know that, while there are still similarities to that previous album here and there, the much-loved symphonic atmospheres the band was known for are given more focus again, meaning a better balance of these two qualities together to create a truly sublime Arena work.Some of the twelve tracks on offer still retain a hard-rock flavour, but everything an Arena fan could hope to discover is all present and accounted for here. After a more low-key performance on the previous album, virtuoso keyboardist/composer Clive Nolan is center stage again over the entire disc. Not only are his exquisite synths constant and upfront, but the artist has also implemented plenty of theatrical and orchestral symphonic textures into the group this time around, his recent work with the `Alchemy' musical being obvious right from the start, and these theatrical flourishes are a perfect fit for the group. Vocalist Manzi made a promising and reliable debut as singer for the group on `...Separation', but here he lifts his game considerably and offers endless more vocal variety. Better worked into the group, he is equally at home with heartfelt ballads, theatre flair and chest-beating rockers, and he has really become a perfect frontman for the band. Kylan Amos from Nolan's own `Alchemy' production replaces bass player and IQ member John Jowitt and makes an impressive debut here, ex-Marillion drummer perfectly drives the music forwards and It Bites/Kino/Lonely Robot guitarist John Mitchell delivers his usual tasteful and commanding guitar flair.Of several of the highlights, listen out for the gleefully wicked and wondrous orchestral pomp that opens the album that could easily be an outtake from Mr Nolan's `Alchemy' show, the infernal and overwhelming church organ intimidation of `The Demon Strikes' and especially the shimmering dark reggae (yes, really!) chimes and sleek electronics of the thrashing `No Chance Encounter', where Kylan's bass really glides. `The Bishop of Lufford' perfectly mixes ghostly gothic mystery with soaring symphonic prog and muscular hard rock (and wait for that hair-tearing heavy finale!). `Oblivious to the Night' is a fragile little piano interlude with whimsical synths and a thoughtful vocal, `Markings on a Parchment' is an eerie dream-like introspective instrumental, and Mitchell's extended guitar solo in the classy title track even brings to mind Nolan's other band Pendragon.Cascading classical piano spirals with snarling brooding guitars in `What Happened Before', and Clive delivers an overload of delirious synth soloing goodness on both `Time is Running Out' and `Returning the Curse' in the best Nolan tradition that his fans always love to hear! `Unexpected Dawn' is a strong ballad with warm Hammond organ and soothing acoustic guitar, and the ambitious seven minute closer `Traveller Beware' finds time for plenty of ghostly gothic tension, punchy plodding heavy riffs, creeping piano and a stirring repeated chorus with a dark lyric.But special mention has to go to glorious power balled entitled `How Did It Come To This?'. It's a glorious emotional tune with a sombre piano melody, delicate orchestration and dreamy lyrics, carried by a perfectly controlled yet soaring vocal from Manzi. A restrained unfolding guitar solo from Mitchell in the middle ensures it may be one of the truly most heartfelt pieces ever to appear on an Arena album, and it's certainly one of their most purely romantic musical statements to date.Along with typically fascinating and surreal proggy cover artwork and a lavish CD booklet (but what a shame there doesn't seem to be a vinyl version in the works so far), `The Unquiet Sky' is one of the most lavish, sophisticated and varied Arena albums to date, and certainly one of their most endlessly melodic. It's a fine return to form for the Neo prog institution, and it really shows what this latest line-up is capable of, so hopefully even more impressive music is to come from the mighty Arena!" - ProgArchives$17.00 -
"Longtime Fates Warning frontman Ray Alder with his first solo album on Inside Out Music. Showcasing 10 highly melodic and imposingly versatile songs created with assistance from guitarists Mike Abdow (Fates Warning touring member) and Tony Hernando (Lords Of Black) as well as drummer Craig Anderson (Ignite, Crescent Shield), "What The Water Wanted" was mixed by Simone Mularoni (Rhapsody, Michael Romeo, DGM)."$16.00 -
Japanese reissue of this rare 1973 from the great Brazilian multi-instrumentalist.$18.00 -
Mixing rock, hard rock and progressive rock with heavy metal and power metal influences, Brazil's Daydream XI is a band with no self-imposed boundaries.Formed in 2008 the group have played with bands like Angra, Symphony X and the former Iron Maiden vocalist, Paul Di'Anno. In 2014 Daydream XI was invited by legendary drummer Mike Portnoy to perform on the 1st edition of Progressive Nation at Sea with bands like Transatlantic, Devin Townsend, Pain Of Salvation, Animals As Leaders, Anathema, Jon Anderson, King's X and many other leading names in progressive music.The band's debut album was produced by Jens Bogren, head of the world-class Fascination Street studio, in Orëbro, Sweden, released on September 27th, 2014, via POWER PROG. It has received many great reviews all over the globe, placing the band as one of the most promising names in Progressive Metal in South America.In their sophomore release, The Circus Of The Tattered And Torn, the band embraces the progressive side of their music in a dark concept album. The concept is a metaphor to express that we are drawn to each other more by our weaknesses and our flaws than our strengths and virtues. It’s portrayed through a journey, where Phillip, the Circus master, takes his new apprentice, Circe, across the various acts of this Circus. Each song represents a feeling or aspect of human life, channeled by the storyline of each character.On September 8th, 2017, Daydream XI will be opening the third night of ProgPower USA in Atlanta.$6.00 -
1975 debut album on Love Records from this still running Finnish band. Piirpauke is led by Sakari Kukko who plays a variety of wind instruments as well as keyboards. The band explores world music themes incorporating elements of jazz...and then plugging in the electricity. The debut draws on influences from Romania, Bali, China, and Finland. Beautiful stuff.$14.00 -
"Two-time GRAMMY-nominated and millions-selling progressive music titans Dream Theater announce the forthcoming worldwide release of their 15th studio album, A View From The Top Of The World on October 22nd. A View From The Top OF The World is Dream Theater at its musical finest expanding on the sound they helped create while maintaining the elements that have garnered them devoted fans around the globe. The 7-song album also marks the second studio album with InsideOutMusic / Sony Music.The artwork was created by long-time cover collaborator Hugh Syme (Rush, Iron Maiden, Stone Sour). A View From The Top Of The World was produced by John Petrucci, engineered and additional production by James “Jimmy T” Meslin and mixed/mastered by Andy Sneap.Dream Theater – comprised of James LaBrie, John Petrucci, Jordan Rudess, John Myung and Mike Mangini – was in the middle of a sold-out world tour in support of their last release Distance Over Time and the 20th anniversary of Scenes From A Memory when a Global Pandemic brought the world to a stop. The musicians found themselves at home with LaBrie in Canada and the rest of the group in the States. As fate would have it, they’d just finished construction on DTHQ (Dream Theater Headquarters) —a combination live recording studio, rehearsal space, control room, equipment storage, and creative hive. With LaBrie in Canada, he initially wrote with the band via ZOOM on a monitor in DTHQ. In March 2021, he flew down to New York, quarantined, and recorded his vocals face-to-face with Petrucci. The album ultimately threaded together lean and uncompromising hooks with tried-and-true technical proficiency.“We just love to play our instruments,” observes Petrucci. “That never goes away. I love to be creative, write, and exercise that part of my mind. We’ve been able to do this for a long time, and we don’t take it for granted. Whenever we get together, we know we can’t disappoint ourselves or our fans, so we manage to try even harder.”“We approach every album like it’s our first,” adds LaBrie. “It’s been such a great ride, but we’re not going to stop.”"$14.50
