Watermark (XRCD24)

Watermark (XRCD24)

BY Enya

(Customer Reviews)
$12.00
$ 7.20
SKU: VICJ045-2292
Label:
XRCD24
Category:
World Music
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Its been a couple of years but from the back of the warehouse, 8000 miles from here, we were able to exhume additional copies of the XRCD24 edition of this world music/new age classic.  While compatible with Redbook CD standards (this means it will work in your CD player) it is manufactured using JVC's proprietary mastering process.  There are lots of versions of this audiophile reference disc but this may well be the definitive one.

Last time we had these they sold out immediately.  I would expect the same again.

 

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  • A couple of years ago I scored some of these in a warehouse find and they blew out of here immediately.  Some more turned up but how long they will last is anyone's guess.Dadawa is the stage name of Chinese singer Zhu Zheqin.  Think of her as China's answer to Enya.  No Celtic influences here - its purely Asian.  She collaborated with producer/composer He Xuntian on Sister Drum (and later titles) and he knows what he's doing.  The music builds and builds and draws you in.  Her voice is purely hypnotic.  The production is such that it unfolds in layers and layers - of vocals and instrumentation.I have to make a point of discussing the audio aspects of this set.  Its simply unbelievable.  While compatible with standard Redbook CD, the dynamics on this album are utterly insance.  If you crank this one up you are in danger of smoking your woofers - the bottom end on this recording is cavernous but tight as can be.  This is an XRCD24 disc.  It is a special pressing utilizing JVC's proprietary mastering process.  You want to be a show off?  This is the disc to play.  A total lease breaker and gorgeous music to boot.  BUY OR DIE!
    $5.00
  • Dream Theater began their mammoth A Dramatic Tour Of Events world trek in July 2011 with the final leg in South America taking place in August 2012. It was here at the Luna Park arena in Buenos Aires, Argentina that they decided to film the two nights that go to make up this DVD release. It was Dream Theater's first tour with new drummer Mike Mangini and all the tracks from their first album together A Dramatic Turn Of Events are included in either the main show or the bonus performances. Dream Theater are rock s supreme virtuosos with many awards to their name and here in concert they bring all the power and drama of their music to life with breathtaking performances of classic tracks from across their career.Features many of their classic tracks including: Metropolis Pt. 1 , The Silent Man , Pull Me Under , The Root Of All Evil , The Test That Stumped Them All , The Spirit Carries On and the recent On The Backs Of Angels .Bonus FeaturesDocumentary / Trailer / Behind The Scenes / Cartoon IntroBlu-Ray1) Bridges In The Sky 2) 6:00 3) The Dark Eternal Night 4) This Is The Life 5) The Root Of All Evil 6) Lost Not Forgotten 7) Drum Solo 8) A Fortune In Lies 9) The Silent Man 10) Beneath The Surface 11) Outcry 12) Piano Solo 13) Surrounded 14) On The Backs Of Angels 15) War Inside My Head 16) The Test That Stumped Them All 17) Guitar Solo 18) The Spirit Carries On 19) Breaking All Illusions 20) Metropolis Pt. 1Bonus Tracks1) These Walls 2) Build Me Up, Break Me Down 3) Caught In A Web 4) Wait For Sleep 5) Far From Heaven 6) Pull Me Under
    $15.00
  • "I am no stranger to the awesome might of Between the Buried and Me. Back when I first started writing for MetalNuhUh, as the scant old school among you may remember, I endured a not-so-sexy injury bike accident which resulted in a broken shoulder, and it was shortly after said injury that I first got to witness the glory of a BTBAM show, on Halloween no less. This was back in the Colors days (probably still my favorite offering from the band), and I’ll be damned if the music — and a handful of whiskeys, as well as the cute flirty smile of the bartender — didn’t make me wanna throw caution to the wind and fight my way through the pit with a broken shoulder.Thankfully I restrained myself – hard to find the motivation when some poor bastard was carried out of said pit with a protruding ankle bone sticking out of his leg – but the real lesson to take away here is that this is a band with the ability to conjure up such a wicked level of excitement with a stupendous live performance…CUT TO:Several years and a couple noodley records later, my perception of BTBAM’s current music had become slightly underwhelmed, but catching the band earlier this year on tour with Intronaut and Deafheaven reminded me just how sickly tight the playing is.  And this is a similar feeling I get when watching new Blu-ray DVD release Future Sequence: Live at the Fidelitorium; to see these dudes crank it out live reminds me every time where the magic lies.Sure, it’s easy to dismiss some of the tunes as a bit too proggy, ostentatious, melodramatic even — there are several decidedly clowny video game/carnival/musical theater-inspired moments (which actually makes quite a bit of sense since the group recently alluded that it will be embarking on a journey to create a rock opera), but these guys are such gifted individual musicians that truly elevate to a whole other level together that no matter how you may feel about any of their material, the impression they leave will drop your jaw every time.In watching Live at the Fidelitorium, as seeing the band live, it’s almost impossible not to fawn over BTBAM’s tightness. There are several moments that sound pretty impossible, but wait a second—I just saw five humans make that happen…  Drummer Blake Richardson is a beast who straddles the magnificent line between heavy hitting and ripping jazzy groove chops, the guitarists and bassist display jaw-dropping dexterity for days, and Tommy Rogers once again astonishes with his pearly singing timbre that somehow escalates into one of the most br00tal growls I’ve ever seen from a little dude.And this particular performance also features some additional players, special guests including bassist Dan Briggs’ saxomophone cohort from fusion outfit Trioscapes, a tuba player, a string quartet, and a glockenspiel/marimba player.  For some reason, these guest performances are presented in such a matter-of-fact way (cutting into their footage all of a sudden when their parts drop in) that it’s hard to get a sense of where these additional players are situated geographically. One assumes that they are somewhere in the same studio as Tommy and the boyz, but from a directorial/editing perspective it’s difficult to tell where they are are situated.Overall it’s a real pleasure to watch such a simple, barebones performance from such a crazy band — aside from the extras (some additional pretty pointless “behind-the-scenes” footage documenting the studio setup and some interesting interviews explaining the impetus for the DVD), Future Sequence: Live at the Fidelitorium is a mostly no-frills studio recording, meant to show the band in a subdued, intimate setting without the distractions of a crowd or the chaos of a live show. And it’s definitely a treat to see the guys do their thing. Any BTBAM fanboy (or fangirl, but c’mon—let’s get real here) will be psyched to lay eyes on this DVD, but I’d be pretty surprised if anyone new to the band was extremely bowled over by this largely ho-hum studio “concert” setting. At this point in such a killer band’s impressive career that probably doesn’t matter much though; it’s just nice to sit back and watch BTBAM do its thing." - Metal Sucks
    $17.00
  • "The UK progressive synth group known as Zoltan have been turning heads since arising in 2010 as one of the most interesting projects signed to a then-fledgling Austrian label by the name of Cineploit Records.Fast forwarding four years later, both Zoltan and Cineploit are hitting a creative stride in their partnership, as the Sixty Minute Zoom LP will strongly attest. This sophomore effort from Zoltan follows up an EP for famed British doom label Rise Above-an audio take on director Amando De Ossorio's classic Blind Dead series of horror films-as well as a Cineploit-released tribute to John Cameron's score to the equally iconic Seventies film Psychomania, while at the same time leaving nearly every prior release from the band in the proverbial dust, so epically addictive and immensely blissful is this sound.Sixty Minute Zoom takes the building blocks of influence carved from the likes of film composer Fabio Frizzi, Italian prog giants Goblin and Pittsburgh duo Zombi and erects here a monument to their own creativity and unique compositional eye. Indeed, every aspect of Sixty Minute Zoom sounds more focused, confident and actualized as keyboardist Andy Thompson, bassist/keyboardist/guitarist Matt Thompson and drummer Andrew Prestidge lock into each others' musical strengths and unleash what is most certainly the defining Zoltan release up until this point in the band's career.Highlight tracks such as "The Ossuary" pulse with a malevolent bass drone and swirling, atmospheric synth, while the album's epic, twenty minute closer "The Integral" moves effortlessly between horrifically mood-setting soundscapes and low key electronic experimentation, anchored by an absolutely amazing drum performance from Prestidge. The drummer's lock-tight groove at the thirteen minute mark through the track's sizzling finish is bested perhaps only by the subtly powerful groove Prestidge hits upon as the Thompson's growling synth stabs lift the opening movements of "The Integral" as the best soundtrack theme never featured for an Italian horror or giallo film.No hyperbole or exaggeration here: Sixty Minute Zoom demands immediate attention from electronic music fiends and Eurocult soundtrack buffs the world over, as it bucks the late year trend as one of the finest albums of 2014." - The Examiner
    $18.00
  • "The Jefferson Airplane opened 1967 with Surrealistic Pillow and closed it with After Bathing at Baxter's, and what a difference ten months made. Bookending the year that psychedelia emerged in full bloom as a freestanding musical form, After Bathing at Baxter's was among the purest of rock's psychedelic albums, offering few concessions to popular taste and none to the needs of AM radio, which made it nowhere remotely as successful as its predecessor, but it was also a lot more daring. The album also showed a band in a state of ferment, as singer/guitarist Marty Balin largely surrendered much of his creative input in the band he'd founded, and let Paul Kantner and Grace Slick dominate the songwriting and singing on all but one cut ("Young Girl Sunday Blues"). The group had found the preceding album a little too perfect, and not fully representative of the musicians or what they were about, and they were determined to do the music their way on Baxter's; additionally, they'd begun to see how far they could take music (and music could take them) in concert, in terms of capturing variant states of consciousness.Essentially, After Bathing at Baxter's was the group's attempt to create music that captured what the psychedelic experience sounded and felt like to them from the inside; on a psychic level, it was an introverted exercise in music-making and a complete reversal of the extroverted experience in putting together Surrealistic Pillow. Toward that end, they were working "without a net," for although Al Schmitt was the nominal producer, he gave the group the freedom to indulge in any experimentation they chose to attempt, effectively letting them produce themselves. They'd earned the privilege, after two huge hit singles and the Top Five success of the prior album, all of which had constituted RCA's first serious new rock success (and the label's first venture to the music's cutting edge) since Elvis Presley left the Army. The resulting record was startlingly different from their two prior LPs; there were still folk and blues elements present in the music, but these were mostly transmuted into something very far from what any folksinger or bluesman might recognize. Kantner, Jorma Kaukonen, and Jack Casady cranked up their instruments; Spencer Dryden hauled out an array of percussive devices that was at least twice as broad as anything used on the previous album; and everybody ignored the length of what they were writing and recording, or how well they sang, or how cleanly their voices meshed. The group emerged four months later with one of the rawest, most in-your-face records to come out of the psychedelic era, and also a maddeningly uneven record, exciting and challenging in long stretches, yet elsewhere very close to stultifyingly boring, delightful in its most fulfilling moments (which were many), but almost deliberately frustrating in its digressions, and amid all of that, very often beautiful.The album's 11 songs formed five loosely constructed "suites," and it didn't ease listeners into those structures. Opening "The Ballad of You and Me and Pooneil" (a Kantner-authored tribute to Fred Neil) amid a cascading wash of feedback leading to a slashing guitar figure, the band's three singers struggle to meld their voices and keep up. A softer, almost folk-like interlude, highlighted by Slick's upper-register keening, breaks up the beat until the guitar, bass, and drums crash back in, with a bit of piano embellishment. Then listeners get to the real break, an almost subdued interlude on the guitars, and a return to the song at a more frenzied pitch, the guitar part dividing and evolving into ever more brittle components until a crescendo and more feedback leads to "A Small Package of Value Will Come to You, Shortly." This brilliantly comical and clever percussion showcase co-authored by Spencer Dryden and the band's manager, Bill Thompson, is a million miles beyond any drummer's featured number in any popular band of that era, and it leads into Marty Balin's "Young Girl Sunday Blues," the most rhythmically consistent song here and one of a tiny handful of moments that seem to slightly resemble the band's past work. The aforementioned tracks comprise just the first suite, designated "Steetmasse.""The War Is Over" suite opens with "Martha," the album's folk-style interlude, almost a throwback to the group's original sound, except that the listener suddenly finds himself in the midst of a psychedelic delirium, heralded by the dissonant accompaniment and a high-energy fuzztone guitar solo (spinning out sitar-like notes) coming out of nowhere and a speed change that slows the tempo to zero, as though the tape (or time, or the listener's perception of it) were stretching out, and the pounding, exuberant "Wild Tyme," a celebration of seemingly uninhibited joy. "Hymn to the Older Generation" is made up of Kaukonen's "The Last Wall of the Castle," an alternately slashing and chiming guitar pyrotechnic showcase that rivaled anything heard from Jimi Hendrix or the Who that year, and Grace Slick's gorgeous "Rejoyce," a hauntingly beautiful excursion into literary psychedelia, whose James Joyce allusions carry the Lewis Carroll literary allusions of the previous album's "White Rabbit" into startlingly new and wonderful (if discursive) directions and depths. "How Suite It Is" opens with the album's single, the lean, rhythmic "Watch Her Ride," whose pretty harmonies and gently psychedelic lyrics persuaded RCA that this was their best shot at AM airplay and, true to form on an album filled with contradictions, it leads into "Spare Chaynge," the crunching, searing, sometimes dirge-like nine-minute jam by Kaukonen, Dryden, and Casady that wasn't ever going to get on AM radio -- ever -- and, indeed, might well initially repel any Airplane fan who only knew their hit singles. "Shizoforest Love Suite" closes the album with Slick's "Two Heads," with its vocal acrobatics and stop-and-go beat, and "Won't You Try"/"Saturday Afternoon," the latter Kantner's musical tribute to the first San Francisco "Be-In" (memorialized more conventionally by the Byrds on "Renaissance Fair"); it features many of the more subdued, relaxed, languid moments on the record, divided by a killer fuzz-laden guitar solo.Needless to say, this is not the album by which one should start listening to this band -- "Spare Chaynge" remains an acquired taste, a lot more aimless than, say, the extended jams left behind by the Quicksilver Messenger Service, though it did point the way toward what Kaukonen and Casady would aim for more successfully when they formed Hot Tuna. But most of the rest is indisputably among the more alluring musical experimentation of the period, and Kantner's "The Ballad of You and Me and Pooneil" and "Watch Her Ride," as well as Balin's "Young Girl Sunday Blues," proved that the group could still rock out with a beat, even if not so prettily or cleanly as before. [After Bathing at Baxter's was represented poorly on CD until 1996, when it was finally reissued in an upgraded edition, which was later deleted and was only available as part of the bizarre 2001-vintage Ignition box. It has since been remastered again, with very important, downright essential bonus tracks, as of 2003. Additionally, After Bathing at Baxter's was the last Jefferson Airplane album to appear in a mono version, which sounds very different than the more common stereo mix, and has yet to show up on CD." -All Music GuideRemastered edition with bonus tracks. 
    $7.00
  • My Soliloquy is a British band formed in 2002 by multi-instrumentalist Pete Morten.  Since then the band has released a number of demos, gaining traction in the metal underground. The band had a number of notable support shows with Pagans Mind, Power Quest, Oliver and Rick Wakeman, and Threshold, as well as a second-to-headline set at Bloodstock 05 and a showcase at 2007’s ProgPower UK II.Since 2007, Morten has been an active member of British prog metal legends Threshold.  His membership has raised awareness (and created anticipation) for My Soliloquy’s long awaited debut.The essence of My Soliloquy is pure forward thinking metal – symphonic keyboards, shredding guitar leads, soaring vocals – all finely woven together with a blend of intricacy and melody.  The Interpreter was mixed and mastered by Rob Aubrey who has been a mainstay of Marillion’s camp for many years.
    $5.00
  • Ladies you'll have to excuse us for a few minutes....I need to chat with the men right now. Please leave now...YO GUYS - ARE THEY GONE?Here's the deal....this is the first solo album from Sally Oldfield, Mike's sister. Recorded in 1978 this predated the new age movement by many years. This is ethereal folk/prog/new age bliss. Sally slips into the Earth Mother role quite well (perhaps a bit too easily in fact). It's a purely mystical album with Tolkien-esque themes. Sally plays most of the instruments but Mike does make a guest appearance. This is a remastered edition that is clean as a whistle - it sounds like it was recorded yesterday.So what's the point of getting the ladies away from the screen? This disc works two-fold: If your lady isn't into prog - this is the entre disc. One minute she will be listening to Sally Oldfield and who knows? Six months from now it might be Univers Zero! The other aspect is that if your lady is already a prog head than this is prog music that touches her femininity. 10 minutes in and who knows what might happen? Ya got me?Highly recommended.
    $13.00
  • Archangel is the side project of Ubi Maior (and former The Watch) keyboardist Gabriele Manzini.  Like the first album, this one is a concept piece.  I guess vampires are in vogue these days so we get stories of Countess Bathory, Nosferatu, et al.  The musicians on the album are drawn from Ubi Maior, Red Zen, and some other Italian bands.  The key to the album is the return of Damian Wilson who once again stands out as one of the featured vocalists.  The music is squarely in the prog rock vein with a keyboard orientation but with an overall harder edge.  The overall tone of the album is gothic dark.  Manzini includes two cover tunes - he takes his own spin on BOC's "Nosferatu" and Roxy Music's "My Only Love".
    $15.00
  • "New album  from Daniel Cavanagh of Anathema, introducing the brilliant Sean Jude.Leafblade was born out of a calling. A calling to bring the writing of Sean Jude towards a wider audience; or so thinks Mr. Cavanagh of Anathema, who originally formed Leafbladewith Jude several years ago.In May 2013 Leafblade release their new album, The Kiss of Spirit and Flesh, on the Kscope label.Daniel and Sean are joined on the new album by Anathema's portuguese multi instrumentalist Daniel Cardoso who plays drums, supported by Kevin Murphy and recorded by Mark Ellis who worked on anathema's 2010 masterpiece, We're Here Because We're Here.Produced by Cavanagh, The Kiss of Spirit and Flesh steps up the dynamics from debut albumBeyond, Beyond.Showcasing Cavanagh's unmistakable production work, his signature electric guitar playing and heartfelt 'musical weaving', all of which is built around Jude's unique and brilliant progressive songwriting, his lute-like nylon strings, his articulate lyrics and passionate vocal delivery.Cavanagh feels that the album has found a natural home at Kscope, the label that he has worked with extensively over the past few years, "the writing is absolutely top class and the progressive and organic nature of the music makes it very much part of Kscope's orbit."He continues; "we feel the album is a special one thanks to the beautiful lyrics, top class arrangements and excellent musicianship, and it should appeal to Anathema fans and progressive fans alike."""
    $15.00
  • "From the symphonic mastery of DEVILISH IMPRESSIONS to the almighty blackened glory of BEHEMOTH, to the majestic power of CRYSTAL VIPER, Poland has proven itself to be a proficient exporter of influential Heavy Metal bands. In celebration of some of the band’s finest works, CRYSTAL VIPER has re-released “The Curse Of The Crystal Viper”,which was originally released in 2007, and has thrown in the mix a few fun bonus tracks as well as photos and all lyrics. It’s a more complete package than my childhood Easter gift baskets. This album is a masterpiece that will be especially savored by lovers of power metal, aka the most powerful of all metals. CRYSTAL VIPER’s ability to maintain the savage spirit of power metal while polishing the genre with their own intelligent musical style is apparent in songs like “Night Prowler” and“The Fury Undead”.The band honors their greatest predecessors in the metal world as well. The groovy intro that presents “Demon’s Dagger” follows in the footsteps of SABBATH, and “I Am Leather Witch” has a distinct IRON MAIDEN touch that would warm Bruce Dickinson’s heart.Additionally, the re-release offers covers of MANILLA ROAD and WARLOCK songs, as well as a Polish version of “The Last Axeman”, and a few 2008 versions of songs that repeat in this album. This album is as engaging as it was when it was first released, and long-time fans are not going to be disappointed in the slightest." - Metal Temple
    $16.00
  • Long awaited 5.1 remix of the classic Rush album.  Here is what you get...CD:1. Remastered edition2. 3 previously unreleased live tracksBLU-RAY:1 5.1 remix in 24/96 PCM and DTS-HD2. Stereo mix in 24/96 PCM3. Digital comic book, lyrics, liner notes and photo gallery
    $33.00
  • Limited digipak edition with one bonus track."Fourteen years. Fourteen years have already passed, since Morten Veland departured from one of the most prominent and praised gothic metal acts of its time, Tristania, and decided to further develop and portray his talent and visions in Sirenia. If you are like me and have followed them since the beginning to the point where we are now, then this is definitely one of these moments when we realize how quickly time passes by, wouldn't you agree? What has happened in these fourteen years? An amazing debut At Sixes And Sevens, its noteworthy successor And An Elixir For Existence and a few albums, which divide the band's fan base: some more loved, other less, but all bearing the typical Sirenia characteristics. A few line-up changes happened in the course of the years as well, but since 2011 the band has been a steady quintet and I'm guessing the stability and energy between the band members has to do something with the fact that since 2011's The Enigma Of Life, which I consider to be the lowest point of Sirenia's repertoire, the band has again turned the page and decided, reaching a low point is something they should accept and – ascend. The recruit of Ailyn, who joined the band in 2008 as a lead female singer obviously was more than a good idea, because she is the longest running of all female vocalists who ever stood in front of the microphone of the band and has shared notable seven years with them. Speaking of sevens, whether it is a coincidence or not (and I do not believe in coincidences), that The Seventh Life Path is the band's seventh full length album and the sevens continuously appear in Veland's tracks – "Seven Sirens And A Silver Tear" (An Elixir For Existence), "Seven Keys And Nine Doors" (Nine Destinies And A Downfall), "The Seventh Summer" and "Sirens Of The Seven Seas" (both on The 13th Floor) and "Seven Widows Weep" (Perils Of The Deep Blue) - to go through them all, I am not sure. But it is a number of mystery and magic, a number which finds its place in fairy tales and legends as well as mythology and religion and the seventh Sirenia album is, believe it or not, just as mysterious and spellbound as the number.  Whilst the typical melodic, rhythmic and groovy guitar riffing, beautifully combined and enhanced by the use of choirs, powerful orchestrations, delightful piano melodies and stunning Ailyn's clean vocals, counterpoised by Morten's profound growls, still build the core of The Seventh Life Path, its beauty lies in incorporating various elements of different metal styles and thus its explorative, even a bit experimental and pompous nature. The opening intro track "Seti" is a nice ambient setter, which takes you on the darkest path and the frightening and threatening choirs let you know you are in for something big: something incredibly obscure, flamboyant and majestic. The compositions on The Seventh Life Path are yet again very dense and rich, as they ooze strange, strained, sharp, intense, wretched and venomous atmosphere and you get just that with the following "Serpent", a highly tenebrous and ghastly song, which emits a deranged and vile ambiance, a bit similar of what we already heard in Tristania's "Opus Relinque" or "Heretique" from their 1999 album Beyond The Veil. Not only musically, but a great part in building that sensations are Ailyn's graceful vocals and again she has proved she keeps evolving: she lightly shifts from sounding like insane witch, beautiful enchantress, raging fury or a fragile siren so effortlessly and with Morten's opposing growls they are creating the typical beauty and the beast play of vocals. Not only by using the two typical vocal techniques, which contradict each other, but because they are interacting as they are telling us a story and thus add a special, very dramatic and almost theatrical effect, which intensifies the sound to the maximum.Similarly, the grandiose epicenes is probably most notable in a more than eight minute lasting epopee "Sons Of The North", an incredible track, that pushes the sound of Sirenia even further by incorporating avant-garde metal features – when you come half-way along the song a mad intermezzo, with incredibly haunting atmosphere breaks the song’s dynamics and descends into a massive, twisted sensation and so it even heightens the sombre and asphyxiating ambient. "The Silver Eye" brings yet another surprise with its almost fast-paced and abrupt beginning, which really shows Sirenia peered themselves into far more aggressive realms, we were used to. On the other hand, The Seventh Life Path also offers some catchy and melodic tunes, for example in "Elixir", a song, which somehow flows in the vein of currently popular trancecore a wee bit and last but not least, delivers some very classical sirenian tunes, for instance in a ravishing and elegiac ballad "Tragedienne" or a classical gothic/symphonic tune, filled with typical Veland-ish guitars and powerful choirs in a bittersweet "Once My Light" and "Concealed Disdain".To be honest, I was a bit reserved with this album, simply because I had no idea what to expect, but I can honestly say this is not only an album for the devoted Sirenia fan base, but also for anyone looking a wonderful combination of prime gothic metal and symphonic metal grandeur. The Seventh Life Path was far more than I expected it to be, simply because it depicts a step further in Sirenia's sound and I had never even imagined they would go for exploring and expanding their well-established sound by going into more tense and intense waters, into even more complex and enhanced compositions and stygian atmosphere. With this release Veland has completely mastered his ability to perfectly equilibrate all those various elements and portray them into a whole different, so much more vigorous, ferocious and emotional manner; poured his entire soul into this work of art and perfected the interpretation of musical compositions and song-writing. The divine and darkened harmonies on this album result in an esoteric, edgy, mesmerizing and hellacious album, which at the same time offers a tremendous emotional burdened and at the same time story-telling aestheticism." - Terra Relicta
    $13.00
  • Steve Moore is probably best known as one half of the Pittsburgh based band Zombi.  He also has quite a prolific solo career.  Light Echoes marks his first release for the Cuneiform label.  The album is recorded purely with vintage analog synthesizers and is very heavily in debt to the Berlin school sound of deep space electronics.  These are long form compositions that on par with anything done in the 70s.  Time to bliss out!  Highly recommended.
    $15.00
  • This is a digibook edition of this classic Supertramp album.  Its long been an audiophile favorite and now it features a remaster via Greg Calbi at Sterling Sound.
    $9.00