Out Of Order Comes Chaos (Blu-ray)

Pro-shot DVD filmed on the Passion tour at Wyspianski Theatre in Poland from April 2011.  Comes with some bonus video footage - Nick Barrett interview and other stuff.

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  • Japanese SHM-CD in a mini-lp sleeve."Ibis' career was short but full of shakes, so Maurizio Salvi and Ric Parnell abandoned the group in 1975 and they were replaced by guitarist Renzo Tortora and drummer Pasquale Venditto, both members of Forum Livii.The third album of Ibis was recorded mainly at Studio J.S. Bach in Milan, except for ''Passa Il Tempo'', which was recorded at the Phonogram Studios.This work carried the name of the group as a title and was released again on Polydor in 1975.With no keyboardist in the line-up, Ibis' style became again very much Hard Rock-oriented, closing to the path of their debut, it was also mostly sung in Italian except for a couple of tracks.This was definitely Ibis' most uneven album, containing some very good guitar-based Hard Prog pieces but also some very dull and cheesy moments.Despite the lack of a keyboard player, some synthesizer lines can be heard in a few cuts, although no member has been credited to play them.The music is heavily relying on the fiery, dual guitar workouts of Di Palo and Tortora, characterized by intense lead parts, punchy rhythmic tunes and angular solos, along with the very good Italian vocals.The progressive aura is still evident throughout this effort, like on the very P.F.M.-influenced ''Passa Il Tempo'', the bombastic guitar/synth trip of ''Narratio'' or the big symphonic sound of ''Ritrovarci Qui'', featuring a majestic combination of orchestral keyboards with Proto-Metal dual guitar leads.Tracks like ''Dedicated to Janis Joplin'' or ''Keep On Movin'' are not representative of the band's talent, showcasing Ibis had run a bit out of ideas.Fortunately the majority of the album offers a charming combination of good guitar-driven passages with acoustic lines and a decent dose of keyboards, delivering eventually a mix of atmospheric and heavy, pounding textures.The story of Ibis has been finalized the same year with the return of Nico Di Palo along with Gianni Belleno to the reformed New Trolls.An attempt to revive the band as Ibis Prog Machine by Maurizio Salvi in 2007 was only brief and unsuccesful, despite bringing onboard Renato Rosset (ex-Nova and New Trolls Atomic System), Corrado Rustici (ex-Nova and Cervello), Claudio Cinquegrana (later with New Trolls) and Roberto Tiranti (bassist and singer of several Italian Metal bands and future singer of Mangala Vallis).Last and uneven album by this short-lived but definitely prolific Italian band.An excellent find for fans of Hard Prog and Proto-Metal, with glimpses of talent and impressive songwriting, but also a couple of dead holes.Recommended." - ProgArchives
    $10.00
  • "Panic Room had something of a troubled 2013. Several years hard work paid off with a growing reputation and audience for their powerful and sophisticated mix of rock, folk, jazz and metal. Then their year began with the departure of the lead guitarist, founder member Paul Davies. While Morpheus Rising’s Pete Harwood did a sterling job standing in on their already-booked tour, his commitments to his own band ruled out any longer-term involvement. So they initially announced that they’d be writing their fourth album as a four-piece. Then around the time the band were ready to enter the studio they announced the recruitment of Adam O’Sullivan, bringing the band back up to full strength.In a rock band the lead guitarist can often be as important as the singer, so how would the new-look Panic Room sound?Hard rocking opener “Velocity” with its spiralling guitar riff is close to the feel of their last album, but with the next few numbers a rather different sound emerges. It’s a step away from the rich wall of sound that characterised the last couple of Panic Room albums, with a lighter, more pared-back feel that has as much in common with Panic Room’s acoustic side-project Luna Rossa than it does with 2012′s “Skin”. In places there are echoes of the début “Visionary Position” and the singer-songwriter feel of Anne-Marie Helder’s 2006 solo record “The Contact”, and it’s notable that Anne-Marie has sole songwriting credit for half of the ten songs.There are plenty of moments where the space in the mix gives individual members the chance to shine. There’s some inventive drumming from Gavin Griffiths, and some great understated Fender Rhodes from Jon Edwards across much of the album. Adam O’Sullivan’s guitar isn’t always prominent, though he does have his spotlight moments. Much of his playing has a strong jazz flavour, with some great bluesy rippling flourishes. A good example is on “Nothing New” where his guitar work duels with some equally jazzy piano runs from Jon Edwards. The one moment towards the end of the album where he cuts loose with a rock-style solo, it’s superb. Yet again Anne-Marie’s vocals are everything you’d expect from someone voted Best Female Singer by readers of Prog magazine, hitting the sweet spot between melody and expressiveness.Much of the strongest material comes in the second half of the album. The atmospheric “Into Temptation” with its eastern-sounding vibe is reminiscent of parts of “Endgame” from the band’s début. The following three numbers “All The We Are”, “Searching”, and the soaring “Close The Door” all demonstrate Anne-Marie’s talents as a singer-songwriter.The album closes with the dark and brooding “Dust”, an ambitiously progressive piece sounding like Massive Attack crossed with late-period Led Zeppelin, building on a repeated motif keeps going round and round in your head even after the album has finished playing.At this stage in their career, Panic Room could easily have attempted a retread of the well-regarded “Skin”. But that would have been a mistake, and they should be applauded for not simply repeating a successful formula. It’s not quite perfect; the album might have benefited from one or two out-and-out rockers in the vein of Skin’s “Hiding the World” or Satellite’s “Dark Star” to add variety and raise the energy level. But it does feel like the beginning of a new chapter for the band. This is album by a band not afraid to try something slightly different, and there is much to like about it, especially after repeated listens. It’s still unmistakably Panic Room, but with their sophisticated sound it’s a record with a wider crossover potential too." - Where Worlds Collide
    $18.00
  • Interesting release from this great Argentinian symphonic band. The band's label invited the band to come into the studio and create a spontaneous recording. Its predominantly instrumental. Lots of electricity - with frets and keys flying all around. Obviously not composed but completely coherent, when the band clicks the sparks really fly. The band's vocalist Lito Marcello appears on the last song and the band enlisted a guest violinist who sat in for the last couple of tracks. Obviously a little different from their standard recordings but I think this was a highly successful experiment.
    $15.00
  • "Digitally remastered edition of the 1986 document of the famed former Thin Lizzy guitarist's tour of Japan that includes the original 8 tracks plus an extra three bonus cuts"
    $9.00
  • "The fist album I heard from The Sound Of Animals Fighting was "The Tiger and The Duke" and I thought it was really good and made me think of The Fall Of Troy a little bit but with this album they completely difference themselves from that genre. Everything is so well structured! Every song is a masterpiece with their own "thing" that gets to you and keeps you hooked. The first listen won't get you addicted of course but this album really grows on you. The more you'll listen to it the more you'll like it or even love it.The band offers great experimentations and melodies. What I really like about the melodies on the album is that they are adapted to an "abnormal" structure and they fit perfectly. Some melodies extend to 5 measures and they are able to fit perfectly 9/8 and 7/8 time signatures one after another. Some bands use weird time signatures and the result plain sucks but not with this band. They really mastered the complexities that music can have and it shows.At first I thought the interludes weren't necessary but it's inevitably a part of the album. It was made this way for a reason and they add a certain feel to the whole thing. They take you from one track to another. They tell you about the band's philosophy. Even in some tracks there is some narrating in other languages than English like Arabic and French. I don't understand the Arabic but it's still beautiful t hear and it's a glimpse of another culture. I think that's what the band wanted to put in their album : unity." - ProgArchives
    $5.00
  • "A vintage live recording from highly acclaimed prog rock band Greenslade in one of their final performances, packaged in a sleek digipak with extensive liner notes!Digitaly remastered to achieve a rich, clear sound, this concert album features highlights from the band’s latter career including “Bedside Manners Are Extra,” “Drum Folk” and more!“I listened with pleasure to the recordings. I’d forgotten how inventive and tight the band sounded. This recording is a real gem.” – Dave Greenslade"
    $14.00
  • "In 1994, The Beatles' Live at the BBC was released to worldwide acclaim - hitting number one in the U.K. and number three in the U.S. and selling more than five million copies within six weeks. Now comes a new companion to The Beatles' first BBC collection, On Air - Live at the BBC Volume 2. On Air's 63 tracks, none of which overlaps with The Beatles' first BBC release, include 37 previously unreleased performances and 23 previously unreleased recordings of in-studio banter and conversation between the band's members and their BBC radio hosts.In the studios of the British Broadcasting Corporation, The Beatles performed music for a variety of radio shows. On Air - Live at the BBC Volume 2 presents the sound of The Beatles seizing their moment to play for the nation. Thrilled to hear these exciting recordings again, Paul McCartney said, 'There's a lot of energy and spirit. We are going for it, not holding back at all, trying to put in the best performance of our lifetimes.'Ten of On Air's songs were never recorded by the group for EMI in the 1960s, including two making their debuts with the new release: The Beatles' direct-to-air performance of Chuck Berry's 'I'm Talking About You' and a rocking cover of the standard 'Beautiful Dreamer.' On Air also includes different versions of six rarities heard on the 1994 BBC collection: Little Richard's 'Lucille,' Chuck Berry's 'Memphis, Tennessee,' Chan Romero's 'The Hippy Hippy Shake,' Ray Charles' 'I Got A Woman,' and two songs they learned from records by Carl Perkins, 'Glad All Over' and 'Sure To Fall.'The Beatles' tribute to the BBC's most important pop show of the early '60s - 'Happy Birthday, Dear Saturday Club' - is another surprise. As John Lennon recalled in 1980, 'We did a lot of tracks that were never on record for Saturday Club - they were well recorded, too.' Paul remembers, 'We'd been raised on the BBC radio programs. One of the big things in our week was Saturday Club - this great show was playing the kind of music we loved, so that was something we really aspired to.'Between March 1962 and June 1965, no fewer than 275 unique musical performances by The Beatles were broadcast by the BBC in the U.K. The group played songs on 39 radio shows in 1963 alone. Ringo Starr said in 1994, 'You tend to forget that we were a working band. It's that mono sound. There were usually no overdubs. We were in at the count-in and that was it. I get excited listening to them.' On their busiest BBC day, 16 July 1963, The Beatles recorded 18 songs for three editions of their Pop Go The Beatles series in fewer than seven hours.The group played 88 distinct songs in their BBC sessions - some were recorded many times; others performed just once. At the time, three national BBC stations provided all daytime radio broadcasting in the U.K. Only the Light Programme network might occasionally play a record. Most broadcast music was live music. Consequently, to promote their releases, The Beatles had to play live at the BBC. 'Everything was done instantly,' remembered George Harrison, 'But before that, we used to drive 200 miles in an old van down the M1, come into London, try and find the BBC and then set up and do the program. Then we'd probably drive back to Newcastle for a gig in the evening!'On Air also features BBC recordings of 30 well-loved songs from The Beatles' catalogue, including five number ones and other favorites such as: 'I Saw Her Standing There,' 'Twist And Shout,' 'Do You Want To Know A Secret,' 'Boys,' 'Please Mister Postman,' 'Money,' 'And I Love Her,' and 'If I Fell.'"
    $9.00
  • At this point in time the hard rock kings of Long Island were pretty much living up to their name. Their initial "black and white" trilogy didn't make a huge dent on the national scene. They recorded a live album that was "ok". They went into the studio for their fourth album and came up with their masterpiece. If we never hear "Don't Fear The Reaper" again it would be OK with us all but it shouldn't overshadow the power of this disc. It shot the band to world wide prominence and they became a headlining act. The rest...as they say...is history. Remastered edition with 4 unreleased bonus tracks.
    $8.00
  • The Dutch masters of prog return with their long awaited second album “Under A New Sign”. Three years ago Knight Area stunned the progressive rock world with their debut “The Sun Also Rises”. Knight Area creates epic symphonic rock in the vein of Genesis, Marillion, IQ, and Pendragon. Originally conceived as a studio project by the brothers Gerben and Joop Klazinga, Knight Area evolved into a touring band drawing quite a bit of attention in Europe. The band was honored to receive an invitation to perform in the US at Nearfest 2005, where they picked up many new fans. “Under A New Sign” marks the first recordings of Knight Area as a true band, with other members having creative input. The band’s installed fanbase need not worry – the music is essentially the same but with some harder edge guitars. The new album should also appeal to fans of heavier progressive bands like Arena and Dream Theater. "Under A New Sign" is the perfect blend of old school prog married to modern production techniques. The band's signature sound - Mellotrons, Hammond organ, and flute - dizzying lead synth and guitar interplay - it's here in spades! Noted mastering engineer Bob Katz gave the music an expansive and epic feel.
    $14.00
  • "Clive Nolan (Pendragon, Arena) returns with his new solo project - ‘Alchemy – a musical”, a Victorian adventure set in 1842. Next to Clive Nolan himself, the album feature the artists well known in the world of progressive rock including Tracy Hitchings (Landmarq, Strangers on a Train), Andy Sears (Twelfth Night), Paul Manzi (Arena), Damian Wilson (Threshold), Paul Menel (ex-IQ), David Clifford (Red Jasper) as well as the leading lady of Nolan's previous musical 'SHE', Agnieszka Świta and Noel Calcaterra - a Uruguayan singer/actress and the voice of Clive Nolan South American 'Otra Vida' project from 2010. The Caamora Company musicians - Clive Nolan (keyboards), Mark Westwood (guitars), Scott Higham (drums), Claudio Momberg (keyboards) and Kylan Amos (bass) will once more take charge of the instrumental part of the project. The core members of the company will be joined by special guests and a chorus. This release will be preceded by the world premiere of 'Alchemy' show at the famous Wyspianski Theatre in Katowice, Poland on February 22, 2013, where it will be recorded and released on a DVD by Metal Mind Productions in Autumn 2013."
    $17.00
  • "In 1977, after the negative experiences of Uno and Città Frontale, founder members Lino Vairetti, Danilo Rustici and Massimo Guarino reformed Osanna with a new line up featuring Enzo Petrone on bass and Fabrizio D'Angelo Lancellotti on keyboards and synthesizers. "Suddance" was released in 1978, when the Halcyon Days of prog were coming to an end... This album could be very disappointing for old fans since Osanna here were trying to find a new musical direction blending rock, soul and jazz with the traditions of Naples, but in my opinion the result is not bad at all..."Suddance" is very different from Osanna's early works (the album features also some guest musicians like Benni Caiazzo on sax and Antonio Spagnolo on electric violin), nonetheless here you can find at least one outstanding track, the suggestive and melancholic "A zingara" (The Gipsy woman) featuring a mysterious mood... Lyrics are sung in the dialect of Naples and describe the desperate life of gipsy woman with "music and hope in her heart" who is rejected by the society... "She's a gipsy and she causes fear / That's why everybody avoids her in the street / She is so desperate to bang her head against the wall / But every time she asks for help people pretend they don't see her..."...There are other good tracks, like the opener "Ce vulesse" and the instrumental title track, more in a jazz rock vein, or the long and desperate "Chiuso qui" (the only one sung in Italian and featuring "claustrophobic" lyrics that describe the feelings of an inmate)... However, the overall sound is closer to the genre that is known as "Neapolitan Power" (very successful in the early Eighties and spearheaded by Pino Daniele) than to the peculiar prog of the early Osanna albums...Although it is not an essential album, at length "Suddance" is a good work released by an excellent group of musicians who were trying to explore new musical paths to go further... It's a pity that they had to stop!" - ProgArchives
    $15.00
  • New 40th anniversary CD/DVD-A reissue features Steven Wilson's remix plus bonus tracks. The DVD-A features a hi-res 5.1 and stereo version (the stereo version is the original mix). You also get bonus tracks in 24 bit. There is also video footage from Central Park in 1973. Oh yeah...one of the bonus tracks is "Guts On My Side" an unreleased tune the band only performed once. COOL!!
    $23.00
  • Fourth studio album from the prog "supergroup" of Mike Portnoy (ex-Dream Theater), Roine Stolt (The Flower Kings), Neal Morse (ex-Spock's Beard), and Pete Trewavas (Marillion).  Like the previous albums expect marathon length pure prog rock that reflects back onto the golden age.  The title track is 32 minutes long!This is the 2CD/DVD Deluxe edition.Track List:Main Disc:1    Into the Blue                                          25:112    Shine                                                       7:263    Black as the Sky                                       6:434    Beyond the Sun                                        4:29 5    Kaleidoscope                                          31:53TOTAL TIME: 75:43      Bonus Disc:1    And You and I                                         10:432    I Can't Get It Out of My Head                   4:433    Conquistador                                            4:104    Goodbye Yellow Brick Road                      3:165    Tin Soldier                                               3:216    Sylvia                                                      3:497    Indiscipline                                              4:438    Nights In White Satin                                6:12TOTAL TIME: 40:59Making of Kaleidoscope DVD – Full length DVD behind the scenes of the writing and recording of this amazing album. Running time 1 hour and 26 minutes. Edited by Randy George. NTSC Region Free
    $28.00
  • Reign Of The Architect is a multi-national metal project with its core musicians based in Israel.  The main "architect" appears to be Yuval Kramer, guitarist for Amaseffer.  Not surprisingly there is a musical connection here as well.  While most of the members are Israeli, some prominent names crop up: Mike LePond (Symphony X), Jeff Scott Soto, Joost Van Den Broek (After Forever).  The album is put together like a metal opera with various vocalists - male and female filling the different roles.  The overall feel is purely epic in nature.  In terms of musical reference guideposts, Amaseffer and Saviour Machine come to mind but the male/female vocal parts bring to mind Beyond The Bridge.   Highly recommended."Reign of the Architect are a multi-national progressive metal band that came together in 2008. Originally started as a side-project collaboration by Mexican drummer Mauricio Bustamente and guitarist for Israeli progressive metal group Amaseffer Yuval Kramer, the group also numbers Israeli singer Yotam Avni of death metal band Prey For Nothing, who wrote the basic storyline for what would turn out to be their debut album Rise.The group emailed ideas back and forth until it was time to record in 2010. To fill out the lineup, the group recruited several well-known and respected metal musicians, including bassist Michael Lepond (Symphony X), as well as guest musicians in keyboard player Joost Van Der Broek (Ayreon), highly regarded Israeli jazz fusion guitarist Assaf Levy, and the legendary Jeff Scott Soto (Yngvie Malmsteen, Journey, Trans-Siberian Orchestra) to perform on certain tracks. Reign Of The Architect’s first album was delayed due to the inability to find a label to release it, but finally it has seen the light of day. What could have been a disappointment instead was revealed to be a truly gripping, cinematic work of symphonic progressive metal.Rise is a sci-fi concept album of some sort. According to Kramer, the story is an “allegory of the powers that rage inside the human soul”, dealing with the subjectivity of things such as good and evil, and right and wrong. In accordance with this duology, the music on this album falls into one of two categories; either slower dramatic and mournful, or heavier bombastic and angry. Both are done in a very cinematic fashion, and combining influences from Latin, Middle Eastern, European, and jazz fusion traditions into one melting pot of progressive metal riffing.After a symphonic intro, the album opens, interestingly enough, not with a high energy song as would be expected, but with a waltz-type song, and then a ballad which starts very minimal and then turns into something more dramatic for the finale. The song “False” has a heavy, desperate feeling, and is a very powerful metal song which descends into a very surprising but very fitting jazz fusion-esque solo. The song also ends with an almost-ragtime piano section, which nicely contrasts the rest of the song.There are three vocalists featured on the album: Davidavi Dolev, Tom Gefen, and Denise Scorofitz – and this is one of its greatest strengths, as each one is given parts that perfectly suit their range and sound within the music. It adds an amazing amount of dynamicism and variance to the album.There are also a few guest vocalists to add even more to what Rise has to offer. The singers are given specific characters that are important to the concept to sing. Most appear throughout, as the concept demands, but Jeff Scott Soto makes his mark on only one track: the brilliant “We Must Retaliate”, the second single release from the album. Members of the Israeli thrash metal band Dark Serpent appear on the final song, “Hopeless War” as soldiers, and also making guest appearances (and acquitting themselves wonderfully) are Joost Van Der Broek (playing a keyboard solo on the first single release, “Distant Similarities”) and Assaf Levy, who provides guitar solos on “False” and “As The Old Turns To Sorrow”.Musically, the rest of the band is excellent. The guitar, drums, bass, and keyboards all sound fantastic and work very well together. Guitar-wise, the riffs in the more metal moments are strong, flowing, and cohesive. The bass parts, half of which are played by Michael Lepond who replaced original bassist Kyle Honea when the latter was unable to continue, are their own entity not just following the guitar. Lepond is a fantastic bassist, one of the best in progressive metal, and it shows here.Rise is three acts and fifteen songs long, running at 65 minutes. It is not long for progressive metal record, but it does occasionally feel like it drags a bit. All the songs are within the four to six minute range, and contain enough variety to keep things interesting for the most part, but the back half of the album is less interesting than the first half. The first seven songs are brilliant, while the next nine have a few shining moments, namely “We Must Retaliate” “Crown of Shattered Dreams” and “Hopeless War” among others, but are generally a little less remarkable. It is also the first part in a planned two part saga. No word on when the second album will be released, but one can hope it will be just as good as this one. Reign of the Architect have created a fantastic work of progressive cinematic metal for their debut. The variety of sound showcased, and the strong composition and musicianship along with some great guest musicians make this an excellent addition to any progressive metal collection. It is very well-produced and has some very thoughtful lyrics. Rise is definitely one of the top progressive metal albums of the year so far." - The Monolith
    $14.00