Past And Presence (DVD/2CD)

SKU: MMPDVD0105
Label:
Metal Mind Productions
Format:
NTSC
Region:
Region 0
Category:
Progressive Rock
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Filmed in Katowice, Poland on 10/31/06 (Halloween!), this marked the 21st anniversary of the release of The Jewel. The band concentrated on material from this early album as well as older tunes in general. Some old members Julian Baker, John Barnfield and Rik Carter perform with the band as well. The show runs almost 2 hours and there is the usual bonus interviews, etc. This limited edition comes in a large digipak and contains 2 CDs with the audio tracks of the performance.

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  • 130 minute DVD packed with great live set as well as all kinds of bonus material. 5.1 Dolby Digital sound is reported to be awesome (I don't have a surround setup so I can't confirm).
    $16.00
  • "It only seems like a couple of weeks since Caravan announced in August 2013 that they were to record a new album that would be financed by money pledged by fans, and yet here it is already!What should have been a joyous time for the band and fans alike was sadly marred by the death of long-time drummer Richard Coughlan on December , however it is fitting that the digital download of the album was released to fans who had pledged on December 20, the day of Richard’s funeral!Musically this has classic Caravan stamped all over it. It is not, however, a hark back to the halcyon days of the 70′s and In the Land of Grey and Pink or For Girls Who Grow Plump in the Night, there are not anywhere near as many long instrumental sections in there for a start and the longest song I’ll Be There For You clocks in at a mere 6:14. What we do have here is a stripped down, and updated 2013 version of everything that Caravan fans look for. The classic songwriting is there, as is the excellent musicianship and whimsical lyrics, and let’s face it, with that instantly recognisable, trademark voice, Pye Hastings could re-record Never Mind The Bollocks and it would probably still sound like Caravan.All This Could Be Yours is a belter of an opener, and despite what I said above, this is one track that would not have been out of place on Grey and Pink or Girls Who Grow Plump! With an excellent, albeit short, viola solo from Geoffrey Richardson, and a great hook in the chorus, it skips along merrily in classic Caravan style.One of the ways of financing the album was to get people to pledge extra to go to the studio and get involved in the recording, I don’t want to pour cold water on anything but sadly I think this is where the band have shot themselves ever so slightly in the foot. Despite being a great song, I’m On My Way, has some awful, flat backing vocals in the chorus which almost ruin the song. The same applies to This Is What We Are where a slightly naff chorus comes close to ruining what is otherwise a very strong song, being slightly heavier than we are used to from Caravan including an infectious piano motif and an excellent, soaring guitar solo towards the end.The slower Dead Man Walking is the perfect pacer, leading into the very emotive Farewell My Old Friend. As an ode to the passing of a close friend, this song is made all the more poignant following the death of Richard Coughlan and brings a lump to the throat!In typical Caravan style, no-one is allowed to get too maudlin, as the next two songs Pain in the Arse with the vitriolic closing line ‘I don’t care if you sue me now, you are insane’, and Trust Me I Am A Doctor put the collective tongues firmly back in the cheek. Doctor takes an irreverent stab at a GP, who I’m quite sure, given the amount of names dropped in the song is a real person and should have no difficulty in identifying himself! But it is all done in good fun and I’m sure no umbrage will be taken!The album finishes on a mellow note with the wistful I’ll Be There For You and the title song Paradise Filter which kicks off  really slow and  melancholy with a late night jazz feel, before breaking out into a middle section that is very reminiscent of the instrumental break in The Dog, The Dog, He’s At It Again!Overall this is an excellent return for a band that has been absent from the recording studio for too long (it is ten years since the release of The Unauthorised Breakfast Item in 2003). Not that they have been resting on their laurels as they have still been playing live gigs, but it is nice to know that they can still cut it and write well crafted, catchy and extremely listenable songs.It also proves that the pledging route is a very viable way of financing studio time and album releases, sadly, however, I doubt very much that would work for new bands as you would have to have a name for yourself in order to create the initial interest. Maybe extensive gigging and as the old saying goes ‘paying your dues’ would help. Now there’s an idea (take note potential XFactor and The Voice contestants)!" - jonb52
    $20.00
  • Deluxe edition of the second album from Mike Oldfield. It includes the 2010 remix (done by Oldfield himself), the original 174 mix, unreleased demos, tracks, b-sides as well as a DVD with the 2010 mix done in 5.1 surround.
    $36.00
  • "The amazing thing about Caravan is just how much they recorded for the BBC, whether in radio sessions or live concerts, but even more amazing is that they keep on belting a few sessions every now and then. Released in 2007, TSOOL is yet another one of those release, a double disc affair for that matter, and still no overlapping from sessions and no sessions with doubtful (even if admitted and revealed) origins, such as the Green Bottles For Marjorie release. But if there are no repetition of sessions, I wouldn't exactly say that these recordings are absolutely essential if you already own one or two live records from the For Girls/Stunts era or own the other sessions from the original four.I'm not going to go through all of the tracks, but it's quite pleasant to hear three from their debut album, including a rare Wilde Flowers/Soft Machine stunning tidbits Feelin, Squeezin' from a 71 session. Other rarities are the rarely heard Love To Love You, a vastly different Love Song With A Flute (Sinclair on electric piano) and an unfortunately abridged Grey & Pink track and 9 Ft Underground. The only thing not right about this first CD is the inclusion of a For Girls session. Why didn't they wait for the second dic as there was enough space.That very second disc offering us a bunch of Richardson-era sessions, but not past the Stunts album. Of interest is the Love In Your Eyes with violin and the two new for the New Symphonia gig tracks as well as a For Richard, but most of these can be heard on the Fairfield Hall concert. Hell we even hear Pye answering Geoffrey's great violin runs in For Richard. One of the best versions of Dabsong Conshirtoe is also present on this disc.Surprisingly, these BBC sessions are issued by Decca label instead of the HUX label, which has been handling BBC stuff for the last years. Anyway, those of you reading me for years now know I have a soft spot for Caravan, but this doesn't mean a fanboy and that I'm buying everything from them; quite on the contrary, I tend to be even more difficult with my fave artistes. So when I saw this, I hesitated less than 10 seconds, told myself, WTF and took it home, knowing I'll only have limited mileage on it. While I wouldn't call this essential at all for general progheads, if you're a Caravan fan, this is an absolute must for all of the great surprises." - ProgArchives
    $15.00
  • The double disc hard back 32 page book comes with lots of extras, including the complete remix of the album, extra bonus tracks and a DVD featuring live video footage of material from ‘Tales’ along with a host of MP3 files, original mixes, audio commentary and previously unreleased writing/rehearsal/demo material. The full track listing for the CD/DVD edition is: CD:
 • The Last Human Gateway
 • Through The Corridors (Oh! Shit Me) • Awake And Nervous
 • My Baby Treats Me Right ‘Cos I’m A Hard Lovin’ Man All Night Long
 • The Enemy Smacks 2013 remix by Michael Holmes 
Engineered by Rob Aubrey Bonus tracks
: • Wintertell (2012 recording) • The Last Human Gateway (end section, alternative vocals) • Just Changing Hands (unfinished demo)
 • Dans Le Parc du Château Noir (unfinished demo) DVD: 
• The Last Human Gateway • Through The Corridors (Oh! Shit Me) 
• About Lake Five / Awake And Nervous • The Enemy Smacks 
(Live at De Boerderij, Zoetermeer, Holland: October 23, 2011) • Photo Gallery (contemporary photos and artwork) • DIY Mix of ‘Through The Corridors': multi-track audio files and mixing software MP3 files:
 • ‘Tales From The Lush Attic’ (original mix: August 1983) 
• Seven Stories into Eight (original cassette album) • Tales from the Lush Attic - audio commentary by Peter and Mike Further listening:
 • The Enemy Smacks (first attempts: November 1982) • 
The Last Human Gateway (writing session: February 1983)
 • Just Changing Hands (instrumental demo: February 1983)
 • Just Changing Hands (rehearsal: February 11, 1983)
 • Wintertell (demo: July 1983)
 • The Last Human Gateway (first complete version - rehearsal: July 27, 1983) 
• Unused idea version 1 (rehearsal: August 1983) • 
Unused idea version 2 (rehearsal: August 1983)
 • Hollow Afternoon (demo, original lyrics: 1983) 
• Just Changing Hands (Cava demo: 1984)
 • The Last Human Gateway (middle section) (1991 recording)
    $25.00
  • One of the rarest and most sought after US prog albums of the 70s finally sees a legit release. Victor Peraino was the last keyboardist in Arthur Brown's Kingdom Come. When that band dissolved he used the name for his new band. While his vocals leave something to be desired his keyboard work does not. This one is a real pyrotechnic display with Mellotron, ARP, Moog, Hammond B3, and Putney VCS3 all used to good effect. As a bonus you get 4 tracks from his 1981 "Were Next" EP).
    $16.00
  • "People go on about how many members have been in The Fall, but I reckon even more have passed through Hawkwind. The Notting Hill counter-culture of 1969 in which they formed is a lifetime away,  on another planet, and only Dave Brock remains from those wild, formative years under the Westway with Lemmy, Bob Calvert and co. But they still travel with that aura of proper rock'n'roll mythology – extreme, even insane, too far out, uncompromising and sometimes brutally overpowering.On this typically peculiar new album of old songs refreshed, new mixes, and new tracks, intimations of their original greatness bleed through. First off, there’s original guitarist Huw Lloyd-Langton (one of the great undersung British guitarists) on what may be his last recording, a retooled "Master of the Universe", and his lines are melodic, wailing, sensitive and powerful. There’s no other player like him.Then there’s Hawkwind’s equivalent of selfies – old tracks re-recorded – including Warrior on the Edge of Time’s "Assault & Battery/Golden Void", which is enjoyable without touching the hem of the 1975 original, and a haunting, haunted "We Took The Wrong Step", a lament which has only increased in sadness and weight since it was released on X In Search of Space in 1971. Finally, there are remixed songs from the current (stable) line-up’s recent albums, and a scattering of new tracks that veer from the ersatz to the properly weird.This was released to coincide with a US tour, their first in decades, and postponed on account of 1970s frontman Nik Turner touring at the same time, and some confusing business over band-name trademarking. It would be better if Turner and Brock buried the hatchet in each other’s heads and got on stage together; the cheers would be enormous. But bad blood sloshes around their long history, and that, like Brock’s churning, propulsive guitar, remains another constant in the band’s epic, Game of Thrones-style history." - The Arts Desk
    $7.00
  • Let me preface my observations of the CTTE remix by saying that I don’t put these classic albums on a pedestal.  If they can be sonically improved while remaining faithful to the original mix and maintaining musicality and the emotional content then I’m all for it.  In general I liked what Steven Wilson did with the King Crimson catalog.  I was particularly impressed by his reconstruction and resurrection of Lizard.  When I heard he was tackling the Yes catalog I was hopeful because if there was ever a band that could use some sonic wizardry its Yes.  Eddy Offord was never able to bring the magic to their mixes that he was able to give to ELP.So how did Steven Wilson do with CTTE?  I can only use one word to describe the new mix: “transformative”.  CTTE was an album cobbled together from various bits and pieces.  Its widely acknowledged to be the band’s best album (its certainly my opinion) but in terms of sonics it fell victim to the “too many cooks” syndrome.  The original mix was a bit of a mess.  Its all changed now.The one thing that is immediately apparent is the foundation provided by Chris Squire’s bass.  It reaches the pits of hell and if Mr. Wilson is going to take this approach with TFTO and Relayer he’s got my vote.  In general there is a veil of schmutz that has been wiped away.  All the instruments have more clarity and focus in the soundstage.  “I Get Up I Get Down” was chilling.  I found the soundstage consistently extended beyond the boundaries of my speakers.  The mix is warm, involving and there is a balance among the instruments that I found lacking in the original mix - primarily because of Squire’s bass being given a shot of adrenaline.  Jaw dropping stuff.  The bonus track of “America” had exceptional, dare I say audiophile sound.So the obvious question is - what sounds better - this mix or the SACD?  I dunno.  I can’t find my bloody SACD to compare…but here is my memory of the SACD.  When I got it I played it through.  It didn’t overwhelm me or disappoint me.  My thought was “its fine...it is what it is - this is the best it will ever sound in the digital domain”.  I was wrong.  BUY OR DIE!  FORMAT: 1 x CD/1 x Blu-RayCD:1  Close to the Edge2  And You And I3  Siberian KhatruBonus Tracks:4  America5  Close to the EdgeBlu-Ray:Presented in DTS-HD Master Audio– Album mixed in 5.1 Surround– New Album mix– Original Album  mix (flat transfer)– New Album mix (instrumental version)– America original, new & instrumental stereo mixes & 5.1 Surround + further audio extras some exclusive to Blu-Ray edition• Close to the Edge is the first in a series of remixed & expanded Yes Classics• The classic album has been mixed for 5.1 Surround Sound from the original studio masters by Steven Wilson (Porcupine Tree) & is fully approved by Yes.• CD features a completely new stereo album mix by Steven Wilson• CD also features a new mix of America• CD also features an early mix/assembly of Close to the Edge• Blu-Ray features 5.1 DTS-HD Master Audio Surround (24bit/96khz) mixed from the original multi-channel recordings.• Blu-Ray features the new stereo album mix in DTS-HD Master Audio (24bit/96khz).• Blu-Ray also features the original album mix & America in a DTS-HD Master Audio flat transfers from the original master tape source. (24bit/192khz)• Blu-Ray exclusively features instrumental versions of all new mixes in DTS-HD Master Audio stereo (24bit/96khz).• Blu-Ray also exclusively features a needle-drop of an original UK vinyl A1/B1 pressing transferred in 24bit/96khz audio.• Numerous audio extras appear in high-resolution stereo including single edits & studio run throughs of album tracks• Original artwork by Roger Dean who has also overseen the artwork for this new edition• Presented as a mini vinyl replica gatefold card sleeve with booklet containing new sleeve notes, rare photos & archive material.“Close to the Edge” is the first in a series of expanded Yes editions including 5.1 Surround mixes, new stereo mixes & High-Resolution stereo mixes of the original music along with a wealth of extra material. Acclaimed musician/producer Steven Wilson has produced the new mixes with the approval of the band, while Roger Dean reprises his role as art director/designer of the newly issued edition, making this the definitive edition of the album.When Yes entered the studio with Eddie Offord to record the band’s fifth studio album in mid-1972, their second with this line-up, the band was on something of a roll. “Fragile”, the band’s previous album, had taken Yes to a new level of international popularity with Top Ten chart placement on both sides of the Atlantic & yielding a hit single in the USA with ‘Roundabout’. The band was now established in the major music markets to an extent that was, perhaps, unexpected given the complexity of the music Yes performed. But with that popularity came a confidence that the expansive material of the two previous albums could be taken a stage further with the new recording. Rather than consolidating, Yes chose to innovate.Recorded during lengthy sessions at London’s Advision Studios, “Close to the Edge” is that rarity in recorded music, the sound of a band & its individual members writing, playing and recording at the peak of their collective abilities. The album was issued in Autumn 1972 reaching chart highs & platinum sales status of  4 in the UK, 3 in the USA & 1 in Holland, though such statistics only hint at the worldwide popularity of the album over a period of more than four decades. The three pieces of music, the title track which spanned the entire first side of the vinyl album with ‘And You And I’ & ‘Siberian Khatru’ on side two, have remained concert favourites since release, with the 2013 Yes line-up currently in the middle of a world tour stretching into the middle of next year that sees the album performed in its entirety.The album remains the favourite among many of the band’s legion of fans, a defining recording both for the band & for the progressive rock movement. It is also one of the most successful British rock albums ever released.Since this release of “Close to the Edge” was confirmed, the various websites dedicated to Yes, Progressive rock & high-resolution audio have been very active with discussions among fans keen to hear the new mixes & the existing material in its purest audio presentation. 
    $21.00
  • "The legendary Marillion guitarist and founding member Steve Rothery has long been known for his unique playing style, and in the live setting the experience cannot be matched. ‘Live In Rome’ sees the Steve Rothery band captured over 2CD’s and 1 DVD at a magical sold out show in Italy on stage at the Cross Roads Live Club earlier this year. ‘Live In Rome’ sees his intricate musicianship and atmospheric soundscapes given the space they deserve.This brilliant live set sees Rothery airing tracks from his forthcoming solo album ‘The Ghosts of Pripyat, due out on the 22nd September. Financed by an incredibly successful Kickstarter campaign which reached its fifteen thousand pound target in the first 24 hours, it went on to raise almost sixty thousand pounds and cements the already rock solid relationship that he has built with his fans worldwide. At one point it was even the second most popular music project on Kickstarter in the world. The studio album not only sees him helped by his fans, but a raft of guest musicians too, including Steve Hackett, Don Airey and many more.‘Live In Rome’ also features some brilliant performances of classic material from the Marillion cannon, with Rothery’s chosen band proving a natural fit for the music despite it being just the second time this particular group of musicians had played together live. Joining him for the evening were Dave Foster (Mr. So & So) on guitar, Yatim Halimi (Panic Room) on bass & Leon Parr on drums, as well as guests Riccardo Romano (RanestRane) on keyboards and vocalists Manuela Milanese and Alessandro Carmassi. The former bringing her sweet tones to ‘Waiting To Happen’ and ‘Sugar Mice’, and the latter packing a punch on classics such as ‘Cinderella Search’ and ‘Easter’.With the interest in Steve Rothery’s solo career at an all-time high thanks to his successful crowd-funding campaign, ‘Live In Rome’ is a fantastic look into the progression of the forth-coming ‘The Ghost of Pripyat’ album and a brilliantly crafted document of what the man him-self called “an unforgettable experience.”"
    $16.00
  • Latest album from this German band blends neo-progressive sound with a distinct Pink Floyd influence. This is the special edition that arrives with 2 bonus tracks.
    $14.00
  • Of all the Yes albums that needed a remix this is the one that needed it the most!"Relayer (1974) is the third in a series of remixed and expanded Yes albums.Presented in a mini vinyl replica gatefold card sleeve (with protective inner sleeves) with booklet featuring new sleeve notes by Sid Smith, along with rare photos and archive material, the album has been remixed into stereo and 5.1 Surround Sound from the original studio masters by Steven Wilson and is fully approved by Yes.The blu-ray also contains the original album mix in high-resolution, a complete alternate album running order drawn from demos and studio run-throughs. Additional exclusive Blu-Ray features include extra demo/studio run-throughs, full album instrumental mixes, a full album needle-drop of an original UK A1/B1 vinyl pressing, single edits, live tracks, and needle-drops of the banded tracks from the original US vinyl promo album.Restored artwork approved by Roger Dean, the release of which coincides with the 40th anniversary of the album’s original late 1974 appearance."
    $25.00
  • This is the CD/Blu-Ray version of Steven Wilson's remix of the 1974 classic.  Track listing is as follows:CD - 2014 Steven Wilson Stereo Mix:1. Proclamation (6:48)2. So Sincere (3:52)3. Aspirations (4:41)4. Playing the Game (6:46)5. Cogs in Cogs (3:08)6. No God's a Man (4:28)7. The Face (4:12)8. Valedictory (3:21)Bonus Tracks:9. The Power And The Glory10. AspirationsBlu-Ray (NTSC, Region 0):Mixed by Steven WilsonAlbum with VideosAudio Formats:96/24 Stereo LPCMDTS 5.1 Master AudioProclamationSo SincereAspirationsPlaying the GameCogs in CogsNo God's a ManThe FaceValedictoryBonus Track:The Power and the GloryInstrumentals -Album with screen saverAudio Format:96/24 Stereo LPCMProclamationSo SincereAspirationsPlaying the GameCogs in CogsNo God's a ManThe FaceValedictoryBonus Tracks:The Power and the GloryAspirations (out-take)Extra:Original 1974 Studio MixTransferred Flat - 96/24 LPCMProclamationSo SincereAspirationsPlaying the GameCogs in CogsNo God's a ManThe FaceValedictory"The group's first U.S. release in two years featured ornate playing from Kerry Minnear on keyboards and Gary Green's loudest guitar work up to that time. The Power and the Glory is also a fairly dissonant album, yet it made the charts, albeit pretty low. There seems to be a unifying theme having to do with one's place in the social order, but it's very vague in contrast to Pink Floyd's re-creations of the post-'60s drug experience, Yes' sweeping album-length suites, and ELP's sci-fi epics. "No God's a Man" is an infinitely more challenging piece of music than anything on Jethro Tull's Aqualung, but that wasn't a commercial virtue; nor could the electric violin break on "The Face" or the rippling electric guitar passages throughout cover the effort involved in absorbing these songs. The Power and the Glory vaguely resembled Genesis' early art-rock albums, but without any presence as charismatic as Peter Gabriel. "Playing the Game" and "So Sincere" were the most accessible tracks and ended up as key parts of their concert set." - Allmusic
    $19.00
  • In 1974, Jethro Tull announced plans for WarChild, a multi-faceted project that was to encompass a feature-length film, a soundtrack album, as well a new album from the band. In October of that year, Tull released a 10-song album that would climb to #2 in the U.S. and the top 15 in the U.K., but the film and accompanying soundtrack were shelved. To commemorate the 40-year anniversary of this ambitious experiment, Parlophone revisits WarChild.WARCHILD: THE 40TH ANNIVERSARY THEATRE EDITION will be available as a limited edition 2-CD/2-DVD set on November 25 2014.Highlights from the set include:- Original album and bonus tracks (three previously unreleased), remixed in 5.1 surround and stereo by Steven Wilson.- 10 orchestral pieces (nine previously unreleased) written for the film s soundtrack, 4 of which are remixed in 5.1 surround and stereo by Steven Wilson.- Flat transfers of the original LP mix at 96/24, and the quadrophonic version (with 2 bonus tracks) in 4.0.- The Third Hoorah promo footage, and footage from a January 1974 photo session/press conference where the WarChild project was announced.- An 80-page booklet featuring an extensive history of the project, a film script synopsis, track-by-track annotations by Ian Anderson, plus rare and unseen photographs.
    $45.00
  • 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