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"Progressive rock and boy-band pop seem like natural enemies at first. The former's fascination with ornate, elongated passages of finger-exhausting musicianship is in almost every way the opposite of the latter's emphasis on catchiness first; it's hard to imagine turn-of-the-millennium hits like "Bye Bye Bye" with extended guitar and keyboard solos. Yet ever since A Doorway to Summer, their 2005 debut, Moon Safari has put to rest the notion that progressive-minded songwriters can't make pop that's as hook-driven as it is ostentatious. Grandiloquent epics like "Other Half of the Sky," from the 2008 double album Blomljud, weave together widescreen arrangements with the band's signature five-part vocal harmony, a feature unmatched by few groups in any genre, anywhere. It's easy to isolate the audience with solipsistic soloing and obtuse orchestrations, but from day one Moon Safari has made prog that—assuming the layperson were more amenable to songs that run upwards of thirty minutes—could lead them to something like a pop crossover hit.But while the union of hook-heavy vocal interplay and '70's prog stylistics gives Moon Safari an unmistakable, unique sound, it also handicapped them in a significant way for their first two LPs. The group's accessibility on A Doorway to Summer and Blomljud, along with its technical prowess, is unassailable, but the high-fructose sweetness of its style leads to a diabetic rush when stretched out onto songs that span ten to thirty minutes. For example, "Other Half of the Sky," the titanic thirty minute showstopper off of Blomljud, has so many memorable hooks that by the time it's run its time out, it's hard to remember all of them. The classic problem of "too many voices leads to a noisy room" was the defining problem of Moon Safari's otherwise enjoyable sound for some time. All that changed, however, in 2010 with the release of Lover's End.It is no exaggeration—even as the decade remains young—to say that Lover's End is one of the finest progressive rock records of the '00's. Hell, it's not even crazy to say that it's one of the finest pop albums of the '00s; anyone, even those turned off by prog's eccentricities, can find something to love on this mellifluous collection of songs. From the a cappella charm of "Southern Belle" to the hook-loaded "New York City Summergirl," Lover's End is chock full of goodness from beginning to end. What explains its genius is that in contrast to A Doorway to Summer and Blomljud, the songs are given exactly the amount of space they need, and not a second more. Some songwriters may feel hamstrung by the verse/chorus structure, but it's a perfect fit for Moon Safari's joyous approach to music.With their newest studio outing, Himlabacken, Vol. 1, Moon Safari continue the refining of their sound, and while this isn't the breakthrough that Lover's End was, it nonetheless attests to the brilliance of this group. Whereas the latter was bound by a loose concept (love and heartbreak), Himlabacken Vol. 1 is less a lyrics album than its predecessor. The cost of this is that the music is less distinct in its cohesiveness, but there are no shortage of catchy passages and amped-up solos. "Mega Moon" comes off as a tribute to musical theatre, with "The Very Model of A Modern Major General" vocal delivery interweaving with Queen-esque bombast to an impressive effect. "Too Young to Say Goodbye" sees and matches the polyharmonic beauty of "Lover's End (Part One)." By sticking to concise song formats—the longest cut here runs nine and a half minutes—Moon Safari ensures that things never run out of steam, an essential quality to any good progressive rock band.If nothing else, Himlabacken, Vol. 1 proves that there's one thing Moon Safari can't be accused of: being unaware of themselves. Grand finale "Sugar Band" is as much a statement of identity as it is a slice of epic pop: "Sweet and saccharine are we," they declare, followed by "syrup's the blood in our veins." (Less successful is the clumsy Katy Perry innuendo of, "suck our big candy canes," which is thematically consistent but tonally off.) Both "Sugar Band" and "Little Man," one of the few Moon Safari songs to feature a solo vocal, are emblematic of the mushiness that might turn some prog fans away from their music. The latter, while obviously a touching document of a father's love for his son, does feel a bit out of place in how deeply personal it is; part of the strength of this group's sonic is the universality of its pop appeal, and the intimacy behind "My Little Man" makes listening to it an almost voyeuristic experience. "Mega Moon" and "Sugar Band" are better at capturing the convivial spirit of the band that's accessible to all.As with past outings, even those drawn to vocal harmonies might find it hard to stomach all of the sweetness of Himlabacken, Vol. 1. But what ultimately makes this LP successful is its unpretentious commitment to fun. Moon Safari are a rare collective that prove daunting musical chops aren't anathema to accessibility, and with Himlabacken, Vol. 1 they've made a recording that, while not the magnum opus that Lover's End was, is as true a capturing of their ethos as there could ever be. Sating a sweet tooth brings to mind the phrase "guilty pleasure," but there's no guilt involved with music as first-class as this. Who knew being in a boy band could sound so classy? " - Sea Of Tranquility$14.00 -
Following the release of 2021’s ambitious studio album ‘The Absolute Universe’, progressive-rock supergroup Transatlantic present ‘The Final Flight: Live At L'Olympia’. A document of the bands triumphant show in Paris, the last night of their tour in support of their most recent studio album, it sees Neal Morse, Mike Portnoy, Roine Stolt & Pete Trewavas (along with Ted Leonard) performing the entirety of „The Absolute Universe (The Ultimate Version)”, before returning to the stage to perform some of their extensive back catalogue. A night as special as they come, this audio/visual document presents the band at their most majestic.$27.00 -
"Gathered during the group’s most recent European headlining run for FATES WARNING’s much acclaimed latest studio album “Theories Of Flight” in January 2018, “Live Over Europe” includes recordings from 8 different cities (Aschaffenburg / Germany, Belgrade / Serbia, Thessaloniki and Athens / Greece, Rome and Milan / Italy, Budapest / Hungary as well as Ljubljana / Slovenia) and a total of 23 songs in over 138 minutes of playing time, spanning 30 years of the group’s seminal career.“Live Over Europe” was mixed by Jens Bogren (Opeth, Kreator, Symphony X) and mastered by Tony Lindgren at Fascination Street Studios in Sweden "CD 1:1. From the Rooftops2. Life in Still Water3. One4. Pale Fire5. Seven Stars6. SOS7. Pieces of Me8. Firefly9. The Light and Shade of Things10. Wish11. Another Perfect Day12. Silent Cries13. And Yet it MovesCD 2:1. Still Remains2. Nothing Left to Say3. Acquiescence4. The Eleventh Hour5. Point of View6. Falling7. A Pleasant Shade of Gray, Pt. IX8. Through Different Eyes9. Monument10. Eye to Eye$20.00 -
"Swedish dark melodic metal masters Evergrey return with their 12th Album - dark and heavy, the Phoenix is rising! Gearing up for the release of their highly anticipated 12th album, Swedish progressive metal band Evergrey is at a point in their career that many of their peers can only dream about. Since the release of "Hymns For The Broken" in 2014, Evergrey has enjoyed increased notoriety and success with "The Storm Within" (2016) and "The Atlantic" (2019) - ironically, a conceptual trilogy - which is highly unusual for a veteran act. They mean to continue this tradition on February 26th, 2021 with "Escape Of The Phoenix", another heavy, melancholic and thought-provoking journey as only Evergrey can create. The result is 11 songs that embody everything Evergrey fans have to expect, albeit "a more metal version of "The Atlantic", with songs that are more direct" according to Englund and producer Jacob Hansen."$15.00 -
WE ARE NOW TAKING PREORDERS FOR THE RE-PRESS OF THE CAMEL "AIRBORN" 27 CD/5 BLU RAY BOX SET. STREET DATE IS MAY 3, 2024. PLEASE DO NOT COMBINE YOUR PREORDER WITH YOUR REGULAR STOCK ORDER. WE DO NOT SPLIT SHIPMENTS OR RESERVE STOCK ITEMS. AVOID DISAPPOINTMENT - PLACE YOUR PREORDER SEPARATELY.In celebration of the 50th anniversary of the release of their self-titled debut album, this 32-disc super deluxe boxed set is the definitive tribute to the legendary band Camel. The boxed features newly remastered versions of every Camel album and single issued between 1973 and 1984, but also includes new stereo and 5.1 Surround Sound versions of the albums “Camel”, “Mirage”, “Music Inspired by The Snow Goose”, “Moonmadness” and “Nude”, as well as new mixes of three concerts; The Marquee Club, London 1974, Hammersmith Odeon 1976 and Hammersmith Odeon 1977 The set also features previously unreleased out-takes from album recording sessions and BBC Radio “In Concert” appearances from 1974, 1975, 1977 and 1981. Additionally included is a Blu ray video disc of promotional videos and BBC TV appearances on “The Old Grey Whistle Test” and “Sight and Sound In Concert” and a Blu ray video disc of the 1984 concert film “Pressure Points”The boxed set includes a lavishly illustrated book with essay and a poster.CD ONE “Camel” – Remastered (Released as MCA Records MUPS 473 in 1973)Slow Yourself DownMystic QueenSix AteSeperationNever Let GoCuriosityArubalubaSarah (previously unreleased) - Bonus trackNever Let Go (single version) - Bonus trackHomage to the God of Light (live) (from "Greasy Truckers - Live at Dingwalls Dance Hall") - Bonus trackCD TWO “Mirage” – Remastered (Released as Deram SML 1107 in 1974)FreefallSupertwisterNimrodel / The Procession / The White RiderEarthriseLady FantasyEarthrise (Bonus tracks: Demo session - Decca Studios 15th July 1973 (Previously unreleased))The Traveller (Bonus tracks: Demo session - Decca Studios 15th July 1973 (Previously unreleased))Supertwister (Bonus tracks: Demo session - Decca Studios 15th July 1973 (Previously unreleased))The White Rider (Bonus tracks: Demo session - Decca Studios 15th July 1973 (Previously unreleased))Lady Fantasy (Bonus tracks: Demo session - Decca Studios 15th July 1973 (Previously unreleased))CD THREE “Mirage” sessionsLady Fantasy (Basing Street studios original mix)Autumn (previously unreleased)Nimrodel / The Procession / The White Rider (BBC Radio One "In Concert" - 6th June 1974) - Bonus trackLigging at Louis' (BBC Radio One "In Concert" - 6th June 1974) - Bonus trackLady Fantasy (BBC Radio One "In Concert" - 6th June 1974) - Bonus trackArubaluba (BBC Radio One "In Concert" - 6th June 1974) - Bonus trackCD FOUR Live at The Marquee Club - 30th June 1974 (Newly mixed in full by Stephen W. Tayler)IntroductionEarthriseNimrodelSix AteSupertwisterMystic QueenArubalubaCD FIVE Live at The Marquee Club - 30th June 1974 (Newly mixed in full by Stephen W. Tayler)Rhayader Goes to TownThe Snow Goose / FreefallLady FantasyHomage to the God of LightCD SIX “Music Inspired by The Snow Goose” – Remastered (Released as Decca SKL-R 5207 in May 1975)The Great MarshRhayderRhayder Goes to TownSanctuaryFrithaThe Snow GooseFriendshipMigrationRhayder AloneFlight of the Snow GoosePreparationDunkirkEpitaphFritha AloneLa Princesse PerdueThe Great MarshFlight of the Snow Goose (single version) - Bonus trackRhayder (single version) - Bonus trackCD SEVEN “Snow Goose” sessions - Recorded and mixed at Decca Studios, Broadhurst Gardens 7th June 1974RivermanRhayder Goes to Town (BBC Radio One “In Concert” – 22nd April 1975)Sanctuary (BBC Radio One “In Concert” – 22nd April 1975)The Snow Goose (BBC Radio One “In Concert” – 22nd April 1975)Migration (BBC Radio One “In Concert” – 22nd April 1975)Rhayder Alone (BBC Radio One “In Concert” – 22nd April 1975)Flight of the Snow Goose (BBC Radio One “In Concert” – 22nd April 1975)Preparation (BBC Radio One “In Concert” – 22nd April 1975)Dunkirk (BBC Radio One “In Concert” – 22nd April 1975)Epitaph (BBC Radio One “In Concert” – 22nd April 1975)La Princesse Perdue (BBC Radio One “In Concert” – 22nd April 1975)The Great Marsh (BBC Radio One “In Concert” – 22nd April 1975)Selections from "The Snow Goose" (BBC TV Old Grey Whistle Test – 21st June 1975) a. The Snow Goose / b. Friendship / c. Rhayader Goes to TownCD EIGHT “Live at The Royal Albert Hall - 17th October 1975” – Remastered & mixed with the London Symphony Orchestra conducted by David BedfordIntroduction by Peter BardensThe Great MarshRhayderRhayder Goes to TownSanctuaryFrithaThe Snow GooseFriendshipMigrationRhayder AloneFlight of the Snow GoosePreparationDunkirkEpitaphFritha AloneLa Princesse PerdueThe Great MarshEncore: Lady Fantasy (previously unreleased)CD NINE “Moonmadness” – Remastered (Released as Decca TXS-R 115 in 1976)AristillusSong Within a SongChord ChangeSpirit of the WaterAnother NightAir BornLunar SeaSprit of the Water (demo) - Bonus trackChord Change (demo) (previously unreleased) - Bonus trackLunar Sea (demo) (previously unreleased) - Bonus trackAnother Night (single version) - Bonus trackCD TEN Live at Hammersmith Odeon - 14th April 1976 – (Newly mixed in full by Stephen W. Tayler)AristillusSong Within a SongThe Great MarshRhayaderRhayader Goes to TownAir BornChord ChangeThe White RiderCD ELEVEN Live at Hammersmith Odeon - 14th April 1976 (Newly mixed in full by Stephen W. Tayler)Lunar SeaPreparationDunkirkAnother NightLady FantasyCD TWELVE “Rain Dances” (Released as Decca TXS-R 124 in 1977)First LightMetrognomeTell MeHighways of the SunUnevensongOne of These Days I'll Get An Early NightElkeSkylinesRain DancesHighways of the Sun (single version) - Bonus trackFirst Light (live at the Colston Hall, Bristol 2nd October 1977) - Bonus trackMetrognome (live at the Colston Hall, Bristol 2nd October 1977) - Bonus trackUnevensong (live at the Colston Hall, Bristol 2nd October 1977) - Bonus trackSkylines (live at Leeds University 3rd October 1977) - Bonus trackLunar Sea (live at the Colston Hall, Bristol 2nd October 1977) - Bonus trackRaindances (live at the Colston Hall, Bristol 2nd October 1977) - Bonus trackCD THIRTEEN: “Raindances live”Never Let Go (live at the Colston Hall, Bristol 2nd October 1977)First Light (BBC In Concert - Golders Green Hippodrome - 29th September 1977)Metrognome (BBC In Concert - Golders Green Hippodrome - 29th September 1977)Unevensong (BBC In Concert - Golders Green Hippodrome - 29th September 1977)Rhayader / Rhayader Goes to Town (BBC In Concert - Golders Green Hippodrome - 29th September 1977)Skylines (BBC In Concert - Golders Green Hippodrome - 29th September 1977)Highways of the Sun (BBC In Concert - Golders Green Hippodrome - 29th September 1977)Lunar Sea (BBC In Concert - Golders Green Hippodrome - 29th September 1977)Rain Dances (BBC In Concert - Golders Green Hippodrome - 29th September 1977)Never Let Go (BBC In Concert - Golders Green Hippodrome - 29th September 1977)One of These Days I'll Get an Early Night (BBC In Concert - Golders Green Hippodrome - 29th September 1977)CD FOURTEEN: Live at Hammersmith Odeon – 30th September / 1st October 1977 (Newly mixed in full by Stephen W. Tayler)First LightMetrognomeUnevensongRhayaderRhayader Goes to TownPreparationDunkirkSanctuaryThe Snow GooseCD FIFTEEN: Live at Hammersmith Odeon – 30th September / 1st October 1977 (Newly mixed in full by Stephen W. TaylerTell MeSong Within a SongSkylinesHighway to the SunLunar SeaRain DancesOne of These Days I'll Get an Early NightCD SIXTEEN: “Breathless” (Released as Decca TXS-R 132 in 1978)BreathlessEchoesWing and a PrayerDown on the FarmStarlight RideSummer LightningYou Make Me SmileThe SleeperRainbow's EndRainbow's End (single version) - Bonus trackCD SEVENTEEN “I Can See Your House from Here” (Released as Decca TXS-R 137 in 1979)WaitYour Love is Stranger Than MineEye of the StormWho We AreSurvivalHymn to HerNeon MagicRemote RomanceIceRemote Romance (single version) - Bonus trackCD EIGHTEEN “Nude” – Released as Decca SKL 5323 in 1981City LifeNudeDraftedDocksBeachedLandscapesChanging PlacesPomp and CircumstancePlease Come HomeReflectionsCapturedThe HomecomingLiesThe Birthday Cake (The Last Farewell)Nude's Return (The Last Farewell)Captured (first version) (previously unreleased) - Bonus trackCD NINETEEN BBC Radio One In Concert - Hammersmith Odeon 27th February 1981 First broadcast 2nd May 1981Never Let GoSong Within a SongLunar SeaSummer LightningIceCity LifeDraftedDocksBeachedLandscapesChanging PlacesReflectionsCapturedThe Birthday Cake (The Last Farewell)Nude's Return (The Last Farewell)CD TWENTY “The Single Factor” – (Released as Decca SKL 5328 in 1982)No Easy AnswerYou Are the OneHeroesSelvaLullabyeSasquatchManicCamelogueToday's GoodbyeA Heart's DesireEnd PieceYou Are the One (promotional 12-inch single version) - Bonus trackCD TWENTY-ONE “Stationary Traveller” – (Released as Decca SKL 5334 in 1984)Pressure PointsRefugeeVoposCloak and Dagger ManStationary TravellerWest BerlinFingertipsMissingAfter WordsLong GoodbyesIn the Arms of Waltzing Fraulines - Bonus trackPressure Points (12-inch single extended version) - Bonus trackCD TWENTY-TWO “Pressure Points” Live at Hammersmith Odeon 11 May 1984Pressure PointsDraftedCapturedLiesRefugeeVoposStationary TravellerWest BerlinFingertipsCD TWENTY-THREE “Pressure Points” Live at Hammersmith Odeon 11 May 1984SasquatchWaitCloak and Dagger ManLong GoodbyesRhayaderRhayader Goes to TownLady FantasyCD TWENTY-FOUR “Camel” and "Mirage" New Stereo Mix by Stephen W TaylerSlow Yourself DownMystic QueenSix AteSeperationNever Let GoCuriosityArubalubaFreefallSupertwisterNimrodel / The Procession / The White RiderEarthriseLady FantasyCD TWENTY-FIVE “Music inspired by The Snow Goose” New Stereo Mix by Stephen W TaylerThe Great MarshRhayderRhayder Goes to TownSanctuaryFrithaThe Snow GooseFriendshipMigrationRhayder AloneFlight of the Snow GoosePreparationDunkirkEpitaphFritha AloneLa Princesse PerdueThe Great MarshCD TWENTY-SIX “Moonmadness” New Stereo Mix by Stephen W TaylerAristillusSong Within a SongChord ChangeSpirit of the WaterAnother NightAir BornLunar SeaCD TWENTY-SEVEN “Nude” New Stereo Mix by Stephen W TaylerCity LifeNudeDraftedDocksBeachedLandscapesChanging PlacesPomp and CircumstancePlease Come HomeReflectionsCapturedThe HomecomingLiesThe Birthday Cake (The Last Farewell)Nude's Return (The Last Farewell)DISC TWENTY-EIGHT (Blu-ray) “Camel” & "Mirage" High Resolution 5.1 Surround Sound & Stereo Mixes by Stephen W Tayler / High resolution original stereo mixSlow Yourself DownMystic QueenSix AteSeperationNever Let GoCuriosityArubalubaFreefallSupertwisterNimrodel / The Procession / The White RiderEarthriseLady FantasyAutumn - Bonus trackDISC TWENTY-NINE (Blu-ray): “Music inspired by The Snow Goose” & “Moonmadness” High Resolution 5.1 Surround Sound & Stereo Mixes by Stephen W Tayler / High resolution original stereo mixThe Great MarshRhayderRhayder Goes to TownSanctuaryFrithaThe Snow GooseFriendshipMigrationRhayder AloneFlight of the Snow GoosePreparationDunkirkEpitaphFritha AloneLa Princesse PerdueThe Great MarshRiverman - Bonus trackAristillusSong Within a SongChord ChangeSpirit of the WaterAnother NightAir BornLunar SeaDISC THIRTY (Blu-ray): “Nude” High Resolution 5.1 Surround Sound & Stereo Mixes by Stephen W Tayler / High resolution original stereo mixCity LifeNudeDraftedDocksBeachedLandscapesChanging PlacesPomp and CircumstancePlease Come HomeReflectionsCapturedThe HomecomingLiesThe Birthday Cake (The Last Farewell)Nude's Return (The Last Farewell)DISC THIRTY-ONE (Blu-ray): “The Video Vaults”Never Let GoArubalubaSelections from "The Snow Goose" a. The Snow Goose / b. Friendship / c. Rhayader Goes to Town (Guildford Civic Hall 1973 – MCA Promo film shown on “The Old Grey Whistle Test”)The White Rider (BBC TV – The Old Grey Whistle Test – 21st June 1975)Lunar Sea (BBC TV – The Old Grey Whistle Test – 21st June 1975)Preparation (BBC TV – The Old Grey Whistle Test – 21st June 1975)Dunkirk (BBC TV – The Old Grey Whistle Test – 21st June 1975)Another Night (BBC TV – The Old Grey Whistle Test – 21st June 1975)Lady Fantasy (BBC TV – The Old Grey Whistle Test – 21st June 1975)First Light (Live at Hammersmith Odeon – 14th April 1976)Metrognome (Live at Hammersmith Odeon – 14th April 1976)Unevensong (Live at Hammersmith Odeon – 14th April 1976)Rhayader / Rhayader Goes to Town (Live at Hammersmith Odeon – 14th April 1976)Skylines (Live at Hammersmith Odeon – 14th April 1976)Highways of the Sun (Live at Hammersmith Odeon – 14th April 1976)Lunar Sea (Live at Hammersmith Odeon – 14th April 1976)Rain Dances (Live at Hammersmith Odeon – 14th April 1976)Never Let Go (Live at Hammersmith Odeon – 14th April 1976)One of These Days I'll Get an Early Night (Live at Hammersmith Odeon – 14th April 1976)City Life (BBC TV – “Sight & Sound in Concert – 29th September 1977”)Lies (BBC TV – “Sight & Sound in Concert – 29th September 1977”)DISC THIRTY-TWO “Pressure Points”In the Arms of Waltzing FraulinesPressure PointsRefugeeVoposStationary TravellerWest BerlinFingertipsSasquatchWaitCloak and Dagger ManLong GoodbyesRhayaderRhayader Goes to TownLady FantasyIn the Arms of Waltzing Fraulines$225.00 -
The artbook contains 2CDs with the album plus an instrumental mix. The Blu-Ray contains the album in a 5.1 surround mix plus a 37 minute documentary. Also included is extended artwork and liner notes."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.”"$45.00 -
2020 came to a close with LIQUID TENSION EXPERIMENT announcing their return and new album to be released on InsideOutMusic. Today, the legendary supergroup comprised of Mike Portnoy (Transatlantic, Sons of Apollo), John Petrucci (Dream Theater), Jordan Rudess (Dream Theater), and Tony Levin (King Crimson, Peter Gabriel) are pleased to officially announce that the new album ‘LTE3’ will be released on March 26th, 2021 via InsideOutMusic, twenty-two years after the bands’ last studio album. “After over 20 years since the last time we recorded together, the four of us stepped into the studio and it was as if no time had passed at all! All of the magic that made the first two LTE albums so special was still there and we had such a great time making this record. I’m extremely proud of what we created together and can’t wait for everyone to hear it!”-John Petrucci“The best thing to come out of 2020 was this long-awaited reunion! And it was surely worth the wait as after all these years, the magic chemistry was still there and stronger than ever!”-Mike Portnoy$39.00 -
DISCIPLINE has performed and recorded together since 1987, and remains one of the top bands in the American progressive rock scene. The band’s current lineup, including drummer Paul Dzendzel, bassist Mathew Kennedy, lead guitarist Chris Herin (Tiles), and vocalist/keyboardist Matthew Parmenter, worked with veteran music producer Terry Brown (Rush, Fate’s Warning) for the mixing of their newest opus, Captives Of The Wine Dark Sea, which Parmenter describes as, “an escape to ameliorate the workaday world.”“DISCIPLINE weaves a wicked web of lush, whimsical melodies, cynical stories and melancholy theatrics — so disturbing some fans have pegged lead-man Matthew Parmenter as ‘unstable,'” writes Heidi Olmac in Detroit’s Orbit newspaper. New Zealand rock critic Kev Rowland describes DISCIPLINE as “one of the most important bands to come out of America in the last twenty-five years.” The band’s earliest live shows were memorable for unusual theatrics. Parmenter (a.k.a. the Magic Acid Mime) would wear different costumes and act out the songs. Though the costumes have long since gone away, spontaneity remains a hallmark of DISCIPLINE‘s stage presence. “I think most of it comes from playing live,” says Parmenter in The Observer and Eccentric newspaper. “If something goes wrong, it’s kind of interesting how you will get out of it.”Jeff Milo of Ferndale Friends newspaper writes, “Go online and you’ll find various zines, blogs, and sites devoted to ‘prog’ music sending some substantial love toward Detroit’s DISCIPLINE.” The band’s previous album To Shatter All Accord (2011) includes the twenty-five-minute song suite “Rogue.” John Collinge, publisher of Progression Magazine, acknowledged To Shatter All Accord with the publication’s highest marks in his review (16 out of 16 stars). The band may be best known for its album Unfolded Like Staircase (1997). With four sprawling epics, including “Canto IV (Limbo)” and “Crutches,” Unfolded Like Staircase is considered by some to be one of the best progressive rock albums of the 1990s. In the Dutch Progressive Rock Pages, Brian Watson goes further: “Unfolded is my favourite progressive rock album of all time. In over thirty years of listening, and out of a collection touching fifteen hundred albums, Unfolded Like Staircase is ‘the one.’” The CD Push & Profit (1993) introduced Discipline to an international audience supported by a tour of Norway. The band also recorded a virtually unknown first album Chaos Out of Order (1988) that remained out of print for twenty-five years until the band’s indie label, Strung Out Records, reissued the recording in 2013. DISCIPLINE has also released three live albums; the This One’s for England (2014, 2xCD), Live Days (2010 2xCD on Cyclops/GFT), and Into The Dream (1999 on Syzygy/SOR).DISCIPLINE has appeared at numerous progressive rock festivals In 2012 the band appeared at RoSfest, the Rites Of Spring progressive rock festival in Gettysburg, Pennsylvania. That performance can be viewed as an Amazon Instant video. The band has also performed at NEARfest (Northeast Art Rock Festival), Terra Incognita, ProgScape, Orion Studios, and six separate performances at ProgDay in Chapel Hill, North Carolina. The band drew praise at UK’s Summers End festival in 2015 with reviews declaring Discipline “the band of the weekend.”.$14.00 -
“This smells strongly of British Progressive rock, some Quintessence, some Deep Purple (with flute instead of vocals). The organ and flute, and gung-ho attitude, remind me a bit of both Focus and Out of Focus…” – Daniel Dellamorte, music historian and author of the book Swedish Death Metal"In April 2018 Agusa embarked on a short tour in Italy. The first stop was at Stazione Birra in Rome where the show was recorded by the resident sound technician Alex Di Nunzio. The full gig – without any overdubs – will now be released on a double vinyl and CD by Kommun2 Records. The songs on "Ekstasis - Live in Rome" contain much of the playfulness and improvisational bravado that fans have come to expect from these Swedish rockers. This is the sequel to the live album "Katarsis", but twice as long and with previously unheard renditions of some of the tracks performed exclusively for these Italian gigs. The "Ekstasis" cover features a simple, pencil-drawn picture of the “flower woman” that has become synonymous with Agusa in 2018. I was made by Swedish artist Robin Gnista and was originally sketched out to reflect the complex, yet raw approach of the music. This is the first Agusa album featuring the organ playing of Jeppe Juul and it was mixed by bass player Tobias Petterson together with sound technician Emil Isaksson. This may very well be looked back upon as the most ambitious release from K2."$15.00 -
THIS NORTHERN VIRGINIA BASED BAND is a three-piece at heart, musically rooted in the raw energy and rhythmic interplay of RUSH and KING’S X. Fans of dark, guitar-driven rock bands from ALICE IN CHAINS, DEFTONES to the contemporary metal riffing of LAMB OF GOD and PANTERA, will connect to the heavy core of IRIS DIVINE’s sound. Add to that progressive complexity and moody synths inspired by DREAM THEATER and PORCUPINE TREE, and a liberal dose of memorable hooks and melodies, to understand some elements of IRIS DIVINE’s sound. And yet, the band has a distinct identity, not quite sounding like any of the aforementioned bands, and with an emotional urgency that pulls subtly from alternative and other influences.KARMA SOWN IS A TRIUMPH OF A DEBUT ALBUM, immediate and memorable but revealing layers and depth upon repeated listens."Progressive metal is in a rough period right now. The old guard are either releasing sub-standard albums that only make it more obvious how far they have fallen, or they are drastically uncool with anyone who didn't become a fan when progressive metal was first being created. Progressive today tends to mean djent, a style that has sapped all the life and humanity out of music, turning metal into a math equation of time signatures, and not songs that anyone can actually remember. There was a time when progressive metal remembered the ultimate goal of music; to have listeners enjoy the songs so much they would return to them again and again. Today, progressive metal is mostly the sort of music that could pass for muzak, if you don't turn the volume up too loud.Iris Divine wants to change that. They set out with the mission of writing progressive metal that is intricate and challenging, but still produces the kind of songs that listeners who don't have an advanced degree can love and sing along to. It's a challenge, and it goes against the tide, but it's a desperately needed revolution if progressive metal is going to flourish anytime in the near future.I knew from hearing the pre-release track “A Suicide Aware” that Iris Divide was special, and the full album reinforces the point. “The Everlasting Sea” comes out of the gates with plenty of tricky riffing and unusual rhythms, but they lead into big melodies with strong hooks and vocals. Their progressive playing isn't meant for show, it's a tool used to set a tone that juxtaposes with the more melodic moments. Finding the proper balance between these elements is not easy, and many a band have failed miserably trying to do so, but Iris Divine doesn't. On their debut record, they show a skill some bands have spent their entire careers failing to learn.What I love most about the record is that it can be seen in many different lights. If you like straight-ahead metal, there is plenty of heavy riffing and pounding drumming here to keep you satisfied. If you like progressive music, these songs have twists and turns, and Rush-like keyboards, in enough quantity to match the djent crowd. And if you're a fan of old-school radio rock, the choruses in these songs will be music to your ears. Keeping all three of these in mind at the same time can be tricky, but it's worth the effort.For being a trio, “Karma Sown” is a massive sounding record. The production is flawless, big and clear, without ever sounding too polished. The heavy parts are heavy, the vocals are up front, and you would never believe this was a self-produced record that was crowd-funded. I can put it up against many, many of the big label releases, and it would win the fight.In fact, I can think of a dozen so-called progressive metal bands that should immediately hand over their label contracts to Iris Divine, because it's a crime that a band that is advancing progressive metal in the right direction doesn't have the backing of one of the labels. Not to name names, but this album would be bigger than half of the progressive metal released this year if it had the media push behind it.In case you haven't noticed, what I'm saying is that “Karma Sown” is a fantastic debut, and the future of progressive metal. Iris Divine isn't a Dream Theater clone, and they're not djent. What they have done is integrate all the strains of progressive metal into a singular sound, one that could set the standard moving forward. If every band sounded this good, progressive metal wouldn't need to be underground. “Karma Sown” is the best progressive metal album of the year, bar none." - Bloody Good Horror$6.00 -
"“Eye Of The Soundscape” features 13 experimental and highly atmospheric compositions, previously used as bonus material for the “Shrine Of New Generation Slaves” (2103) and “Love, Fear and the Time Machine" (2015) albums, alongside rare cuts (e.g. a new mix of “Rapid Eye Movement” and the single “Rainbow Trip”, so far only released in Poland) as well as 4 new songs (“Where The River Flows”, “Shine”, “Sleepwalkers” and “Eye Of The Soundscape”) into a massive +100 minutes 2CD/3LP package, which showcases RIVERSIDE’s ambient electronic side.RIVERSIDE’s Mariusz Duda explained and introduced this rather unorthodox and experimental release as follows:“I had a feeling that the sixth RIVERSIDE album might be the last chapter of a story. That the future releases might have a different sound, a different character... Unofficially, I called our latest three albums "the crowd trilogy". Each subsequent title was longer by one word – four, five, six. Six words were long enough as a title and I thought that was the one to finish it off with...Before we started a new chapter, perhaps a "new trilogy", I had an idea to release a complementary album. An album in between. An album we had always wanted to record. It wouldn't be just new music but in our case and in such configuration it would definitely be a new quality because we hadn't released such an album before.For years, we have accumulated a lot of material, a part of which was released on bonus discs. I know that some of our listeners still haven't heard those pieces and do not realise that Riverside, basically right from the start, have been experimenting with ambient and progressive electronic music. And that's always been a part of our music DNA.So I presented the idea to the rest of the band and the decision was unanimous. We decided to make a compilation of all our instrumental and ambient pieces, and release it this year as an independent album. Some of the songs would be re-mixed to make them sound better, but most of all, we'd add new compositions.At the beginning of the year, we locked ourselves in the studio and we started to compose. We even published a picture on our facebook page, in which Grudzien is holding a small keyboard as a joke. That was that recording session. We were working with smiles on our faces, genuinely excited, knowing that this time it wasn't just a bonus disc or an addition to something "bigger" but a fully fledged, independent release with that kind of music, full of space, trance, melodies and electronics. The day before I got a text message from Grudzien, "I really can't wait for this release, I have always had a dream for RIVERSIDE to release such an album."The release of “Eye Of The Soundscape” therefor also honours late RIVERSIDE guitarist Piotr Grudzinski, who tragically passed away of natural causes on February 21st, 2016.“Eye Of The Soundscape” is composed of material created between 2007-2016 and concieved in 2015/2016 at Serakos studio in Warsaw with Magda Srzednicka, Robert Srzednicki as well Mariusz Duda as producers, and the release comes packaged in artwork by RIVERSIDE’s longterm design partner Travis Smith (Opeth, Katatonia, Nevermore, etc.)."$11.00 -
TRANSATLANTIC — the multinational progressive rock supergroup featuring vocalist/keyboardist Neal Morse (SPOCK'S BEARD, THE NEAL MORSE BAND), drummer Mike Portnoy (SONS OF APOLLO, DREAM THEATER), bassist Pete Trewavas(MARILLION) and guitarist Roine Stolt (THE FLOWER KINGS) — will release its fifth studio album, "The Absolute Universe", on February 5, 2021 via InsideOut Music. Representing the band's first new music since 2014's "Kaleidoscope", with "The Absolute Universe" the band has done something unique and created two versions of the record: "The Absolute Universe: The Breath Of Life (Abridged Version)" and "The Absolute Universe: Forevermore (Extended Version)".As Portnoy explains: "We've got two versions of this album. There is a two-CD presentation, which is 90 minutes long, and a single one — that's 60 minutes. However, the single CD is NOT merely an edited version of the double CD. They each contain alternate versions and even in some cases, new recordings. We wrote fresh lyrics and have different people singing on the single CD version tracks as compared to those on the double CD. Some of the songtitles have also been changed, while others might remain the same, but compositionally, what you'll hear has been altered."You must appreciate that what we have done is unique. We revamped the songs to make the two versions different."Trewavas adds: "We did write some new music for the single CD. What's more, there are also differences in the instruments used on some of the tracks across the two records."Each album will be available on CD, LP and digitally. But there will also be what has been called "The Absolute Universe: The Ultimate Edition", which collects both versions together in one lavish package that includes 5LPs, 3CDs and a Blu-ray that contains a 5.1 Surround Sound mix with visuals and a behind-the-scenes documentary. All editions have unique artwork created by Thomas Ewerhard.Initial tracking began in September 2019 when the band met up in Sweden to write and arrange the new material. As Portnoy explains: "Over a period of 10-14 days, we mapped out the songs. Then we all went back to our home studios and did the recording. That's the way we always do it. At one point, though, it was suggested that instead of doing what was by that time going to be a double album, we should just be content to do a single CD.""What happened was that everything kept expanding and expanding," recalls Stolt. "Therefore we decided it made sense to make it a double album. It was Pete and Neal who then came out and said they felt this would be too long, and we should reduce it to one…But we were already recording, and it didn't seem feasible to cut it back. There were so many pieces that each of us loved in what we were planning and didn't want to lose. That's when we ended up in discussions over the best way forward."This album also marks a return to the concept album for TRANSATLANTIC."Well, the idea of TRANSATLANTIC deciding to do a concept record this time around won't shock anyone, right?" laughs Portnoy. "What we have is essentially one giant composition, split into chapters. The storyline is about the struggles facing everyone in society today.""We didn't start out with the idea of this being conceptual," admits Stolt. "The way things work with us is that we have a load of ideas, and these are developed spontaneously when we meet up. Everything happens in the moment."So, how does this new groundbreaking album compare to TRANSATLANTIC's previous four albums?"I always try not to compare albums as much as possible," insists Morse. "It's very difficult when you're trying to be creative, because your natural instinct is to constantly compare. But in order to create you have to kind of step away from that. Having said that, I would say this would have more in common with 'The Whirlwind' album [the band's third, from 2009] than others that we've created."For Trewavas, "The Absolute Universe" is a momentous project. "I think it is right up there with the very finest albums we've done," he says. "As the others have said, it compares very well to 'The Whirlwind', which I believe represents TRANSATLANTIC at our best. As on that album, we took our time to write and arrange everything, and that shines through. I am very excited for people to hear it."TRANSATLANTIC formed in 1999 and released its debut album, "SMPT:e", the following year. Sophomore effort "Bridge Across Forever" followed in 2001, but the group went on an extended hiatus after Morse left SPOCK'S BEARD in 2002 to focus on his newly launched career in the Christian music industry.The group reunited in 2009 and released third album "The Whirlwind", which consisted of a single 77-minute track, that same year. A fourth album, "Kaleidoscope", was recorded in 2013 and released the following year, when it debuted at No. 6 on the German top album charts. The band has also released several live albums and live videos, most recently 2014's "KaLIVEoscope".Portnoy and Morse are frequent musical collaborators, having recorded more than a dozen albums together outside of TRANSATLANTIC, including three FLYING COLORS releases, three by THE NEAL MORSE BAND and seven Morse solo albums."$15.00 -
Edensong is a progressive rock quintet from New York City. The band's self-released 2008 debut "The Fruit Fallen" was hailed as a "masterpiece" by critics, and helped to pave the way for live shows and notable festival appearances throughout North America.At over 70 minutes of new music, their 2016 followup, "Years in the Garden of Years" is even more ambitious than it's predecessor, and will be sure to appeal to fans of both classic progressive rock and metal. The concept album features an extended song cycle on themes of time, each song a different scale and perspective. The melodies are more memorable, the riffs more powerful, the flute playing more inventive and propulsive. The songs prominently feature immersive new textures, from lush keyboard and orchestral arrangements to esoteric percussion from around the world, such as hang drum and Balinese gamelan. "Years in the Garden of Years" is mastered with audiophile precision by Grammy winning engineer Bob Katz, and the CD release features stunning original cover art and booklet illustrations from beloved surrealist painter Dan May.$6.00 -
"“Mirror your World through my Touch…Set me Free, oh Set me Free”These words, from the song Colours on Magenta’s new We Are Legend album, are about Vincent Van Gogh, but they could also describe the feelings engendered by this imaginative and impressive release from the premier Welsh Progressive Rock band. We Are Legend underlines Magenta’s outstanding musical credentials, but they have far more than just great technique, imbuing their songs with melodies to stir the soul and stories to fascinate the mind.In a recent interview with Peter Jones on his Progzilla Radio show, Tales from the Tiger Moth, Magenta main-man Rob Reed revealed that he wanted this Magenta album to be “different”. Since their last album, The Twenty Seven Club in 2013, Magenta have overcome some issues, including illness, but Reed revealed that he had struggled in writing a new Magenta album after the peaks he felt they had achieved. As a result he channelled himself into his own excellent Mike Oldfield inspired solo Sanctuary projects and helping Christina Booth complete her fine emotional solo album The Light. The results of this break have clearly refreshed Reed as We Are Legend projects Magenta into a new trajectory, fizzing with energy and creativity.Magenta have never made compromises in their music, ever since Rob Reed decided to stop trying to pursue mainstream success and produce exactly what he wanted to – a truly epic and distinctly ‘uncool’ double debut album Revolutions in 2001 shamelessly referencing his 1970s Prog heroes, Genesis and Yes in particular. Magenta went on to develop their own distinctive sound built around the trademark triad of the pyrotechnics of Chris Fry on electric guitars, Christina Booth’s pure, luminescent vocals and Rob Reed’s mastery of the Piano, Hammond and Moog. However, when considering the new album Reed initially felt restricted by that template and felt he did not want to re-tread old ground. Therefore, he decided to channel what he felt was ‘negativity and angst’ about the direction of the next album, similar to his frustrations prior to Revolutions, and decided to “make a record for me – I will use whatever I want on it”, leading to an album which includes distinctly ‘un-Magenta’ elements such as drum loops, sequencers, dashes of dance music rhythms and heavy guitars as Reed and the band stretch their boundaries. But long-term Magenta fans should have no fear, they are still recognisably Magenta, but noticeably reinvigorated with energy, sounds and an edge, showing a band that does not compromise and wants to move on in terms of its expression and imagination.In a break from previous albums, there is no overall ‘concept’ around this release. Magenta have chosen to present three distinct songs with separate narratives and atmospheres, but there is a cohesive feel to the whole album. In a throw back to vinyl days there is one epic ‘side long’ track and two shorter songs (both in the region of ten minutes) echoing the layout of classic Yes albums Close to the Edge and Relayer, but let’s be clear, Magenta are no ‘Prog by numbers’ clones and have produced a remarkable and vibrant progressive rock album.The epic opening track, Trojan, starts atmospherically with synths which then explode with squealing guitars over a juggernaut of bass and drums, immediately evoking a sense of science fiction. Steve Reed, lyricist and Rob’s older brother, has shared that the theme of this piece was initially suggested by the opening few minutes of the music alone, presented to him by Rob, the musical ideas helping to inspire Steve’s lyrics towards a peculiar yet interesting sci-fi story. In short, huge robots emerge from the sea and initially appear to be benign, but ultimately act as ‘Trojan horses’ to take over the world for a long forgotten and banished human species that took to living beneath the seas and have now returned to reclaim the Earth!If you think that’s bonkers then wait until you’ve heard the music which sounds like some sort of spectacular soundtrack for a Japanese Manga or Studio Ghibli cartoon. This is pulsating music. sweeping across the narrative in a range of distinct parts. Rob Reed revealed that he was influenced by Marillion’s Misplaced Childhood suite, which has the reputation for being epic in length, but is a series of linked songs. Similarly in structure but not in style, Trojan is a series of song sections over 26 minutes ‘sewn together’ (as Reed puts it), although you can hardly see the joins, such is the skill of Reed and the band.Following the opening cinematic section, Chris Fry kicks in with a heavy guitar riff and Christina Booth, over shimmering dance inflected keyboards, chants the early panic of those on land confronted with the slow, emphatic progress of these strange new conquering robots. The atmosphere changes to the gentler perspective of a little girl in Japan who thinks of the robot as a ‘Tin Man’, with imagery akin to Ted Hughes’ Iron Giant. Booth shows great vocal versatility as she switches from the softer vision of the small girl to more dramatic parts of the narrative as the story develops. The music flows descriptively – you can visualise the slow, inexorable march of the robots as Magenta interweave sinuous dance inflected keyboards, reminiscent of Faithless, with passages of fluid, dreamy blues tinged guitar at some points. Pastoral guitars underpin a peaceful passage with Booth’s soft vocals before distorted guitar breaks in, possibly to indicate that the ‘paradise’ of ease brought by the robots will be ultimately destroyed.I hope you’re keeping up!!!Don’t worry, Magenta’s imaginative music carries you along and you may not always understand (or even care!) exactly what is happening as you dive into the rich multi-layered elements that make up the epic sound and story. Steve Reed has always sought to look at subjects from unorthodox and differing perspectives, such as the ‘glutton for punishment’ angle of the classic Gluttony from Seven. Similarly, in Trojan he seemingly shifts from the fate of the land civilisation to the perspective of the long exiled species of undersea dwellers held within the Trojan Robots, looking forward to hopefully reclaiming their world. A beautiful acoustic guitar led section of hope emerges with Christina singing beautifully;“The light it fades, When you all will sleepWith love to share, Anger drifts awayAs the hurting stops, With the time to findPaths to tread in this world…I see the need inside your soulThe love that’s in your heart.”Such poetic and touching lines perfectly match the emotive music as Fry’s languid guitar flows along before ascending into a brief transcendent solo, characteristic of his more restrained performance throughout the album. It’s remarkable that amidst this science fiction complexity they can skilfully insert a song of such delicacy and feeling, underlining that for Magenta the priority is always melody and emotion, not the sterility of mere technique without feeling. Jonathan ‘Jiffy’ Griffiths shows his versatile and subtle percussive skills alongside Fry’s eerie, expressive guitar as the piece sinisterly shifts towards the treachery of the robots as they turn against the land dwellers. The whole composition comes full circle as the dramatic robotic fanfare from the intro re-emerges with soaring guitars over pulsing synths and as one civilisation falls another rises from within the Trojan robots with hope:“At the break of day, As the silence roarsAnd the dust it falls, Open up the doorsWhen we’re stepping out, Walk into the light, Man’s re-birth.”Both musically and through the narrative, the opening track is quite a ride! Definitely a piece that, like most great tracks, pays repeated listenings with a strange story that reveals itself more over time.Legend is another imagined narrative song with a post-apocalyptic sci-fi feel, partly inspired by the films Omega Man and I am Legend, and the intro certainly sounds cinematic as weird sounds throb and pulse before a crunching combination of drums, bass and guitar puts us firmly in the stark post-apocalyptic setting. Dan Nelson, long time live bassist, has now fully joined the band and with new member Griffiths’ fine rhythmic work on drums they underpin this album with precision and power, particularly on the leviathan that is Legend. Christina Booth sings powerfully as this driving song describes the fate of one of the last men on Earth, before Reed’s synths and Fry’s weird distorted guitars intertwine in a nightmare musical depiction of the vampiric state into which humanity descends. A strange but captivating song, it concludes almost elegiacally with the last human trying to hang on to the final vestiges of his humanity as the vampires hunt down the weak and vulnerable, even amongst themselves. Perhaps it’s a comment on the self-consuming and self-destructive nature of much of our society… or just a dramatic but depressing story about zombies and vampires!! Who knows, but the journey is compelling.Colours is another remarkable song about the tortured and tragic soul of an artist. It starts with a beguiling musical box intro before erupting into an intense passage with staccato and textured sounds underlying Booth’s manic vocals. The evocative and multi-layered music conveys images of the artist, on the edge of sanity, passionately and frantically applying his paint to the canvas. Apparently Rob Reed presented the music to lyricist Steve by simply saying “It’s about Van Gogh”, but he had no words, making it remarkable that Rob was able to so fully evoke the musical images of a complex and tortured individual obsessively daubing paint onto canvas to try and express his innermost thoughts and feelings. Flute-like melodies move through to subtle blues inflected guitar, a short fluid Hammond Organ passage followed by a soaring guitar vignette by Fry, with Nelson in fine form, constantly changing the colours of Magenta’s musical palette. Van Gogh perceived everything in swirling vibrant colours, mirrored by the music as the impetus picks up with insistent synthesiser, orchestral keyboards and driving guitars, Steve Reed adding one of his best lyrics to reflect the power of the music and convey the artist’s sad decline in a maelstrom of creativity which he cannot sustain. The music and lyrics combine so well in this remarkable offering, building darkly to an intense finale with Rob Reed excelling, culminating in intensely sung and chilling lines:“Save me, love me, Gun in your hand and I’m waiting to dieSky bright, sun shineField like the sea, I’m wanting the endDarkness, silence, Near to the end TheoPlease set me free, set me free.”The ending is rather enigmatic, but there is a suggestion that Van Gogh’s brother Theo shoots him to put an end to his suffering in an act of mercy. Whether fact or not, it is certainly an evocative and emotive song which displays the combined talents of Magenta. A real showcase for the band, particularly Booth, as the song builds to its dramatic ending, it has already become rather a live favourite, no wonder as it combines the music and lyrics so well.In We are Legend Magenta have created one of the best albums of their career by daring to stretch and express themselves with great integrity and dazzling imagination. This will be regarded as one of THE progressive rock albums of 2017 – Magenta have definitely added to their own ‘Legend’." - The Progressive Aspect$14.00
