Akasha (Vinyl)

SKU: BWR154
Label:
Black Widow Records
Category:
Progressive Rock
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This was always a weird but charming album.  Recorded on a low rent budget in 1977, Akasha made this one and done album.  The album kicks off with a lengthy track loaded with 'tron.  The rest of the album is full on prog rock with lots of wacked out twists and turns.  It literally was recorded in the bomb shelter in the basement of a hotel so it has a real primitive sound but the music does shine through.

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  • "With contemporary music often looking to dissolve artificial boundaries and cross-pollinate with abandon, it shouldn't comes as a surprise to hear progressive rock groups using the same tack. On one hand, expectations often drive them to stay close to home— Yes may release new music periodically, but its live shows draw more from the classic 1970-1977 repertoire than any other. Then there's King Crimson who, while looking back to some extent, are more interested in pushing forward and creating live sets reflective of that aesthetic. New groups aren't anchored down with the dilemma of evolving while, at the same time, pleasing longtime fans interested in hearing their favorite songs. Mahogany Frog suggests, perhaps, one possible future of progressive rock, bringing together elements of electronica, ambient, industrial and jazz into the more familiar terrain of detailed, long-form writing, odd meters and neoclassicism. DO5 demonstrates what might happen if Radiohead and Sigur Rós were put into a blender with Pink Floyd, Yes and Genesis, then dropping the vocals. The end result sounds like none of them, though markers run throughout DO5—Mahogany Frog's fifth album, but its first for a label with widespread distribution. "G.M.F.T.P.O." opens the nine-song, 45-minute disc with a high energy, guitar-driven anthemic melody, propelled by drummer J.P. Perron's visceral beat and Scott Ellenberger's thundering bass. But a mere thirty seconds into its brief ninety-second duration, it enters space-rock territory, with electronics entering the picture as a series of punctuating shots segue into the eleven-minute "T-Tigers & Toasters." Ambient sounds from a variety of analog and digital keyboards, played by Graham Epp and Jesse Warkentin, build into a deceptively unsophisticated three-chord change that morphs into alt-rock as they pick up guitars for a high volume, heavily distorted power-chord theme. The simplicity turns complex, however, during the second half as odd meters and unexpected twists and turns are introduced, along with sudden dynamic shifts from ear-splitting to a near-whisper. One thing is certain, however: Mahogany Frog is a band best experienced with the volume control turned up to eleven. It only helps to make the quieter passages even more dramatic and the symphonic tinges of "Last Stand at Fisher Farm," with Epps and Ellenberger picking up trumpets for its potent theme, all the stronger. Mahogany Frog isn't a group that relies on solos to impress, but Perron nevertheless stands out, his playing on the knotty "You're Meshugah!" especially frenetic and captivating. The brief, riff-driven "I Am Not Your Sugar" may be a head-banger's delight, but it's one that expects the metal-head to pump his fist while searching desperately for the "one." Accusations of bombast tend to follow progressive rockers around, and there's no shortage of turgidity to be found on DO5. Still, it's a guilty pleasure that fans of the alt-rock scene, looking for something more challenging, may well gravitate towards. For longstanding progressive rockers who believe in emphasis on progressive, Mahogany Frog hits all the right reference points, yet is as contemporary as it gets, breathing new life into what is mistakenly considered by some to be an outdated genre. They couldn't be more wrong." - All About Jazz
    $8.00
  • Finally! First official CD release of the band's debut for Charisma Records. Originally released in 1975 the lineup featured Dave Brock, Robert Calvert, Nik Turner, Simon House, Simon King, Alan Powell, and Paul Rudolph. The album features "Steppenwolf" - one of the band's signature tracks. This edition comes from Atomhenge - a new offshoot label from Esoteric Records. It gets the full Mark Powell treatment - extensive liner notes and photos, 24 bit mastering and 4 bonus tracks. Essential.
    $17.00
  • Latest studio album from this highly prolific symphonic rock band from Mexico. The band has developed their sound over the years - all for the better. They now feature Spanish vocals (in general the vocals are much much better than the old days). Flute and keys play an important part of the sound. Make no mistake, this is old school prog all the way. There is a bit of Mexican folk flavor that creeps in now and again but all that does is add some additional personality. Easily the band's best work.
    $14.00
  • My Soliloquy is a British band formed in 2002 by multi-instrumentalist Pete Morten.  Since then the band has released a number of demos, gaining traction in the metal underground. The band had a number of notable support shows with Pagans Mind, Power Quest, Oliver and Rick Wakeman, and Threshold, as well as a second-to-headline set at Bloodstock 05 and a showcase at 2007’s ProgPower UK II.Since 2007, Morten has been an active member of British prog metal legends Threshold.  His membership has raised awareness (and created anticipation) for My Soliloquy’s long awaited debut.The essence of My Soliloquy is pure forward thinking metal – symphonic keyboards, shredding guitar leads, soaring vocals – all finely woven together with a blend of intricacy and melody.  The Interpreter was mixed and mastered by Rob Aubrey who has been a mainstay of Marillion’s camp for many years.
    $5.00
  • Fantastic collection of SWF radio sessions from this one and done German prog trio.  Amos Key was led by keyboardist Thomas Mollin.  The band recorded one album for the Speigelei label in 1974 (still unreissued on CD).  These radio sessions actually predate the recording of the album.If you are fan of ELP, Triumvirat, or even The Nice and Egg you need to check these guys out.  Mollin has monster chops on organ and basically stole from the same classical and jazz sources as Emerson so you get a very similar sound.  I hope Dave Brubeck is getting royalties!  Vocals were not the band's strong suit so they keep them to a bare minimum.  All in all one of the best reissues I've heard in some time.  Highly recommended. 
    $18.00
  • "Sündenfall II from the Kevelaer area at the Lower Rhine played a mixture of folk and jazz, influenced by Jethro Tull. While their predecessors, Sündenfall, exclusively dedicated themselves to jazz, the group included folk after a change in line-up and band name (following the example of Amon Duul II). In 1972, Hubert Schmitz invited the band into his Trepitia film and sound studio in Alpen-Druept for free recordings, as he wanted to test the newly installed equipment after a recent move into the new location. Thus the recordings were made for the album Sündenfall II (Trefiton HS 1017), which was released in a small edition of 200 copies at the end of 1972. Today it is sold at a price of about 500 to 1000 Euros in mint condition. The LP re-issue is a limited edition of 1000 numbered copies and comes with a four-page color insert in LP size, including a detailed band history in German and in English language, many band photographs, and information about the Trefiton label etc." PLEASE NOTE WE CAN ONLY SHIP VINYL TO OUR USA CUSTOMERS.
    $36.00
  • Fourth album from this excellent Italian progressive rock band. Madame Zelle is a concept album based on the life of double agent Mata Hari. Plenty of solos from keyboards and flute without sounding dated. In fact this doesn't sound like 70s Italian prog at all - they achieve a contemporary sound that bears a striking similarity to White Willow's Storm Season period. I wish vocalist Simona Rigano sang in English. It would bring this band acceptance from a much broader audience. She has a nice voice that serves the music quite well. Overall an album with a nice flow to it. Highly recommended.
    $19.00
  • Second album from this overlooked band. Os Mundi was considered the first rock band from Berlin with lots of members moving in and out of the band. 43 Minuten marked a departure from their debut "A Latin Mass", finding the band with a stronger jazz rock element in their sound but still retaining the underground feel and sound courtesy of producer Conny Planck. Vocals move in and out of the mix but stay clear long enough for the jammed out guitar and flute breaks. The band gets into a groove and then blasts off. Perhaps a bit reminiscent of Out Of Focus.  Limited edition gatefold vinyl pressed by Music On Vinyl.
    $36.00
  • “Tempo”, long waited new Osanna release with a 40 pages book with lots of photos and 2 DVD. Prog lovers will be captured by this work full of great music with a recent concert at Trianon Theatre in Naples with orchestra and archives material with rare 70s video footage.The book shows many pictures which tell Osanna Story with some photos from the 1st Osanna line up (Elio D’Anna, Danilo Rustici, Massimo Guarino, Lello Brandi) and a biography of the band written in Italian and English. The 2 DVD tell the history of the band from the first RAI video clips ‘til the recent live plays in Naples in 2012.First DVD “Live in Naples” has realised at the Trianon Theatre in Naples on 24 October 2012 during the presentation of  “Rosso Rock” album; a concert with some guests as: David Jackson, Sophya Baccini, Maurizio Capone, Elio Eco, Giampiero Ingrassia, Gianni Leone, Antonella Morea, Tito Schipa Jr., la Banda “Concerto Musicale Speranza” di Pino Ciccarelli e l’Orchestra d’archi “Rosso Rock” Ensemble” diretta da Gianluca Falasca.First half is more “electric” and Osanna plays with David Jackson, Gianni Leone and Sophya Baccini songs as: “‘A Zingara”, “Introduzione da YS” del Balletto di Bronzo, “Everybody’s gonna see you die”, In un vecchio cieco”, “Vado verso una meta” and “Theme One” (VDGG) to close first half of the gig.The second half start with a tribute to “Milano Calibro 9” movie directed by Fernando Di Leo, with the suite from the album “Preludio Tema Variazioni e Canzona” realised in 1972 with Luis Bacalov; Osanna plays with the “Rosso Rock Ensemble” Orchestra directed by Gianluca Falasca.Following some guests play with Osanna: Giampiero Ingrassia in “There will be time”, Tito Schipa Jr. “Per la Strada” (“Orfeo 9”) and “Fiume” (Landscape of Life), Antonella More, Maurizio Capone and Elio Eco in the final part of gig in “O Cuore e Napule” and “Fuje a chistu paese”.Second DVD “Story” : 20 video clip represent the story of the Band, some are from RAI Archives and there are also videos from Capodistria and some come from private archives. From 1971 to 2009 20 videos show different Osanna line up from time of RAI and TeleCapodistria ‘til recent videos in Naples and Savona. Many different “L’Uomo” versions presented by Renzo Arbore, Enrico Simonetti, Nino Fuscagni, Vanna Brosio and clips taken from “Speciale Tre Milioni”, “Domenica In”, “Amico Flauto”, “Adesso Musica”, “Tutto è Pop” etc.A really exclusive video is the one showing a Pop Festival in Naples “Be-In” (1973) where you can see some “prog” stars on stage...11 videos are taken from the 70s and 9 videos regarding Osanna from 2000 to 2009 including live at Mediterraneo Theatre in Naples in 2001 and live at Chiabrera Theatre in Savona in 2009 with David Jackson, Gianni Leone and Sophya Baccini.
    $33.00
  • Second album is a quantum jump in quality due to the presence of a living breathing drummer. Killer symphonic progressive metal. Highly recommended.
    $12.00
  • Fifth album from the Polish prog band led by former Collage guitarist Mirek Gil.  The band clearly goes for a contemporary sound.  There are overt similarities to Riverside but the music has a more symphonic rock side.  I've always enjoyed Gil's guitar tone.  He plays with quite an expressive style.  In this case its nicely augmented by violin and keys.  Lots of prog coming from Poland.  Believe is one of the better bands to emerge from that scene.
    $15.00
  • This is the release that kicked it off for the Finnish band.  A thirty-five minute release that seamlessly marries Scandinavian folk music with Ozric Tentacles influence space rock."This amazing space rock band from Finland has captured the attention of fans of the genre around the world, and even those who usually aren't that interested in it. Who would have thought the next band in the line of Gong and Ozric Tentacles would come from Finland? Well, why not?Purely instrumental excursions into psychedelic spaces, propelled by Tim Blake-like droning and burbling synths, Hillage-like guitar glisandos and arpeggios, pulsating bass lines, phasing sitars, and precise drumming with some occasional Ian Anderson-ish (vocalizing and blowing simultaneously) flute work to spice things up. They're like Gong without jazzy influences or vocals, and like the Ozrics without techno influences. Just pure, hypnotic, unadulterated space rock to float past the rings of Saturn with ... my favorite kind of prog." - New Gibraltar Encyclopedia Of Progressive Rock
    $13.00
  • "As a historical document, this release takes some beating. Recorded during the short – and only – tour that Fripp & Eno undertook as a duo, it captures a pivotal moment, not only in the development of both players, but in the live music experience itself. Here was a "rock concert" (or "superstar show" as the poster for the less glamourous Tunbridge Wells gig had it) where two of the leading lights of the art prog scene sat in near darkness improvising a series of dronic, ectoplasmic mood pieces for an hour and a half. No hits, no big riffs, no exotic costumes. In 2014, that description could be analogous to any number of live electronica events, but in 1975, it led to booing, walkouts and open hostility.Yes, there had been precedents for this type of proto-ambient music before, specifically the kosmische of Tangerine Dream and Klaus Schulze, and most pertinently, the systems music of Terry Riley, which had inspired Eno to start experimenting with tape loops in the first place. And it wasn't as if the duo hadn't already signalled their musical intentions with the release of (No Pussyfooting) in 1973. But in a pre-online world, music travelled more slowly, and a lot of people went to these shows expecting Roxy Music and King Crimson numbers. What they got instead, was an intriguing, and for some discomfiting, glimpse into the future.1975 was a liminal year for rock music in the UK. It saw the end of glam, the fading of prog and the first stirrings of punk. It also saw the biggest band of the day release one of the bleakest, most alienated albums in the rock canon, Pink Floyd's Wish You Were Here. While operating much further along the spectrum than Floyd, there's a similarly immersive, almost enervating feel to the sounds that Fripp & Eno produce during this performance, suggesting that we're at the start of a new way of listening to and experiencing music, an opening up of new possibilities in aural pleasure. With its use of repetition and egoless explorations of sonic space, there's also a strong argument for Fripp & Eno creating the UK's only indigenous strain of krautrock.The performance begins before Fripp & Eno have even arrived on stage, with the cold, aqueous drone of 'Water On Water'. Quizzical voices can be heard in the audience, then cheers, but these soon subside as a tide of alien soundwaves continues to wash over them. As a listening experience, it goes beyond the point of nothing happening into a new realm of uncertainty, and the audience sound as much relieved as delighted when Fripp & Eno finally take their places and begin playing 'A Radical Representative Of Pinsnip' (a version of 'The Heavenly Music Corporation'). Fripp's guitar seems to intuitively tune into the wavelength that Eno is broadcasting on, a huge, ever-growing pulsating brain weaving tessellations of holy noise around the fabric of the drone. Over a pattern of discordant notes, like an evil fairground pipe organ, Fripp solos at his most atonal and nightmarish, before calmly sliding into 'Swastika Girls'. Eno's backing loop seems to mutate from the ringing of wind chimes to the squealing of pigs, while Fripp's unmistakeable shredding alternates from placid to fiercely angular. 'Wind On Wind' signals an intermission – there's no crowd noise (other than the sound of someone choking on a magic cigarette), so it's difficult to say whether the audience remains rapt with attention or have already departed en masse to the bar.The performance re-starts with 'Wind On Water', its gentle beginning leading gradually to an ecstatic ascension, Fripp's guitar like dazzlingly bright reflections of the sun on a rippled pool. We then get a series of anagrammatically-punning tracks unfeatured on any of the duo's studio albums. 'A Near Find In Rip Pop' is based on a simple loop of strummed guitar, which Fripp drops note clusters over, before peeling away to reveal (un)natural sounds of wind and distant animal cries. It's a point of mellowness midway through proceedings, soon disrupted by 'A Fearful Proper Din', its grinding chug like Sunn O))) heard at the end of a long tunnel. Fripp's soloing taps into the heaviness of Red-era King Crimson, faster, harder and more threatening than before as the track morphs into 'A Darn Psi Inferno'. Children's voices appear against the metallic breathing of Fripp's guitar at its scariest, the tension finally broken by the relative balm of 'Evening Star'.Fripp & Eno exit for a second time to 'An Iron Frappe' – another unaccompanied drone piece resembling the infinite echo of a struck bell – before returning to encore with 'Softy Gun Poison'. Here, the duo finally drift off into deep space in a trail of sinister voices and unhinged laughter, the whine and growl of their engines stretched and refracted, the ghost of a slow-motion explosion. The track culminates in perhaps the single most transcendent part of the show/recording, a warm plateau of dense drone that segues into the walk-off tape of 'An Index Of Metals', their ship caught on the lip of a black hole for all eternity, faintly transmitting back to earth.Over the entire length of this immaculately restored 3-CD set (which includes a disc of the unadorned tape loops that Eno prepared for these shows), I began to wonder if anybody needed this much Fripp & Eno in their lives – that such thoughts now feel positively iconoclastic compared with the righteous indignation that many people greeted this material with in 1975 shows just how far we've come, and how much Fripp & Eno (both as a duo and individually) helped to redefine our appreciation of what music could be." - The Quietus
    $23.00