Gothic Metal

Hyperdrive marks a new era for Knight Area.  The long running Dutch progressive rock band had previously released four studio albums and toured Europe and USA extensively, performing at all major prog rock festivals.  1n 2012 the band welcomed guitarist Mark Bogert as well as legendary bassist Peter Vink (Q65, Finch, Ayreon) into the fold. With these newcomers onboard, Knight Area introduced a heavier element and fuller sound to their repertoire.  All the classic symphonic rock traits of their previous albums are still clearly evident but the songs on Hyperdrive are more immediate and concise.The band invited noted prog guitarist Arjen Lucassen (Ayreon, Star One) to participate as a special guest on one track.  Joost van den Broek, who is known for his production work with Epica, Mayan, and After Forever, mixed the album.   Rounding out the package is startling artwork by Gustavo Sazes.

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. 

After an exceptionally long year full of personal change and near manic levels of creative activity, Canadian musician Devin Townsend releases his follow up to 2019’s acclaimed ‘Empath’ album. Assembled from a barrage of material written during the pandemic ‘Lightwork’ represents a new level, and has ended up being one of the most accessible, yet ambitious releases of his storied career. A project that has been on Devin’s mind since he was a teen, (and flirted with throughout his career) is a more melodic and direct album with a great producer to help guide the work. Enter Garth Richardson: A Vancouver based producer with a long resume and a friend of Devin’s for many years. And the goal? To provide something beautiful, cathartic, powerful and clear. A sense of optimism and power through what can be commonly known as a ‘depressing period’. It’s about strength, love, acceptance, fear, and overcoming together. Guests on the record include friends and stalwarts from his past (Anneke Van Giersbergen, Ché Aimee Dorval, Morgan Agren, Mike Keneally, Steve Vai, Elektra Women’s Choir) as well as some newer friends and faces (Darby Todd, Diego Tejeida, Nathan Navarro, Federico Paulovich, Jonas Hellborg), and also, in a rather hard to believe turn of events, legend producer and guitar player Nile Rodger plays on the track ‘HoneyBunch’.[[{"type":"media","view_mode":"media_large","fid":"22173","attributes":{"alt":"","class":"media-image"}}]]

"Let's get one thing straight from the start. The Sea Within is more of an amalgamation ofsome serious talents, than a regular “supergroup”. These musicians have come together tocreate a unique album. Guitarist/vocalist Roine Stolt, bassist Jonas Reingold, keyboard player/vocalist Tom Brislin, drummer/vocalist Marco Minnemann and vocalist/guitarist Daniel Gildenlöw have a vast reservoir of experience. Look at the portmanteau of artists with who they've worked: The Flower Kings, Transatlantic, Jon Anderson, Steven Wilson,The Aristocrats, Joe Satriani, Yes, Steve Hackett, Renaissance, Pain Of Salvation,Deborah Harry, Meatloaf, Karmakanic ... that of itself tells you this is something veryspecial.“I suppose it all began to take shape in the autumn of 2016,” explains Stolt. “I had a chatwith Thomas Waber, the boss at InsideOut Music, about the idea of putting together a new band. I wanted to move in a fresh direction with new collaborations. So Thomas gave methe ‘go ahead’ to seek musicians for a new project.” First on-board was The Flower Kingsbass player Jonas Reingold. “He is a long time bandmate and friend and we were also verykeen to get keyboardist Tom (Brislin) involved - after seeing his synth pyrotechnics withlegends Yes ‘Symphonic’ and with Camel. Then we have been a fans of ‘Aristocrats’drummer Marco for a long time; I first heard of him 15 years ago and he is a brilliant drummer, unique energy. Then when we discussed ideas for singers, Daniel's name came up, he has such a great range and dynamic voice and we've worked together on and offover the years.” Also added later to the bands line-up for live shows was vocalist andguitarist Casey McPherson of ‘Flying Colors’ and ‘Alpha Rev’, who also sings a couple ofsongs on the album.Initially the band went to Livingston Studios in London last September to begin the processof assembling all the material and recording it for the debut album. “Most of the materialyou'll hear are really band compositions. Of course, ideas were triggered by all of us. Sometimes Jonas would come up with a part, chord sequence or tune and then I or Tom would write melody & lyric and some new riff section and Marco enhancing with further musical metric twists and developments - then Daniel would add or rewrite some of the lyrics, change or add more melodies. Overall, the vast majority of the tracks have beenworked on and developed by all of us in one way or another.” “Why did we decide torecord in London? That was down to simple logistics, because we live all over the world. Jonas is in Austria, Daniel and I are in Sweden, Tom is on the East Coast of America, whileMarco is on the West Coast. So, it made sense for us all to come together in London.” Not all of the record, though, was finished at Livingston, as Stolt outlines. “Some extra toucheswere added later, when all of us were doing things in our home studios. These were things such as guitars, vocals, synth and keyboards, textures. On the vocal side, a few of us have been involved, Daniel, me, Tom and Marco coming to lend our voices; and later Casey. Marco also plays some guitar on the material and I did some bass. So all of the guys did alot more than you might expect.” The album is essentially self-produced, and it was mixedby Stolt/The Sea Within as well. “We did think about bringing in someone from the outside to handle the mixing stage. But as I ended up with all the music files, which we had been sending one another through web or email-links... well, it didn't make sense to have an extra person come in for that part of the process.”The entire recording situation took about six months, and the band also has some veryspecial guests featured on the album. “We have got Jordan Rudess from Dream Theaterplaying piano on one song. The legendary Jon Anderson sings on another track, while 'wind ace' Rob Townsend, who plays saxophone and flute with Steve Hackett, is also on therecord. Each of them brings a different flavour to the music.”“People have asked me how I would describe what we have done, and it is almostimpossible. I would have to say it sounds like...us, ‘The Sea Within’. Our tastes are veryeclectic – from prog to jazz to classical, to heavy rock, folk, punk, electronica and pop. We all come from a different background - so here everything goes. “This has been aboutputting those diverse influences into the music. I feel you will hear all that's good about pop – with great melodies and hooks – plus the rawness of metal, improvisations, symphonic and movie soundtracks. We also left room for each of us to take off on flights of instrumental jamming. That was the basic idea, anyway. But until we all got together, wehad no idea where it would lead or if it would actually work.” The band have ended uprecording close to two hours of music, and will be releasing it all in June on what will be a self-titled album.So, where does that name come from? “It was a long and somewhat painful process to find a fitting name. We all made lists of band names, one of which was ‘The Sea Within’, butthat was first rejected along with many others. So we had to go back to the beginning and think again. We ended up with more than 100 suggestions – some really crazy, funny andridiculous ones. In the end, we put it all to the vote and ‘The Sea Within’ came out on top. “I have to say that I like it, because it could mean many things, but does not give people preconceptions of what to expect from our music. I personally see it as the vast inner oceans of thoughts, dreams, poetry, music, love, fear etc that we all carry with us - within - every day through a lifetime - all that leads to creations like this.” The Sea Within as amusic collective has plans to perform live, and will make their stage debut at 'Night Of The Prog' in Loreley, Germany which happens from July 13-15 and will bring special guests for that evening. “As far as I am concerned, we will try do as much touring as possible. Wehave a great band, great label and our agent Rob Palmen on-board. We have great artwork by Marcela Bolivar, all looks bright. However, Daniel will not be able to join us for touring now, as he has commitments with main band Pain Of Salvation. With Casey taking the vocal spot, now with us live, we can go out on the road and play this album and beyond and grow as a band. We have so much to offer musically, on record and on stage and I am sure we will develop a lot over the next few years. But 'The Sea Within' album is a great start. I am excited for everyone to hear what we have done and am now thrilled to startworking on the songs for the live show.”"By Malcolm Dome, London, March 2018

We have a special offer Tiles "Pretending2Run" t-shirt/2 CD bundle.  The shirt design is courtesy of the illustrious Hugh Syme.  The new Tiles album is a 2CD set in a digipak with a 28 page book.After an eight year absence, T I L E S returns with a vengeance by delivering the mesmerizing 2-CD magnum opus “Pretending to Run.”  Clocking in at over 96-minutes, “Pretending to Run” is an ambitious and richly crafted song cycle spinning the tale of a man blindsided and disillusioned by betrayal.Once again, T I L E S teamed up with producer Terry Brown – and with mastering by Grammy award winning engineer Peter Moore, “Pretending to Run” boasts a powerful and detailed sonic landscape.  Complementing the dramatic and multi-layered storyline is Hugh Syme’s striking and surreal imagery.  Featuring a lush 28-page full-color booklet, the design and packaging for “Pretending to Run” is an elaborate and stunning work of art.Lending their talents to “Pretending to Run” is an extraordinary collection of special guest musicians: Ian Anderson (Jethro Tull), Mike Portnoy (Dream Theater, Winery Dogs), Adam Holzman (Steven Wilson Band), Mike Stern (Miles Davis), Kim Mitchell (Max Webster), Colin Edwin (Porcupine Tree), Kevin Chown (Tarja Turunen, Chad Smith), Max Portnoy (Next to None), Matthew Parmenter (Discipline), Mark Mikel (Pillbugs), Joe Deninzon, and other notable guests from the Detroit area… Destined to be on the radar of Prog fans everywhere, “Pretending to Run” is a distinctive  presentation framed in the grand traditions of progressive rock.  Clearly and unmistakably T I L E S, but infused with a more expansive sound as the guest artists propel the band into new directions sure to please fans old and new.Special guest performances by:Ian Anderson (Jethro Tull)Mike Portnoy (Dream Theater, Winery Dogs)Adam Holzman (Miles Davis, Steven Wilson)Mike Stern (Miles Davis)Kim Mitchell (Max Webster)Colin Edwin (Porcupine Tree)Kevin Chown (Tarja Turunen, Chad Smith)Max Portnoy (Next To None)Matthew Parmenter (Discipline)Mark Mikel (Pillbugs)Joe Deninzon (Stratospheerius)  

"Glass Hammer is set to release the third album in their Skallagrim Trilogy, entitled At The Gate. The first album of the trilogy, 2020’s Dreaming City, heralded a new, much heavier sound for GH, which is continued in At The Gate. The albums chronicle the sword-and-sorcery adventures of a hard-bitten thief named Skallagrim who finds himself locked in a desperate struggle with forces of evil. Through his struggles to find his lost love, he matures and gains much wisdom. In this final installment, Skallagrim has been cursed to live a thousand years seeking his love. When he finally does find her, he ends up sacrificing himself so she can be free.At The Gate begins with one of Glass Hammer’s finest songs of their long career – the beautiful The Years Roll By. This song is in more of the “classic” prog style long-time GH fans have loved – a keyboards-driven melody with majestic vocals underpinned by Aaron Raulston’s excellent percussion and Steve Babb’s energetic and inventive bass. The inimitable Babb also supplies the pipe organ and keyboards on this one. Vocalist Hannah Pryor really comes into her own on this track, and Fred Schendel is outstanding (as usual!) on guitars.Savage is up next, and it begins with a spare, unaccompanied guitar riff that soon explodes into a heavy groove. Pryor’s voice is perfect for this crunchy, metallic style, as she can really wail while maintaining a delicate tone. North of North continues the interesting experiments GH has been doing with their instrumentals in the trilogy. It begins with a propulsive, Tangerine Dream-like synth riff that builds and builds. I hope they continue to explore this style of music!All Alone begins as another crushing tune reminiscent of King’s X at their heaviest. The style fits the lyrics, as Skallagrim grimly mutters, “The dark is deep and blood runs cold, so cold. Don’t leave her there all alone.” The mood lightens when the melody transforms into a bluesy riff and Pryor sings, “Think how good you’ll feel when the battle’s won, no need to roam, you’ll take her home to stay.” I like the tension between the dark and light moods in this track.All For Love is the most “proggy” song on the album, with lots of time changes, switching from major to minor keys, and furious guitar work from Reese Boyd. From the beginning, the tempo gallops along, leaving the listener feeling like he or she has run a marathon!Snowblind Girl keeps the up the fast and furious pace, and Raulston really shines on this track. It also creates tension between the melodic passages sung by Pryor and the dark, chaotic instrumental responses. Standing At The Gate is the most “difficult” song on the album, with discordant organ chords opening it and the rapid tempos continuing. GH alum Jon Davison has a nice cameo here on vocals. After four heavy, blistering songs, the last two provide some welcome relief. In The Shadows and It’s Love are combined into a single track, and they contain some of the most beautiful music Glass Hammer has produced. In The Shadows evokes Radiohead at its most gentle and melodic. It’s a terrific song with simple instrumentation that like a balm after the frenetic and dense activity of the previous four. In it, Skallagrim has vowed to sacrifice himself for the sake of his love, and he is at peace with it: “There’s no life without you, there’s no life. If I walk this life alone, if I never find a home, there’s no life without you.”In The Shadows segues seamlessly into It’s Love with some majestic organ work by Babb and the trebly, melodic bass that he is so good at. The production is open and inviting, as Pryor sings, “What you’re longing for is waiting in Heaven up above. There is no greater act then when one lays down his life, down for love.” It’s a truly beautiful moment, and one of Glass Hammer’s career highlights. The song ends with a coda that recalls the riff from Dreaming City’s A Desperate Man, which is nice way to tie the trilogy together into a unified work.So, to sum up, At The Gate contains some of Glass Hammer’s most ambitious and challenging music. It is a tribute to their skill and talent that they pull it off so successfully. The album opens and closes with songs that sound like classic Glass Hammer, but with a contemporary feel. Looking back over their career, it is astonishing to me that a group of musicians are able to compose and perform such consistently excellent music over such a long period. Glass Hammer never fails to satisfy discerning prog fans, while exploring new and fascinating styles of music. They never stop evolving – here’s to hoping they continue for another 20 years!" - Spirit Of Cecilia