AOR

"A great value for money package.

$6.00
Add to wishlist 

"The Murder Of My Sweet didn't waste much time getting into the studio after their third album Beth Out Of Hell. The band returns with their fourth albums, Echoes Of The Aftermath, a mere 18 months later. That might be a new record for founder, drummer, and producer Daniel Flores.

$15.00
Add to wishlist 

Remastered with 5 bonus tracks.

$5.00
Add to wishlist 

"Unlike many of their pop-metal contemporaries, Night Ranger's early work has aged quite well, and this excellent 1982 debut is a well-kept secret of the genre.

$5.00
Add to wishlist 

"Night Ranger's second album Midnight Madness may not have been as consistent as their debut, but it did spawn the band's biggest hit, "Sister Christian." While it served as their commercial breakthrough, the infamous power ballad also relegated the group to "one-hit wonder" status while fueling

$5.00
Add to wishlist 

"Frontiers managed to give Journey four Top 40 hits, with "After the Fall" and "Send Her My Love" both reaching number 23, "Faithfully" at number 12, and "Separate Ways" peaking at number eight -- the same amount that 1981's Escape brandished.

$5.00
Add to wishlist 
Category:
AOR

"With the platinum triumph of Infinity still ringing in their ears like coins in a slot machine, Journey was now committed to completing their transformation from jazz fusion/prog rock mavens into arena rock superstars with their fifth album, 1979's Evolution.

$5.00
Add to wishlist 

Remastered with 4 bonus tracks.

$5.00
Add to wishlist 

"Pearl Aday has arrived! Pearl is the daughter of rock ‘n’ roll legend Meat Loaf and the wife of Anthrax guitarist Scott Ian. Sure they are high profile names, but she has stepped out on her own to build her own impressive resume.

$5.00
Add to wishlist 

"Nordic Union is a collaboration between singer Ronnie Atkins of the legendary Danish band Pretty Maids and Erik Martensson of Eclipse and W.E.T. Together they have created some musical magic, which, while definitely hard rocking, is more melodic compared to what Ronnie does In Pretty Maids.

$14.00
Add to wishlist 
VIEW MORE
Subscribe to RSS - AOR
Laser Pic

customers also bought

SEE ALL
  • Cynthesis is a new band that reunites three of the original members of Zero Hour (Jasun and Troy Tipton, and Erik Rosvold) along with Enchant drummer Sean Flanagan.ReEvolution is the middle part of a dystopian trilogy begun with 2011’s DeEvolution. The central character, a shaman, is sent out to gather more slaves. He comes across a tribe and senses a light within them that triggers a distant memory of his past.  He realizes this is the original tribe he was taken from.  He brings them back to the city and encounters what was done to the population and sets them free.While Cynthesis maintains much of the Zero Hour tech metal influence, it also demonstrates the more melodic and atmospheric side of Jasun Tipton’s songwriting.  ReEvolution will appeal to fans of both progressive rock and metal.
    $13.00
  • "John Mitchell is a man with a rich musical heritage and history - from musician and vocalist, to songwriter and producer. So it’s no great surprise to find him as the mastermind behind a new project called Lonely Robot. The eponymous forthcoming album is the first time he has done something of this nature, and he's loved every minute of making it.“I can honestly say it's the most fun I've ever had in the studio. That's not to belittle anything I've done before but with this, I can wake up in the morning with a song idea in my head, write it and have it recorded by the evening.”Mitchell had long thought about embarking on a project like this, and when he found a break in his schedule due to plans for the next It Bites album being delayed, he finally took the opportunity.“People had suggested I do an album like this for a long time, but I procrastinated so much that in the end, it took Thomas Waber from InsideOut to push me into doing this.“With Lonely Robot, I have a clean slate and that's very exciting, because nobody expects anything in particular. It reminds me a lot of how things were when the Kino album [2005's ‘Picture’] was done, in that no-one knew what would come out of it. Musically, the Lonely Robot album is very proggy, but more about atmosphere than technical expertise. It reminds me in places of Kino and Frost*, but stands apart from both.”There are 11 songs in total, with the versatile Mitchell handling much of the instrumental performance and vocals himself. But he also lined up some intriguing musical talents to guest on it.“Craig Blundell does all the drums. I mapped out all the parts for him in advance, but he brought a lot of his personality to the songs.”Marillion vocalist Steve 'H' Hogarth performs on two songs, but not in his accustomed role. “He does backing vocals, yes. But his main contribution is playing the piano, which he does with such a delicate feel.“Throughout, what I wanted to do was to take the guests outside of what they're usually known for. For example, Kim Seviour from Touchstone sings on one track called ‘Oubliette’, and I got her to do it at the lower end of her vocal register, which she doesn’t normally get to use.”There are two other acclaimed singers featured on the album, the first being Heather Findlay.“We duet on a song entitled ‘Why Do We Stay’, which was actually the first one I wrote for the album. Heather is usually known for her folk style of singing but for this song, I gave her the brief of taking a more Kate Bush approach - breathy and emotive.”Perhaps a surprise inclusion on the album is Go West lead singer Peter Cox.“When you think of Peter, you immediately think of Eighties pop, don't you? But I felt his dusty baritone would suit my track ‘The Boy in the Radio’ perfectly.”Still on the 1980s pop trail, John also asked Nik Kershaw to contribute a guitar solo for the track ‘Humans Being’, as he’s long been a fan of his style. John also couldn’t resist asking good friend and keyboard player Jem Godfrey of Frost* fame to add his unique musical treatment to two tracks, including the title ’Lonely Robot’, with Nick Beggs playing bass and his signature Chapman Stick on a few other songs.There's one more significant contribution to the album. And that comes from the narration provided by renowned English actor Lee Ingleby.“He's one of Britain’s finest character actors right now. He was in Harry Potter and the Prisoner of Azkaban, and Master And Commander, as well as having the lead role in the recent BBC TV series ‘Our Zoo’. What I asked him to do was to provide motifs at certain key points in the album, to help to link everything together to the overall album theme.“The concept is about the way in which some ancient civilisations – for instance, the Mayans, the Egyptians and the Chinese – had technology way beyond what they should have had at the time. And I'm talking about the millennium up to 1000AD. It’s as if some people had been transplanted onto the planet from another world and time.”Mitchell also put a lot of thought into the overall project name. Lonely Robot isn't just the juxtaposition of two disparate words.“It represents the human condition. I'm not suggesting that human beings behave like robots, but so many people lead regimented lives and it’s easy to get stuck in a rut and not realise or know how to get out of it.”Lonely Robot is certainly the soundtrack of John Mitchell's prolific imagination coming to life.“What's the album like? Like nothing I've ever done before!”"
    $15.00
  • "This is an interesting crossover in that this album is reflective of a storyline that runs in the lyricist's recently published allegorical fantasy novel, The Edge of the World. Based on two opposing religions that consider the same city as a holy element, they agree to sign a peace treaty. But, as strife will have it, this ends in the literal burnt ashes of the city as an all consuming fire destroys the city setting both religious sides against each other yet again. The author was drawn into a music rendition of his story and supplied all lyrics while a coterie of prominent Prog Rock and Symphonic Rock form to create a band to present this story. Most prominent is the music-writing for the Anderson/Moesta lyrics supplied by Erik Norlander of Rocket Scientists. Vocally, the chores are shared between heavyweights like James LaBrie (Dream Theater), Lana Lane (a remarkable Ann Wilson sound-alike with a powerful voice, who has sang for many bands, and who is married to Norlander), Michael Sadler (Saga), and John Payne (later period Asia). The vocalists take on characters and throughout the album sing the appropriate parts. Musically, this band known as Roswell Six, have created a fine Prog/Symphonic effort named Terra Incognita: Beyond the Horizon. The clear influences are here. You'll hear Yes in the mix as well as the sounds of ELP, Kansas, Freedom Calls, and other usual suspects. The lean is toward symphonic rock with plenty of violin performed by David Ragsdale (Kansas), cello by Mike Alvarez, and flute by Martin Orford. The results are often grand. The works heard on Terra Incognita do the genre justice and are recommended for fans of such music. But when you bring such talents together, you're going to get great music. There are thirteen high-grade songs, two of them instumentals. The booklet is filled with enticing art, all lyrics, and a connecting storyline that brings the book and album together for those that want the full experience." - Matt Rowe/MusicTap.net
    $3.00
  • To say this album is monumental would be an understatement.  Jon Anderson has finally made the Yes album that we've all been waiting for the band to record for the past 40 years and never seemed to get around to it.My understanding is that the germ of the collaboration between Roine Stolt and Jon Anderson began when they met on one of the mega-concert cruises.  Anderson and Stolt have been bouncing material back and forth since then and Roine pulled it together into something amazingly cohesive.  Ex-Yes keyboardist Tom Brislin is on board, as are many of the members of Flower Kings and Karmakanic: Jonas Reingold, Michael Stolt, Lalle Larsson, Felix Lehrmann.  Daniel Gildenlow and Nad Sylvan contribute backing vocals.The album consists of 4 epic length tracks.  The vibe, the feel, the soul feels like Yes.  Some people say this sounds like The Flower Kings with Jon Anderson singing.  I don't hear it that way.  To me this has the DNA of Going For The One and Tales From Topographic Oceans.  Is there some Flower Kings feel here?  Sure - after all if there was no Yes there probably wouldn't be a Flower Kings.Roine is a fabulous guitarist.  While he doesn't try to mimic Steve Howe's tone or style he does use a parallel array of guitars.Plain and simple...this is the Yes album you've been craving for decades.  Easily the prog rock album of the year.  I'm simply blown away.  BUY OR DIE!
    $12.00
  • Fourth album from this Norwegian band is a near perfect blend of power and progressive metal. Each successive album has been better than the previous one - this one tops 'em all. Killer vox, crunch that is off the charts, blasts of synth and stellar production is the best way to sum of this monster. This is the 2 CD limited edition. It comes with 6 bonus tracks, mpeg video, wallpaper and other stuff. Grab it while it's available at a great price.
    $11.00
  • Riverside's fifth studio album finds them in a continuing state of refinement of their sound.  While they continue to touch on the bands that were the original foundation of their sound (Porcupine Tree, Pink Floyd, Opeth) the music seems to take on a more atmospheric feel.  At the same time 70s style keyboards creep in more and more.  Michal Lapaj's use of Hammond organ lends a Lord-ian flair when the band ramps up the heaviness.  The spacey flavors of Eloy that appears on Out Of Myself reappear just at the right time.  It seems that Marius Duda's Lunatic Soul side project has cross polinated a bit with the mothership.  His emotion driven vocals once again prove why he is one of the best frontmen in the entire progressive music scene.  This is one of those albums that will take many spins to really allow it to divulge all its secrets.  The domestic edition arrives as a 2CD digipak.  The second bonus disc contains 2 extensive instrumental jams of total blissed out space.  What more to say?  Highest recommendation.
    $15.00
  • "Beware! This is the first time that I have been able to review a full Haken album without any word limits or other punitive restrictions placed upon me. You have been warned…I’m going to lay my cards on the table right at the outset: Haken are one of my all-time favourite bands. Despite only being in existence for a relatively short period of time, right from their debut ‘Aquarius’ I have held them in high regard. It is a situation that has only strengthened over the years with each passing album and having had the chance to meet the band on several occasions, from interviewing the whole motley crew on their tour van at Progpower Europe in 2010 to friendly chats with various members at numerous gigs subsequently.Regardless of this however, Haken are the real deal. Yes, they are a cracking bunch of guys but crucially, they back it up with a superlative end product. Each member of Haken is a supremely talented individual with their chosen instrument(s) but together there is a real magic; an unquantifiable ‘x’ factor that leads to the creation of music that is almost peerless and jaw-droppingly good.And, on that note, let us delve into the world of ‘Affinity’.It took me quite a while to get into and appreciate ‘The Mountain’. It sounded different from what went before it; more grown-up and, ‘Cockroach King’ aside, more serious and introspective. However, in stark contrast to ‘The Mountain’, ‘Affinity’ captured my imagination right off the bat and has not failed to let go in the month or so that I’ve been listening to it. If anything, the more I listen, the better it gets.Weirdly enough, a small voice in my brain kept suggesting that it might be a good thing if ‘Affinity’ wasn’t as good an album. That way, I’d be able to tackle this review without the inevitable comments from readers about me being a fanboy and moaning that ‘you were always going to give it a high score’. But then I came to my senses.‘Affinity’ won’t be for everyone, that’s for sure. If you’re a fan of the first two albums and wanted a return to more of that sound and approach, you might be left slightly disappointed. If however, you’re open to listening to a band that refuses to tread the same path twice, a band that champions the true meaning of ‘progressive’ by trying new things whilst remaining loyal to their core principles, then ‘Affinity’ will probably have the same impact upon you as it has had on me.And what exactly is that impact? It is almost impossible to describe if I’m honest. ‘Affinity’ is an album that transcends the normal debates around whether it is good or not. Of course it is good, that almost goes without saying. I’m not a musician, so I am unable to dissect all of the technical intricacies that are present on this record. That’s not my style. Instead it’s the feelings that Haken evoke in their music that I feel the need to focus on as this is arguably the most powerful and intoxicating aspect of their incredible music.We all have them – bands that, as you listen, make you feel happy to be alive. Well, for me, Haken are one of the four or five bands on Earth that do just that.The album opens with the sampled sounds made by early computers atop a dark, cinematic soundscape that grows in intensity, building the sense of anticipation brilliantly and setting the foundations to the musical avenues to be explored within ‘Affinity’. Whilst ‘The Mountain’ was heavily influenced by the 1970s with the likes of Gentle Giant looming large within certain compositions, ‘Affinity’ takes its cue from the following decade. To be fair, this was fairly obvious after one look at the retro cover artwork and the most excellent teaser trailers released a few weeks ago. Again, the imagery might not appeal to everyone, but I really like the boldness and simplicity of the artwork that deliberately and unashamedly harks back to the analogue days of cassette tapes and vinyl.The opening instrumental segues seamlessly into ‘Initiate’, the first ‘proper’ track on the album and a barnstormer at that, a deceptively complex piece of music that acts as a real showcase for everything great about Haken in 2016. And as I listen, almost immediately, several things become clear. Firstly, ‘Affinity’ is blessed by a production and a mix courtesy of Jens Bogren (Fascination Street Studios) that is right out of the top drawer. The music sounds powerful yet with a clarity that allows every instrument to shine. Nothing is lost or overlooked and the results are simply stunning.Secondly, Ross Jennings’ vocals have taken another huge leap in the right direction. I was always one of those that took a lot of convincing over his delivery on the debut record particularly. However, he has pushed himself to the point that he is, without doubt a highly talented and accomplished vocalist with a unique, passionate delivery.Thirdly, the increase in atmospherics, of electronic sounds and textures courtesy of Diego Tejeida is also very pronounced from the outset. Not only does he create a very interesting sonic palette that weaves in and out of each composition, he injects a surprising amount of warmth to the music that could so easily have sounded cold and inaccessible.This in turn links to my final observation, that ‘Affinity’ manages to deftly and expertly merge the sounds of the past with the sounds of the future. In spite of the 1980s sheen, all nine compositions on ‘Affinity’ come across to me as fresh and exciting, with accents of djent, post-rock, ambient and all manner of other sounds bursting forth at whim.Having said all that, ‘1985’ is almost entirely immersed in the 80s. In the same way as ‘Cockroach King’ was Haken’s ‘all-out’ track on ‘The Mountain’, ‘1985’ is the song on ‘Affinity’ that throws a little caution to the wind and shows Haken at their most audacious in many respects. Synth drums, overt retro sounds and an occasional dive headlong into 80s movie soundtrack territory all take place within this ambitious composition. However, it works, retaining a homogenous feel throughout. It is made all the more special thanks to a really rousing, hooky chorus that is nothing short of addictive.The elegant ‘Lapse’ features some of Jennings’ most accomplished vocal work on this record, and indeed throughout the entire back catalogue. The vocal chords are stretched in directions that must have been really challenging but the result is gripping, full of sincerity and emotion in places.‘The Architect’ is Haken’s monster epic. At 15 minutes long, it allows the band the time to explore a number of ideas without ever feeling cluttered or disjointed. The track starts off in grand, cinematic style before exploding in a barely-controlled prog metal assault. It is here that Haken most clearly reference their earlier output as the music flits between the over-the-top excesses of the debut and the grandiose tones of ‘Visions’.I’m then reminded vaguely of Tool in the more refrained guitar work and rhythms that follow, before another memorable chorus of sorts grabs the attention. And then, the song plunges into a music abyss where everything falls away to eventually and gradually rebuild over time. The foreboding yet ambient synth sounds lay the early groundwork as the bass guitar of relative newbie Conner Green joins the fray with some exceptionally expressive, deft and highly musical work. Ray Hearne’s drumming is subtle but inspired, and the resulting guitar interplay between Richard Henshall and Charlie Griffiths is inventive, melodious and ear-catching.If that wasn’t enough, as the song ascends from the depths, the band are joined by Leprous’ Einar Solberg who adds his unique gruff vocals atop some heavy djent-like riffing before a return to the chorus and an epic lead guitar solo that rivals that of ‘Aquarium’ for spine tingling majesty.‘Earthrise’ is possibly my favourite track on the album right now. I adore the quiet and melodic opening because it fills me with a warm glow and the feeling that the world can’t be an entirely awful place if such beautiful music can be written. It develops into a composition that is bright and breezy, complimented by lyrics that have a distinctly positive vibe to them.By contrast, ‘Red Giant’ explores entirely different terrain. It is the most modern and post-rock that Haken have ever sounded and is also one of their most brooding and quietly intense compositions. The keys and rhythm section take the lead on this track, which is arguably the biggest and most consistent grower on the entire record.‘The Endless Knot’ features some delicious drum fills from Mr Hearne and more killer melodies. It also affords Diego the opportunity to go a little crazy with more zany and out-there sounds. It also allows some six-string indulgence in the shape of one of the most intricate and dextrous guitar leads at around the mid-point. The song constantly shifts direction throughout its relatively modest life, but is held together by those strong melodies which return time and again to my great delight.‘Bound By Gravity’ then closes out the album in an impossibly perfect manner. It is arguably one of the softest songs that Haken have ever penned but it is also one of the most beautiful. Acoustic guitars and more warm and inviting keys, vaguely reminiscent of Sigur Ros envelop the listener in a soothing, comforting embrace. Jennings’ soft and gentle delivery adds an almost ethereal quality to the track as it floats along on a warm current of magical melody that is both uplifting and almost heart breaking. Such is its understated and subtle beauty, I find myself smiling broadly and wiping tears from my eyes almost simultaneously.How do I sum up an album like this? I could have mentioned a million bands throughout this review, from Textures to King Crimson and beyond as indeed there are reference points all over the place if you’re of a mind to count them. However, Haken are Haken and the bottom line is that they have developed into a modern prog band that is truly unique. ‘Affinity’ is one of the best progressive albums I have ever had the pleasure to listen to but more than that, it truly moves me and I connect to it on an emotional level; it makes me smile, it makes me cry and it makes me feel alive." - The Blog Of Much Metal
    $14.00
  • The new Tiles album is a 2CD set in a digipak with a 28 page book.Please note that we will cut off pre-orders for this package on March 31st.  Please do not combine any other items with this bundle - they will be removed form your order.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)  
    $15.00
  • "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
    $16.00
  • WE ARE NOW ACCEPTING PREORDERS FOR THE 2LP SILVER VINYL/CD REISSUE OF HAKEN "VISIONS".  PLEASE NOTE STREET DATE IS SET FOR FEBRUARY 3RD.  PLEASE DO NOT COMBINE PREORDERS WITH YOUR REGULAR ORDER AS IT WILL CAUSE DELAYS IN PROCESSING AND LOTS OF LONG FACES...Ten years since the band first formed, 2017 will see Haken’s first two albums, ‘Aquarius’ & ‘Visions’, reissued through InsideOutMusic after being unavailable for a lengthy period of time. Remastered by the renowned Jens Bogren (Devin Townsend Project, Between The Buried & Me), who worked with the band on their last two studio albums ‘Affinity’ & ‘The Mountain’, this reissue sees the albums brought up to the sonic quality of their most recent output.Originally released back in 2010, the band’s debut album ‘Aquarius’ capitalised on 3 years of work from the band which saw them staking their claim as one of the most exciting new progressive metal bands, playing with the likes of King’s X, Riverside & Bigelf. A 72-minute concept record that touched on themes of global warming, this album has long held a place in their fans’ hearts & the lengthy 17-minute closing track ‘Celestial Elixir’ remains in their set lists now.Arriving just a year on from their debut, ‘Visions’ cemented the bands reputation as one of the most solid progressive metal bands of recent years, bringing them to the US on tour for the very first time in 2011. Another detailed concept album conjured in part from a dream that vocalist Ross Jennings experienced, ‘Visions’ captured the imaginations of both fans and critics alike. Haken have also announced that they will be revisiting the album in full, live at Prog Power USA in September 2017.‘Aquarius’ and ‘Visions’ will be available as a remastered double CDs, each featuring a bonus disc of instrumentals, as well as on heavyweight vinyl for the very first time.HAKEN “Visions”:1 Premonition (00:04:17)2 Nocturnal Conspiracy (00:13:09)3 Insomnia (00:06:03)4 The Mind’s Eye (00:04:04)5 Portals (00:05:27)6 Shapeshifter (00:08:08)7 Deathless (00:08:06)8 Visions (00:22:07)
    $29.00
  • "Twelve years, eight studio albums, two live DVDs and tours that have taken them from Moscow to Quebec. Now one of the most enduring third wave progressive rock bands on the scene returns - a band that has never made an album using the same personnel as the previous album. In fact, the same lineup has (to date) never been used twice.But there are regulars. And some of the favorite regulars are back for the 8th album: Flower Kings bass legend Jonas Reingold; the ever-faithful and gifted Theo Travis, familiar to many from his work with the Steven Wilson band, Gong and Robert Fripp, with his arsenal of wind textures from saxophones to flutes; and the return to the fold of the amazingly talented Luke Machin, a guitar hero for a new generation who can even wow the old generations (and who also fronts his own band, Maschine). And of course there's band leader Andy Tillison (keyboards and vocals), the only member of the band to have played on all the records.This team is joined by Morgan Ågren, Swedish drumming phenomenon who can even count Frank Zappa among his previous jobs (others include, but not limited to, Kaipa, Devin Townsend, and his own acclaimed Mats/Morgan Band). Morgan introduces to The Tangent a real live energy full of inspiration and eccentricity.The band, who were only supposed to make one single album in 2003, are now back with their eighth! A Spark In the Aether is a joyous and uplifting romp that sees the band concentrating on their forté: delivering driving, melodic, thoughtful and inspired songs with a large grin on their faces as they do it."Using protest, sadness and negative images in music is a part of an artist's job" says Andy Tillison, "and it's something we have often done. But every so often I think we need to turn to the music itself and remember why it is we get so much from it. On this album I just wanted us to play - have fun, make music and mischief that can be enjoyed just for the sake of it"So, twelve years further down the line, after albums about dystopian societies, midlife crises, alienation, homelessness and communications - the Tangent return to the very beginning and once again celebrate The Music. You are invited to join in."
    $16.00
  • "You have to give it to them… Vanden Plas certainly have a sense for the dramatic, grandiose, the literary, the overblown, the theatrical… and then some!As its title suggests, ‘Chronicles Of The Immortals - Netherworld II’ is the second part of a symbiosis the Teutonic progsters have formed with collaboration with the multi-million selling German author Wolfgang Hohlbein, whose duotych of novels of the same name Vanden Plas frontman Andy Kuntz helped to bring to musical life in a series of sold-out theatrical performances during the 2012 and 2013 seasons. Subsequently, Kuntz led his band on the ambitious journey of bringing the novels to a wider musical audience with two thematic CDs.Now, I’m going to be brutally honest here and admit that I’m familiar with neither the novels in question, or the first part of their musical accompaniment… from what I can gather, however both left the hero of the story - the immortal Andrej Delãny – facing up to the perfidious plans of the dark “Godmaker”, while the second half of the story sees its hero delivered into a further darkness from which his own sense of self-awareness sees him eventually emerge into the light of his own salvation… or something like that!Unfamiliarity with the literary and lyrical background to this album (as well its musical predecessor) initially made this a difficult listen, as I struggled to comprehend the underlying thematic in each regard. However, as it progresses, it possesses a dark and dreamy entrancement, which grabs you in its poetic embrace and caresses you with its strange, extremely enigmatic charm, leading you deep into an opus of truly epic proportions.Kuntz’ vocal is outstanding. His depth and warmth possesses a dark soulfulness which enchants and hypnotizes, drawing the listener into the layers of the musical interpretations of his lyrics. Günter Werno’s keyboards soar and swell, while at the same time dropping diplomatically into the background to make way for Stephan Lill’s sublime guitar work, which crunches and grinds on the album’s denser moments as much as it seers its layered harmonics, which build the layers of each song to their logical conclusion.‘Chronicles…’ drives its story forward with the quality and zest of a good novel. A knowledge of the latter work on which it is based perhaps would aid a better understanding of its inherent message and motive, but the lack of same does not denigrate from the quality of the listening experience, which is an ultimately rewarding and satisfying one." - Uber Rock
    $15.00
  • "Approaching a review for a new Frost* album is incredibly daunting.  These are the guys that released what I consider a modern prog classic in “Milliontown”, an album that may possibly have changed progressive music for the new generation.  This is the band that we have been waiting to hear from for so long now: It’s been eight years since their last album!  This is the band that became a progressive giant in just one album.  So, what can be said about their new album “Falling Satellites”?Let’s get one thing out of the way: This album should not be compared with “Milliontown”, or even “Experiments in Mass Appeal”.  All three albums are very different in approach, though “Falling Satellites” does seem to fall somewhere between the other two.  This new album will also never be lauded as much as the debut, and that’s perfectly fine.  “Falling Satellites”, a quite different album, stands on its own with a deliberate attempt to reinvent prog once again.The old line-up is halfway back, as Jem Godfrey (keys, vocals) and John Mitchell (guitars, vocals) are back and honestly sound better than ever.  Newcomers Nathan King (bass) and Craig Blundell (drums) complete the band this time, forming what might be the best line-up of the three albums.  Honestly, these guys have been working together since 2010, so the line-up isn’t exactly new.Let’s talk about the album before we go into the performances.  “Falling Satellites” is Frost*’s most pop-influenced album, without a doubt.  Tackling the heavy concept of the astounding impossibility of our existence and the resulting lessons that should be learned, the album addresses life with upbeat music that get progressively more serene with each track.  So, if you are looking for some sort of retro prog or maybe a heavier sound, they went in exactly the opposite direction.  Unswayed by the modern trends in progressive rock, Frost* have released an album that celebrates the missing progressive pop subgenre with sounds ranging from subtle to sweeping to dubstep.  Yes, dubstep (more on that in a bit).  This is an album that might shock the prog snob in all of us, as it presents us with razor sharp vocal hooks, upbeat melodies, and some songs that might not be progressive at all.  Yet, it also offers incredibly technical grooves, layers and layers of gorgeous sounds, progressive structures, and, of course, some of the best soloing you will ever hear on any album.The album has a little bit for everyone.  Bookended by an ethereal intro and outro, the album truly begins with “Numbers”, a song that could have been on “Experiments”, which means it’s fast-paced and catchy as hell.  Other similar songs are “Lights Out” (a pop song through and through), and the incredible track “Heartstrings”.  Other songs lean towards “Milliontown”, such as the big build of “Signs”, the subtle “Closer to the Sun”, or the complex labyrinth of “Nice Day for It”.  The album seems a bit all over the place at first, but comes together when you realize that the last six songs on the album are a suite called “Sunlight”.  In fact, you’ll hear the basic melodies of “Heartstrings” reoccur in “Nice Day for It”.  Once you understand the structure of the album, it really starts to makes sense, especially as the last half of the album surges and then hits a cooldown for the last two tracks.Perhaps my favorite track on the album, however, is “Towerblock”.  I like it so much that I want to devote a paragraph to it.  This track has achieved what bands likes Muse could not do: They have incorporated dubstep into a progressive album seamlessly.  “Towerblock” is a song of explosive vocals, winding instrumentals, and a dubstep section that feels right at home.  I especially love the way Jem’s keyboards break forward from the last dubstep beat.  “Falling Satellites” is full of sublime moments like that.I guess it’s time to talk about the performances now.  Jem and John are obviously the focus here.  Jem’s keys are inimitable, winding and streaming with a consciousness of their own.  Every time his keys sweep in, my heart races just a little more quickly, and his mastery of new instruments like The Chapman Railboard (played horizontally) is all the more impressive.  John, too, is at the top of his game.  After Lonely Robot’s offering last year, I was more excited to hear him play again, and he does not disappoint.  His guitar solos strike that emotionally perfect first note that few guitarists can achieve.  Nathan and Craig, however, may be the unsung heroes of the album.  Nathan’s bass is exceedingly important here, establishing the grooves around which the keys and guitars orbit.  Craig, a proven talent on the drums, lays down deceptively simple beats that you will find yourself trying to follow, but then you’ll realize that they are way more complicated than you thought.That kind of subtle complexity is a huge part of “Falling Satellites”.  Some will hear this album and proclaim it as a pop.  They’d be wrong, of course.  Yes, there is pop influence here that is undeniable (and I love it), but there is also an underlying technicality here that will blow your mind if you give it a chance, especially the second half.  In many ways, Frost* has once again redefined what we understand to be progressive music, and they’ve done it with gusto and pomp and a smile on their faces." - The Prog Mind
    $13.00
  • Virtuoso keyboardist Vivien Lalu has created a new progressive metal epic featuring an all star cast:Band [A-Z]---Martin LeMar (Mekong Delta) - VocalsMike LePond (SymphonyX) - BassSimone Mularoni (DGM) - GuitarsVirgil Donati (PlanetX)- DrumsVivien Lalu (Shadrane) - KeyboardsGuests [A-Z]---Jens Johansson (Stratovarius)Joop Wolters (Shadrane)Jordan Rudess (Dream Theater)Marco Sfogli (James LaBrie)Mike Andersson (Cloudscape, Fullforce)Peter Wildoer (Darkane, James LaBrie)Born of Noelle and Michel Lalu, musicians from the ‘70s French progressive act Polene, Vivien Lalu has released a surplus of recordings through an array of different bands and projects since 1997, as the keyboard player for underground black/doom band Time For A Change. At the turn of the millennium Lalu played keys for two underground progressive metal bands from Paris, Sad Warden and then Mind’s Orchard, and in 2002 was hired by Hubi Meisel (ex-Dreamscape vocalist) to compose and record the keys for his solo album EmOcean, the following year doing the same for Meisel’s sophomore album Kailash, both of which were released by Lion Music.It was at this time Vivien Lalu begins recruiting his own associates from major prog and metal bands — some of which he shares time composing music alongside in progressive metal act Shadrane — and forms his own solo project, LALU. The first full-length Oniric Metal was released on Lion Music in 2005 and began an entirely new chapter for this composer and his insatiable need to create mind-expanding, cinematic music.These accomplishments helped Lalu to begin securing score and soundtrack work for film and television; over the last few years he’s written many cues for the orchestral soundtrack for the Warner Bros movie Seuls Two, for the show Science X made in association with Lucasfilm Ltd. Additionally he joined the production team behind Laszlo Jones in order to assist the recordings and production of Banana Nation (Universal Music Group). He’s composed many soundtracks for French television, music and sound effects for Neko Entertainment, worked as a sound designer for Ubisoft Entertainment and much more.After collaborating with Shadow Gallery for a song on their Digital Ghosts album, and working with Canadian drummer Chris Nalbandian for his Paralysis of Analysis solo album — recording all keys and sharing solos with Derek Sherinian and Alex Argento — Vivien finally settled in and began work on the second LALU opus. Handling all composition and songwriting duties, as well as all keyboards on the massive production, Vivien weaved the cloth of the new album with vocalist Martin LeMar (Mekong Delta), bassist Mike LePond (SymphonyX), guitarist Simone Mularoni (DGM), drummer Virgil Donati (PlanetX), the album’s parts recorded in several countries including the United States (Los Angeles and New York), Germany and Italy, produced by Lalu in his own studio, and mixed at Boumbox Studio in Paris by Yan Memmi (Dio’s Lock Up The Wolves, Marcus Miller’s The Sun Don’t Lie, etc.). Additional contributions from Jens Johansson (Stratovarius), Joop Wolters (Shadrane), Jordan Rudess (Dream Theater), Marco Sfogli (James LaBrie), Mike Andersson (Cloudscape) and Peter Wildoer (James LaBrie) were also carefully built into the album, the final product boasting over fifty minutes of exceptional, massive  cinematic, atmospheric metal Lalu has dubbed, Atomic Ark. 
    $13.00