Visions (2LP Silver Vinyl/CD)

SKU: 889853986415
Label:
Inside Out Music
Add to wishlist 

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)

There are no review yet. Be the first!

Product Review

You must login or register to post reviews.
Laser Pic

customers also bought

SEE ALL
  • Courting The Widow is the new solo album from Nad Sylvan.  Who?  Well you may know him from his original Genesis inspired group Unifaun.  No?  How about his work with Roine Stolt in Agents of Mercy?  Not ringing a bell still?? Well he's been touring the world with Steve Hackett for 2-3 years now. Nad Sylvan's vocals legitimately sound like a mix of Peter Gabriel and Phil Collins.  Hearing him sing Genesis style music or actual Genesis tunes with Steve Hackett is like hand in glove - its a natural fit. His new solo album is a conceptual work that fits squarely in the Genesis tradition.  Parts of have the feel of Wind And Wuthering and Trick Of The Tail.  The centerpiece of the album is a 22 minute track "To Turn The Other Side".  If this doesn't get the prog fires burning at home nothing will.  He's called in all his favors and put the album together with guests Steve Hackett, Roine Stolt, Nick Beggs, Jonas Reingold, Nic D'Virgilio, and Doane Perry.  They don't make them like this much any more.  Highly recommended.
    $13.00
  • Deluxe mediabook edition with one bonus track."This autumn seems to become a sophisticated season when it comes to progressive metal music. There have been already some quite exciting records that have been published; like the new album from Gazpacho and now there are two German prog bands coming with new albums too. Next to Vanden Plas it is Subsignal that offers a new journey through the world of sound."The Beacons of Somewhere Sometime" is the cryptic title of the new long player which is the forth one of the the band that arose out of the ashes of Siege Even. Brain and soul behind the band are guitarist Markus Steffens and singer Arno Menses who started Subsignal as a project in 2007. Things developed very positively and what began as a project became a fix part of the German prog metal scene."The Beacons of Somewhere Sometime" isn't build on a conceptual storyline. But there is a red thread through the various tracks on this long player. The overarching theme is about loss and parting.When it comes to the music Subsignal became harder again. The predecessor "Paraiso" was in general a bit softer with some tracks that have been close to AOR. The new album brings back heavier riffs. "Tempest" is a first indicator for this, underlined by songs like "Everything is Lost".But in the end it's not about heavier or softer when it comes to Subsignal's music. It's the band's lambent way of composing great songs that come with big melodies merged with a lot of emotional depth and thoughtfulness. "The Beacons of Somewhere Sometime" is full of those attributes and it's the passion for details, that makes Subsignal's sound complex as well as approachable also for non-musicians.This long player is the soundtrack for an exciting journey through eleven new tracks from a band that combines technical capabilities with an outstanding sense for good songs. "The Beacons of Somewhere Sometime" belongs to the highlights of 2015 and I would be surprised not finding back the album in some of the 2015 polls." - Markus' Heavy Music Blog 
    $18.00
  • Excellent debut from this Venezuelan band. Echoes skirts the edge between progressive rock and metal. Clearly Dream Theater (and Rush to some degree) are an influence but the music isn't as heavy as most progressive metal bands. There are some great atmospheric parts that have more of a prog rock vibe. There are a number of guest vocalists that contribute to the album and they are all quite good. I'm surprised there isn't more of a latin influence going on - these guys could pass for a US band. I can see this easily appealing to fans of both prog rock and prog metal. Highly recommended.
    $3.00
  • In Crescendo is the fourth studio album from this Italian progressive band.  While originally working in a purely metal direction, the band has expanded the scope of their sound to encompass elements of progressive rock as well.  There is a very strong atmospheric component similar to Riverside, Porcupine Tree, and Pink Floyd but the heavier, metallic side of Opeth and Dream Theater is clearly present as well.Over the past two years Kingcrow has expanded their fan base with a European tour in support of Redemption and Jon Oliva as well as appearances at ProgPower Europe and ProgPower USA.  An announcement about 2013 US tour dates is imminent. 
    $13.00
  • 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.
    $14.00
  • Third album from Sam Vallen and Jim Grey.  Plain and simple another triumph.  The great thing about this band is the way they assimilate different influences and make a cohesive whole.  Vallen's guitarwork touches on djent riffing as well as fluid clean lines and Grey's vocals...well they are spectacular as usual.  You get a little bit of Opeth here and Haken there.  Maybe even a little Dream Theater and Pain Of Salvation.  Naturally if you are a fan of Jim Grey's other band, Arcane, you are going to love this one as well.  Very dynamic and dramatic.  Essential 2015 purchase.  BUY OR DIE!"There are certain albums that require more than just open ears. Sometimes, you need to close your eyes in order to sharpen up your senses, to be able to really consume and obtain the musical message delivered throughout the record. So before pressing the ‘play’ button on Caligula’s Horse newest release, Bloom, pour a glass of your favorite drink, put your headphones on and close your eyes.Consisting of 8 tracks, Bloom delivers something deeper than a compilation of technical riffs; it sets an atmosphere, driven by emotion and by the story line, as the sound and production correlate towards that notion. From the very beginning, with the theme song being the opener of the album, you can see how the band sets the mood for the entire record. Mysterious, dark, heavily Opeth influenced, and yet still having its own characteristics to the story.Right from the beginning of the album, one cannot miss how Opeth deeply affected the band’s music. The vocal ideas and implementation, the guitar sound and the general image that’s created, can immediately drift the listener to many of the Swedish group’s finest works. Nevertheless, I do feel that within these carried elements still lies a large chunk of originality that separates this album from being another Opeth-imitation attempt, which can easily be found on a variety of past-releases of different bands.One impressive thing to notice on this record is vocalist’s Jim Grey. It is easy to fall in love with the color of Grey’s voice, as can be heard on The Tide, The Thief & River’s End (2013), but he did manage to improve a certain and essential vocal ability for this album: I’ve always felt that when hitting the higher notes, he needed to “shout” those notes just a little bit too much, having immediate impact on the tenderness and vibrations of his voice. On this album, it seems that Grey feels much more comfortable on higher scales, and that vocal freedom affects his entire range. Grey has turned it up a notch, becoming not only great a singer, but a great storyteller. His vocal movements are probably the most interesting thing to follow on this album, as it escorts the listener throughout each and every song.Another thing that immediately stands out is the band’s cooperation while putting Grey’s vocals as the leading musical idea of the album. Nothing is over-pressed, and it seems that band took a great care of composing the songs mostly to create an atmosphere, to set the right stage to deliver the story in the best way. It is impressive, since many bands tend to miss this very idea, with every musician trying to overlap the other, which mostly leads to a confusing blend that misses the main idea. This shows great maturity of the band, which helped them carry their music to the next level.Many bands these days try to force their music in to a hidden musical horizon just to be different. What’s so great about Bloom is that the band did not try to reinvent the wheel, but only used the tools they had, mixed just a little bit of everything to create something unique. Every song has that thing that sticks to your head; whether it’s a defying chord, a vocal movement, mesmerizing vocals and at times – some really catchy, groovy guitar riffs. That alone helps the fluency of the record, making it an album, 44-minutes of which you listen to from the top to the bottom, rather than just a collection of different songs.Overall, it’s easy to see how the band feels more comfortable with their work with every passing release. With time, Caligula’s Horse understands what they look for while composing their music, yet something still feels held back. It’s funny, because even I, after countless of times listening to the album, still cannot really put my finger towards what it is that is missing. Perhaps it is something that cannot be described by simple words, but it is that something that turns a 9 into a 10. That something that transforms an album which is great to hear, to a one that really dives into your deeper cells, and stays there. Rest assured: You cannot turn a blind eye in regard of the band’s progress, and you absolutely must give this album a try." - It Djents
    $12.00
  • "Clive Nolan and his Neo-hard rocking companions return for the eighth Arena album in twenty years, `The Unquiet Sky', taking inspiration from (without being a direct interpretation of) M.R James' short story `Casting the Runes'. It's easy to see why the ghostly tale of supernatural intrigue and occult mystery from 1911 would appeal to Mr Nolan, and the album reveals plenty of the sleek and heavy symphonic rock with poetic lyrics that the British band is known for. The previous disc `The Seventh Degree of Separation' was a divisive and somewhat controversial release for a new line-up of the group that now included vocalist Paul Manzi, a transitional album that saw them adopting a more streamlined hard rock/metal sound. But long-time fans of the group will be pleased to know that, while there are still similarities to that previous album here and there, the much-loved symphonic atmospheres the band was known for are given more focus again, meaning a better balance of these two qualities together to create a truly sublime Arena work.Some of the twelve tracks on offer still retain a hard-rock flavour, but everything an Arena fan could hope to discover is all present and accounted for here. After a more low-key performance on the previous album, virtuoso keyboardist/composer Clive Nolan is center stage again over the entire disc. Not only are his exquisite synths constant and upfront, but the artist has also implemented plenty of theatrical and orchestral symphonic textures into the group this time around, his recent work with the `Alchemy' musical being obvious right from the start, and these theatrical flourishes are a perfect fit for the group. Vocalist Manzi made a promising and reliable debut as singer for the group on `...Separation', but here he lifts his game considerably and offers endless more vocal variety. Better worked into the group, he is equally at home with heartfelt ballads, theatre flair and chest-beating rockers, and he has really become a perfect frontman for the band. Kylan Amos from Nolan's own `Alchemy' production replaces bass player and IQ member John Jowitt and makes an impressive debut here, ex-Marillion drummer perfectly drives the music forwards and It Bites/Kino/Lonely Robot guitarist John Mitchell delivers his usual tasteful and commanding guitar flair.Of several of the highlights, listen out for the gleefully wicked and wondrous orchestral pomp that opens the album that could easily be an outtake from Mr Nolan's `Alchemy' show, the infernal and overwhelming church organ intimidation of `The Demon Strikes' and especially the shimmering dark reggae (yes, really!) chimes and sleek electronics of the thrashing `No Chance Encounter', where Kylan's bass really glides. `The Bishop of Lufford' perfectly mixes ghostly gothic mystery with soaring symphonic prog and muscular hard rock (and wait for that hair-tearing heavy finale!). `Oblivious to the Night' is a fragile little piano interlude with whimsical synths and a thoughtful vocal, `Markings on a Parchment' is an eerie dream-like introspective instrumental, and Mitchell's extended guitar solo in the classy title track even brings to mind Nolan's other band Pendragon.Cascading classical piano spirals with snarling brooding guitars in `What Happened Before', and Clive delivers an overload of delirious synth soloing goodness on both `Time is Running Out' and `Returning the Curse' in the best Nolan tradition that his fans always love to hear! `Unexpected Dawn' is a strong ballad with warm Hammond organ and soothing acoustic guitar, and the ambitious seven minute closer `Traveller Beware' finds time for plenty of ghostly gothic tension, punchy plodding heavy riffs, creeping piano and a stirring repeated chorus with a dark lyric.But special mention has to go to glorious power balled entitled `How Did It Come To This?'. It's a glorious emotional tune with a sombre piano melody, delicate orchestration and dreamy lyrics, carried by a perfectly controlled yet soaring vocal from Manzi. A restrained unfolding guitar solo from Mitchell in the middle ensures it may be one of the truly most heartfelt pieces ever to appear on an Arena album, and it's certainly one of their most purely romantic musical statements to date.Along with typically fascinating and surreal proggy cover artwork and a lavish CD booklet (but what a shame there doesn't seem to be a vinyl version in the works so far), `The Unquiet Sky' is one of the most lavish, sophisticated and varied Arena albums to date, and certainly one of their most endlessly melodic. It's a fine return to form for the Neo prog institution, and it really shows what this latest line-up is capable of, so hopefully even more impressive music is to come from the mighty Arena!" - ProgArchives
    $16.00
  • The Custodian is a new British post-progressive rock band formed by Richard Thomson, vocalist for cinematic death metal band Xerath.  Unlike Xerath, The Custodian is an outlet for the more melodic, rock oriented writing from Thomson.While there are moments in the album that harken back to old school bands like Genesis and Yes, the music of The Custodian is contemporary in sound.  Necessary Wasted Time is an album full of dynamics - light and dark shadings balancing acoustic vs electric, heavy vs pastoral.  While atmospherics and tension are a strong component of the album, the band demonstrates their adept musicianship offering up long instrumental passages to complement the emotion filled vocals.  When needed the band unleashes some complex electric runs.The Custodian's debut should deeply resonate with fans of Steven Wilson, Riverside, Pineapple Thief, and Anathema.Necessary Wasted Time was mixed by noted engineer Jacob Hansen and give the full audiophile mastering treatment from Bob Katz. 
    $14.00
  • Second part of the English Electric concept dealing with life across the UK landscape.  What a beautiful album.  First off lets make it clear - Tony Banks and Mike Rutherford made a huge mistake.  Vocalist David Longdon should have been Phil Collins replacement in Genesis.  He would have fit like hand in glove.  The album features the band augmented by a variety of guest musicians including Andy Tillison of The Tangent who contributes organ, Moog, and Mellotron parts.  Its all very British sounding and once again a wonderful mix of old school prog and a more contemporary neoprog sound.  Highly recommended.
    $13.00
  • "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
  • Guitarist/vocalist Clay Withrow is the heart and soul behind Vangough.  He's made some fine albums in the past but this is clearly his best as you can tell that he's exerting more of his own vision.  The previous albums were fine slices of progressive metal, bu they were clearly influenced heavily by Pain Of Salvation.  While there is some of that early PoS feel, Between The Madness has more of Clay than Daniel.  Its very angst driven music - from the vocals to the grinding guitar solos.  This is one pissed off band.  Its a non-stop prog metal roller coaster ride.  BUY OR DIE!"Over the last two full-length albums leading up to this, the band’s most important release, one thing is strikingly clear: Vangough has been eating their Wheaties. Whereas the last album couldn't find its center of gravity despite merits and high replay value, "Between The Madness" bridges the gap between Vangough's left brain and right brain. Moreover, the band feels much more balanced with the addition of drummer Kyle Haws. Further, it sounds like mastermind Clay Withrow had pushed himself beyond his limits to expand the Vangough tone palate.On the “Acoustic Scars” EP, Withrow developed a vocal technique that finds full maturation on "Between The Madness:” the rage-sing. Almost a yell, but neither a scream nor a simple vocal fry and free of any pitch interference, Withrow's rage-sing makes the lyrical intent as clear as it can be. The album offers bile to many parties, lyrically, and puts the listener behind a sometimes uncomfortable but necessary first-person perspective: any other perspective simply would not do justice to the intent. Vangough has always been more effective at conveying feelings than telling stories, but never before had the songs had such a natural novel-like flow to them. All the while, Withrow peppers his versatile clean singing with elaborate layers of harmony and polyphony, making for subtly different listening experiences each time.The overall sound hasn't drastically changed, and even shows some musical nods to prior songs. In "Vaudeville Nation," a scathing condemnation of a track, a clever link is established with "Mannikin Parade" around 4:28. The main melody of the latter is re-introduced on guitars in a straight-played manner. Later in the song, a similar "Mannikin Parade" vocal melody emerges in the line "...and burn the circus to the ground," and up through the yell following it. Further, continuing the storyline started with "Road To Blighttown" on the “Acoustic Scars” EP, "Depths of Blighttown" adds a fitting dark and ominous chapter to the story.The added input from Haws and bassist Jeren Martin have made the songs seem more logical, acting as balancing forces. The drumming style of Haws is noticeably organized, nuanced, and thought-out and could be accurately categorized as a blend of the styles of Lamb of God's Chris Adler, Opeth-era Martin Lopez, and Pain of Salvation-era Johan Langell. The mixing job by Sterling Winfield is a stunning step forward for the band as well, and the drum sound is particularly remarkable for its bright, punchy, but balanced character. Lead guitarist Jay Gleason makes several shred-tastic appearances to accentuate the technicality of Vangough's instrumentation, while Justus Johnston and Jose Palacios make appearances on strings to further amplify the feeling of the songs and add a superb creep factor touching on Resident Evil levels at times.No song feels out of place or unessential, with "Infestation," "Schizophrenia," "Vaudeville Nation," "Useless," and "Corporatocracy" as highlights. The dynamic growth between “Kingdom of Ruin” and “Between The Madness” makes this album out to be Vangough's “Blackwater Park,” what many will no doubt cite as the band’s seminal record. Put simply, there has never been a better time to jump off of whatever progressive metal train you've been on and ride with Vangough. "Into the dark I take you," Withrow jabs at us. Make sure your seatbelts are securely fastened." - Metal Underground
    $11.00
  • Superb return to form from these German masters of melodic progressive metal. Beyond Daylight exhibits many similarities to The God Thing and may well prove out to be their best effort yet.
    $15.00
  • 2 disc digipak edition features a bonus CD with 11 extra tracks!"If I had to describe Devin Townsend’s music and sound with one word it would have to be – EPIC. The heavy parts explode at you from the speakers with bombastic aplomb. While the quiet and ambient moments create a sense of space and ambiance. Devin’s unique style is instantly recognizable. Nothing he does is by accident, everything is meticulously crafted to invoke specific emotions and feelings. There really is no other artist like him today. Two years after releasing the double album Z2, Devin Townsend Project are back with a new release aptly named, “Transcendence”. I have to say I was looking forward to this release, having been a fan for a while, and I was not disappointed.According to Devin, the biggest difference on this record compared to past ones is that he allowed himself to relinquish control over parts of the creative process, not an easy feat for a control freak such as himself. Not only did his bandmates contribute individual parts to the songs, but he also brought in Periphery Bassist/Producer Adam “Nollly” Getgood to engineer and help mix the record. Both of these combined give this record something extra, making it seem more organic than previous DTP offerings.While not a concept album like the Ziltoid series, there is a sense of continuity from track to track, almost as if Devin is telling a story. But this story is not about a strange alien puppet bent on conquering the earth for our Coffee. No, this journey goes deeper in to one’s sense of self. The songs each evoking varying emotions. Anger, struggle, loneliness, regret, love and peace are all there.The first Track, “Truth”, is a re-recording of a song from one of his earlier albums, Infinity. Only that this time around it just sounds so much better and fits the overall vibe of the record. The mix produced by Nolly is just about perfect. The drums in particular just sound huge, and was one of the first things I noticed when listening to the record. Previous DTP records sometimes have such a “wall of sound” almost sterile sound due to having so much going on at once. This at times they can be fatiguing on the ears. However, I didn’t find that with this record. It just sounded really good.“Stormbending” is a majestic track where you really get a sense of what’s in store for the rest of the album. Loud drums, heavy guitars, and orchestral sounding synths make this track sound huge. This song is all emotion. The part starting around 3:23 is as epic as it gets. “All we’re offering is a chance to be loved”. Yes indeed.The first track released was “Failure”. A good choice in my opinion and one of the best tracks. An interesting mid-tempo song with some different elements not usually found in Devin’s previous records. The main staccato riff has an almost (I hate to use the term but I will anyway) djent vibe. The middle solo section is really cool and tasteful, Gilmoure-esque even. Again the drums just sound great on this track.Some of the more prog centric tracks are “Secret Sciences”, the 2nd track released, and the track “Higher”, which clocks in at 9:40. In fact, 4 of the songs all clock in at over 7 minutes! The title track “Transcendence” sounds massive aided by orchestral sounding synths accompanying distorted guitars and layered vocals.Overall, this is an expertly crafted album, all the way from the performances themselves to the massive sound of the record. I have to say this is probably my favorite DTP record to date. Devin and the band members should be commended for a stellar release. I’m sure I’ll be listening to this one many more times in the future! Mr. Getgood also deserves a ton of praise for doing a superb job at engineering and mixing this beast. I foresee that Nolly will be plenty busy after this release, as his skills will surely be in demand by many other artists." - The Prog Report
    $14.00
  • Of all the Yes albums that needed a remix this is the one that needed it the most!"Relayer (1974) is the third in a series of remixed and expanded Yes albums.Presented in a mini vinyl replica gatefold card sleeve (with protective inner sleeves) with booklet featuring new sleeve notes by Sid Smith, along with rare photos and archive material, the album has been remixed into stereo and 5.1 Surround Sound from the original studio masters by Steven Wilson and is fully approved by Yes.The blu-ray also contains the original album mix in high-resolution, a complete alternate album running order drawn from demos and studio run-throughs. Additional exclusive Blu-Ray features include extra demo/studio run-throughs, full album instrumental mixes, a full album needle-drop of an original UK A1/B1 vinyl pressing, single edits, live tracks, and needle-drops of the banded tracks from the original US vinyl promo album.Restored artwork approved by Roger Dean, the release of which coincides with the 40th anniversary of the album’s original late 1974 appearance."
    $25.00