Best Of Jethro Tull (Redux)(gatefold coloured vinyl LP in die-cut sleeve (comes in different coloured vinyl, we cannot guarantee which one you will receive))
Review: The fourth studio album by English hard rockers Jethro Tull, Aqualung married a turning point in the career of the band, prepping them for a more major radio-friendly future that would see them become mainstays of the touring circuit and rank among the finest live acts of the time. It would also quickly become the group's most successful release, commercially speaking, producing two standout singles in 'Hymn 43' and 'Locomotive Breath'. With such a storied history, anyone going anywhere near Tull's masterpiece wants to tread carefully. Or throw themselves full pelt into the chaos and beauty of the record by inviting a load of stoner rock acts to do their best/worst/most imaginative on the original material and come up with something new. Magnetic Eye opted to do just that with Redux, and it hits hard.
Cult (feat Howard Jones, Scott LePage & Mike Malyan) (5:00)
Chaos (feat Matthew K Heafy & Mike Malyan) (3:20)
Famine (feat Howard Jones, Scott LePage & Mike Malyan) (3:12)
Pestilence (feat Matthew K Heafy, Javier Reyes & Mike Malyan) (3:25)
Conquest (feat Howard Jones, Joshua Gilbert, Mike Malyan, Josh Baines & Clay Gober) (4:24)
Death (feat Matthew K Heafy, Mike Malyan & Sean long) (6:02)
Review: This six-track release is a metal reimagining of River Boy's award-winning soundtrack for the cult indie game 'Cult of the Lamb'. This unholy alliance of metal heavyweights, including Howard Jones (ex-Killswitch Engage), Matthew K. Heafy (Trivium), and members of Polyphia and Animals As Leaders, delivers a brutal yet melodic take on the game's haunting soundscapes. Produced by Sam George (Pick Up Goliath), the music conjures a dark and atmospheric world, where crushing riffs and soaring vocals intertwine with intricate guitar work and thunderous drumming. This is no mere tribute; it's a full-blown metal exorcism, a testament to the power of video game music to transcend its original context and inspire new creative heights.
The End Of Dormancy (live Montreal Jazz Fest 2019) (9:06)
The Unknown Knows (live Montreal Jazz Fest 2019) (5:02)
Review: Canadian sci-fi-tinged prog metal auteurs Voivod originally unveiled The End Of Dormancy EP in 2020, with this "ocean blue" reissue from Brutal Panda sprinkling extra aesthetic weight to the title-track's nautical tale of a mysterious entity leagues beneath the sea. Originally a cut from 2018's critically acclaimed The Wake, this EP version offers a unique "Metal Section" take, almost a full minute longer with added trumpets, saxophone and trombones, whilst the B-side features a live rendition of the epic piece as well as the iconic opening track from the band's seminal 1989 prog-thrash masterpiece Nothingface - 'The Unknown Knows', both performed at the Live Montreal Jazz Fest 2019.
Review: Originally released in 1986 during their formative Noise Records era, Rrroooaaarrr would serve as the sophomore follow up to Canadian progressive metal legends Voivod's debut album War & Pain, whilst offering the first true glimpses into the more spacy cosmic compositional approach that would ultimately become their new sonic bedrock. While perhaps not at the level of prog wonder that has elevated 1987's Killing Technology to a much-adored fan favourite, the material on their second effort works as almost a bridge between their speed-thrash origins and the more fully realised vision their later material would harbour. While flashy and intricate, this early work is a testament to how formidable of a straight up thrash metal beast the band originally were before they would opt to distance themselves from their burgeoning peers in Metallica or Megadeth; marking the true beginning of their journey into the great unknown (also referred to as "space-prog").
Review: Originally released in 2015, Inmazes marked the debut full-length from Danish progressive metal outfit VOLA. Taking sonic influence from the Djent scene pioneered by Meshuggah and further popularised by acts such as Periphery, yet eschewing much of the metalcore aspects prevalent within the subgenre, the material draws as much from Scandinavian prog metal acts such as Opeth and Katatonia, only fitted with seven string guitar low-end grooves and chunky riffage, making for a curious combination of progressive artistry and Djentcore heft, all unified under the saccharine, almost shoegaze lilt of primary songwriter Asger Mygind's understated vocal delivery. While the band would stray further into melodic, synth-laden prog soundscapes on 2018's sophomore follow up Applause Of A Distant Crowd, this debut where is they let their Djent flag fly as high as the influences worn on their sleeves.
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