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Reviews of The Crown of Creation Album (2010)
The listeners to the Norwegian radio station Rock FM 100,6 have voted "The Crown Of Creation" the best prog album of 2010. Norway Rock Magazine "Seldom has it been so satisfying to review a Norwegian album." Merlinprog ""When The Phoenix Flies Away" og "By A White Lace" er to melodiøse ballader som vi kan anbefale. Det kan vi også uten forbehold gjøre med skiva som helhet, og stort bedre rockeopera enn dette finner du ikke." Prog-nose (Belgium) ""The Crown Of Creation" certainly lives up to the expectations one might get from a disc with this title. Lucifer Was have made a challenge for themselves in following up on this enchanting venture, and in a fair world this is a CD that deserves sales by the truckloads." Scream Magazine At albumet er en utfordrer til en plass på pallen dette året er en sannhet man ikke kan utelate. Såpass sterkt står disse komposisjonene. Metal Temple Magazine (Greece) "The Crown Of Creation is the modern glimpse into a monstrous kind of "Phantom of the Opera" act, or even better. Personally I bend in front of the Norwegians' grace because of their courage and daring to offer us something "new!, mening each one letter of the word." Fireworks Magazine (UK) Bold, mad and hugely grand in scale, "The Crown of Creation" is a major achievement that on paper should be a catastrophe; However in fact it's a triumph. Anders Eljas (keyboardist and arranger for ABBA, Mama Mia etc.) "Well executed production, lots of great songs, good arrangements, rhythm and orchestration! "When The Phoenix Flies Away": A superb ballad!" Sea of Tranquility "The fifteen tracks on show really gel quite beautifully to create one piece of music that almost sounds alive as the emotion conveyed through flutes, recorders, strings, choirs and the electric instruments are so strong and believable. Vocally Jon Ruder mixes elements of Ian Gillan and Dennis DeYoung with his very stage like style. Every word he and his female vocal partner (she isn't credited in the details I received) sing adds the right amount of drama to the music and heightens the sense of storytelling that is evident throughout. The man who composed the music Thore Engen who along with Andreas Sjo Engen and Freddy Linquist also contributes some fine guitar playing and the other two full time members of the band, bassist Einar Bruu and drummer Rune Engen really have done a stunning job complementing the completed orchestral score and it is impossible to tell that all the parts were not recorded simultaneously." Prog-Nose "My favourite tracks are ÒRising SunÓ with a recorder part, ÒBethanian ThemeÓ with a fabulous organ solo and the great instrumental ÒCabris Sans CornesÓ. The opener of the album is one of the heavier pieces, with a flute (yes, sorry, I have to mention the name Ian Anderson) part. Thematically itÕs a journey from before the beginning of everything, the universe, and to whatÕs called escathology, which is the teachings of the final things to come. If you like rock operaÕs, you should really try this one because it sounds as if Andrew Lloyd Webber has written a rock oriented masterpiece." Reviews of The Crown of Creation Concert (2009)Heavymetal.no Visuelt var dette en nær perfekt oppsetting. Lyset og lyden var (lei av å høre det?) nær perfeksjon også her. I øyeblikk var det som om man spilte skive hjemme på et bra anlegg. Gitarist Thore Engen kjørte maks 70-talls feel på soloer og riff, og jeg trakk stadig linjer tilbake til en av mine favoritter; Ritchie Blackmore. Også trommis lå her, i terrenget hvor Cozy Powell og Clive Bunker (Jethro Tull til og med Aqualung) opererer. Det var ikke så detaljert som Tull, men hint av Bunker mente jeg å kunne høre. Notert er også tangent-trynet, som fikk meg til å sikle når han befølte instrumentet sitt i god gammel Lord-ånd. Les mer!Reviews of The Divine Tree (2007)ALLoTHAToIsoHEAVY Via Facebook I haven’t been too impressed with the releases on the Transubstans record label. They specialize in retro bands, but although I am a big fan of the sounds of the 70’s in particular, most of the albums the label has released, sound quite unimaginative to me – not to say boring. Not so with LUCIFER WAS. This is a band that not only sounds as if they were still in the 70’s; they were actually around in those days! This Norwegian band was formed around 1970, and performed some heavy progressive rock that was inspired by BLACK SABBATH, BLACK WIDOW and the like. They split up in 1974, before having the opportunity to record an album. Their debut album wasn’t released until 1997, after they reunited. “The Divine Tree” is the fourth release, and what a terrific album this is. Imagine a mix between BLACK SABBATH, JETHRO TULL, DEEP PURPLE, ATOMIC ROOSTER and URIAH HEEP, and you might get an idea of what to expect. Lots of flutes, heavy Hammonds, crunching guitars and great vocals – this is an album that delivers. I’m pretty sure you won’t be able to resist strong melodies like ‘The Divine Tree’ and ‘On Earth’. The bluesy aspect of the band is accentuated by the use of the harmonica in ‘Determination’. The album also has a magnificent epic in ‘Crosseyed’, which starts like PURPLE and then turns into a very HEEP-like track. A band that definitely deserves your attention. CD Baby Surprise, surprise... Prog Rock "made in Norway"... ?!? Well guys, I hope to hear more of you and listen to some new records...! author: Ulrich Weidner From ArtRock (Sweden) Ofta har bandet beskrivits som en blandning av Jethro Tull och Black Sabbath. Kanske inte så konstigt med tanke på tung 70-talsrock med tvärflöjt. Så minns även jag dem men när jag lyssnar på ”The Divine Tree” så tycker jag inte det längre. Mina tankar går mer åt Purples Burn-era fast kanske lite rakare och tyngre. Den som letar proggiga element kan nog ge upp men det kan ju vara bra för det! Och det vill jag nog påstå att det är. Produktionen är oklanderlig och sångaren Jon Ruder har en snygg och bra röst. Plattans 6 spår är hyfsat långa och alltihop håller en jämn kvalitet. Den inledande titellåten sätter sig ganska fort. Gästmusikerna är många och här finns både flöjten, mellotronen och hammondorgeln med. Jag önskar att plattan kunde ta ut svängarna lite till men får ändå ge den klart godkänt. Lords Of Metal e-zine The band was already active in 1969 and was at that time heavily influenced by Black Sabbath. About five years later, in 1974 to be exact, they decided to cal it a day and that seemed to be the end of Lucifer Was. However, about twenty years later they reunited and in 1997 the debut album 'Underground & Beyond' was released, which in fact was nothing more than rerecorded versions of their seventies songs. The debut album was followed by 'In Anadi's Bower' from 2000, after which 'Blues From Hellah' was released in 2005. Now in 2007 the Record Heaven label takes care of the release of their fourth album entitled 'The Divine Tree', which is my first acquaintance with this rather interesting band. Guitar player Thore Engen is quite obviously the main man within Lucifer Was, because he's responsible for the majority of the song material. This song material consists of six tracks, but with a duration between six and almost eleven minutes this still accounts for about forty five minutes of music. And fairly adventurous music I must say, because besides the solid guitar riffs of Thore himself there's lot of room for the Hammond organ and once in a while also the flute (hello Jethro Tull) and the harmonica passes by. This brings us a mix of heavy metal, blues, psychedelic and progressive music which takes you quite some listens before everything falls into place. Add to that the fact that also vocalist Jon Ruder sounds pretty convincing and it may be obvious that I kinda like this disc. When you have Black Sabbath listed as one of your favourites and are quite open minded (without taking many hallucinating drugs) you'll probably appreciate this. Caverna de Som (Brazil) Freak Emporium (UK) Music Waves (France) Aujourd'hui, le membre fondateur Thore Engen, également principal compositeur et guitariste, s'est visiblement entouré de musiciens dignes de confiance. En effet, trois «Engen» occupent des postes clés, en particulier aux guitares et à la batterie. C'est donc dans ces circonstances plutôt familiales que fut composé «The Divine Tree». Les seventies, comme il se plaît de nommer cette florissante décennie, sont le point d'ancrage de la musique proposée par Lucifer Was. Un souffle d'antan, sans être poussiéreux, enchante l'atmosphère dégagée par les sept morceaux alignés dans cette récente production. Les guitares résonnent à l'unisson, se fondant vers des sonorités empruntées aux mythiques amplifications à lampes. La pointe de saturation sur les rythmiques s'allie tout naturellement avec une tendance plus «fuzz» sur les soli. Pour accroître davantage cette ambiance colorée, un B3 tombe à point nommé en apportant sa touche de chaleur et d'authenticité. Quant à la voix, claire et puissante, elle se pose sans anicroche sur ce synopsis. Les titres respirent et s'enchaînent dans ce feeling à la fois tendre et rugueux, à commencer par «The Divine Tree», agrémenté d'une flûte nerveuse et enjôlée qui fait immanquablement penser à Jethro Tull. La construction repose sur des riffs bien sentis, mais les nuances dégagées tendent à considérer Lucifer Was comme une formation très à l'aise dans le rock à tendance progressive. La longueur des compositions renforce encore plus cette aspiration, comme le prouve «Determination», avec son refrain mélodieux et entêtant. «On Earth» a tout d'un tube en puissance. La simplicité apparente de ce titre met en fait en exergue toute l'expérience que ce groupe sait déployer pour composer une petite perle où bon nombre d'entre nous trouvera son bonheur. La lourdeur de «Almost Home» renvoie à une tessiture plus brute, mais agréablement complétée par la performance vocale de Jon Ruder dont le timbre, spécialement sur le refrain, avoisine la teneur de Glenn Hughes. Tandis que «The First Mover» amorce un revers plus rock and roll, avec toujours en avant le souci de rendre le refrain mémorisable. Les duels guitares/B3 sont encore garants de juteuses envolées. Le dernier titre «Crosseyed» œuvre dans un registre plus électro acoustique dans lequel se côtoient sensibilité et énergie. Une marque de fabrique chère à Lucifer Was. Le bonus track de ce CD est en fait certainement la version «single» de «On Earth». L'écoute en est tout autant digne d'intérêt. «The Divine Tree» parviendra à trouver sa place dans la discographie de tout amateur de groupes issus du début des années soixante dix. Ces sept titres sont tout à fait représentatifs de l'état d'esprit de cette époque. C'est un petit ballon d'oxygène de cinquante minutes que distille Lucifer Was avec professionnalisme et inspiration. Pour les autres, cet album peut se révéler comme le tremplin idéal pour se fondre dans cette ère post soixante-huitarde qui figurera toujours comme le berceau de sons nouveaux, dont l'impact est toujours perceptible sur les productions actuelles. Sea of Tranqulity Chronicle of Chaos.com Performing a style of hard rock with proggy influences that was perhaps last popular in the 1970s, Lucifer Was pay no heed to the passage of time. As far as time between formation and debut album release goes, this must surely rank as a world record, as Lucifer Was gigged in the Oslo area before calling it a day in 1974, only to reform and release their debut album in 1997! The Divine Tree is their fourth album, and apart from a stronger and more lucid production than would have been the case in the '70s, there is no concession to anything that happened during their hibernation. It is a rather varied album: the first track features a flute, immediately evoking comparisons with Jethro Tull, whilst the use of a harmonica on the following track imbues it with a bluesy feel and "The First Mover" is an obligatory power ballad. The record is a rather mixed bag, strung together by engaging compositions and the endearing vocals. It is quite far out of my preferred styles of music, but I nonetheless enjoyed it more than just a bit, and I imagine it will still be listened to in six months. Tarkus Magazine (Norway) De åpner med et halvminutt med kor (eller «kor» ettersom det er gutta selv som er korister, men det låter flott) som starter sånn litt gregoriansk, men som umerkelig smyger over i rock-modus. Tittelsporet, som åpner plata, utmerker seg med friske vendinger og en god melodi. Svein Grenis fløyte gir det litt Jethro Tull-preg (nei, alle skiver med fløyte ligner ikke JT, men Grenis teknikk er påfallende lik Ian Andersons). Både «Determination», «On Earth» og «Almost Home» som følger, er kjappe låter, og spesielt «On Earth» utmerker seg med lettbent rytme (som forhindrer at det blir seigt, men ikke står i veien for at det blir tungt), en god og fengende melodi, og ikke minst en fremragende vokalprestasjon av Jon Ruder. Hans gjennomgående fine vokal er faktisk noe av det som gjør denne plata så bra. Ingen påtatte heavy-fakter, kun streit, flott synging. Med seg på laget har de også fått superveteranen Freddy Lindquist både som gitarist og medprodusent. Sannsynligvis et sjakktrekk når det gjelder å få omtale i den mindre spesialiserte musikkpressen. Avslutningskuttet «Crosseyed» er albumets eneste ballade, blir som sådan noe i enkleste laget og det eneste kuttet hvor ordet klisjé dukker opp i bakhodet. Men så kommer koret igjen, og fløyta, og etter hvert tar det seg litt opp. Plata er drøye 45 minutter lang, men føles kortere. Det alene er et godt tegn! Progresor.net Analysis. Musically, Lucifer Was are highly influenced by some of the bands that were popular in the first half of the 70's. On this album, the main influence seems to be Deep Purple. The Hammond organ, the guitar riffs, the melodic overlays by the guitar and the (clean) vocals here are all very much in the vein of Deep Purple. On some tunes, influences from Black Sabbath are noticeable too. This is audible first and foremost in some riff patterns that have a distinct Tony Iommi feel to them in style, although not in sound. Some influences from folk rock can be found here as well, and the inclusion of flute on a couple of tunes will make many think of Jethro Tull. Lucifer Was concentrate on melodies and carefully crafted atmospheres rather than the often hard hitting rock of their influences. The guitar sound is slick more than hard or heavy, the soloing harmonic and structured more than wild and frenzied, the vocals are clean and melodic at all times. There are some moments here where the band rock out hard, but more often than not the tunes are then melodic hard rock in style, with some progressive rock elements added to create variation and complexity. The individual songs come across as well crafted: the melodies are catchy, the explorations are interesting and rarely drawn out too long, and the mix and production are high quality, highlighting the strengths of each individual composition. Although a couple of the tunes do come across as more average fare, most songs are clearly above average, having both captivating melodies and intriguing atmospheres. Conclusion. "The Divine Tree" is a good album and should be an interesting acquisition for fans of early 70's influenced melodic hard rock, as well as people into Deep Purple and Black Sabbath who don't mind music more melodic in style and sound. Amazon.com custormer review The songs strike me as a mixture between Underground & Beyond and In Anadi's Bower with a slight emphasis on the first one. Even though there are a few "slow" songs, the overall tone seems more metal with a hint of 80ies hard rock. The opening track is my personal favourite, a song I first heard during a concert in Gothenburg the fall of 2000. It's a grand, heavy song that unlike songs by The Darkness manages to stay clear of vulgarity. In my opinion there are 3 songs that really define Lucifer Was: Scrubby Maid (Underground & Beyond), Little Child (In Anadi's Bower) and now The Divine Tree. The first one is a diamond in the rough, prog rock in its most bare form. Little Child is a 11 minute long epos with its beautiful transitions and The Divine Tree is a fullblood and tight rock tune. I think some of the songs on the album lack the little extra to become memorable, but again, this is from a guy with mainstream taste in music. Determination has a small hook, The First Mover is perhaps Lucifer Was' hardest song of all times, but doesn't quite make it to the top for me. Almost Home is the song I like the least, because I find it too nagging and monotome at times, but saves itself from disaster with a ok middle. However, I can mention some favourites, like On Earth with cool guitar play, good singing, rhythm and snap. The ending track, Crosseyed, is a long and slow song which reminds me a lot of Little Child. Although it doesn't reach Little Child's level of excellence, it works perfect as this album's swan song and you get the feeling of finally reaching the top of the divine tree. Lyrically speaking I really can't say much, the theme seems to be a continuation from the previous albums, where the story centers around the relationship between mankind and God. The Divine Tree is more professional than Lucifer Was' previous outings, the timing and energy seems more polished and I believe lots of work has been put in the post-production. And with 3 new, fantastic songs (in my opinion) this album is absolutely worth a purchase - still ridin'! [Note: This review was originally written in Norwegian, so I apologize for any broken English.] Brutalism.com Reviews of Blues From Hellah (2004)Freak Emporium (UK) Progressive Rock Pages Progressor (Uzbekistan) Synopsis. There is the note in the CD press kit that the influences of the Blues and Jethro Tull are widespread on the new Lucifer Was recording. Indeed, the music has Blues in its basis, but the latter remark, in my honest opinion, corresponds to reality only in part. Only Jethro Tull's debut has a pronounced bluesy feel to it, and nevertheless, there is little in common between "Blues from Hellah" and "This Was", too. Some of the flute solos resemble those by Ian Anderson, but these are rarely at the helm of the arrangements unlike Jethro Tull. Black Sabbath's main man, Tony Iommi, who was for some time a member of Jethro Tull in 1968, is originally a blues guitarist. The music that he and his fellows played as The Polka Tulk Blues Band and Earth, i.e. before they 'become' Black Sabbath, is, in my view, closer to that of Lucifer Was than anything else. Iommi's bluesy roots have become really apparent to the general audience only on 1986's "Seventh Star", which was primarily intended as Tony's first solo album, and it's enough to listen to Heart Like a Wheel from there to agree with my version of Lucifer Was' stylistic cognates, etc, at least partly. The Wizard from the eponymous Black Sabbath album can also be taken into account in this respect, but Heart Like a Wheel and some other songs from "Seventh Star" and "Eighth Star" (1996, another product of collaboration between Tony Iommi and Glenn Hughes, which, though, is still a bootleg CD) are, still, more striking examples. Well, while Blues Rock is the central archetype of the music on "Blues from Hellah", Cathedral Rock, the paternal genre of which is Doom Metal discovered by Black Sabbath, and Symphonic Progressive are also important components of it. The profusion of passages of various violins on most of the tracks not only makes the sound of the album lush and rich in symphonic colors, but also vastly distinguishes it from those of any other 'brothers in style' of the band. Besides, many songs here feature some highly complex and eccentric parts performed jointly by the band and a violin quartet. What's most important, however, is that everything here, including the only straightforward number Come Drug Me Babe (2), is filled with tastefulness, raised to the power of high attractiveness. The dense and diverse in tempo Lucilla Has Gone, Mire, Armworth, Sleeping House, and Leave & Let Leave (7, 3, 4, 10, & 9 respectively), the first of which features a brass quartet, and the latter is largely instrumental, would probably be the best from a progressive standpoint. But I wouldn't say that the slow, pronouncedly bluesy Old in Eden, Za Za Banshee, and When the Crossword Is Done (5, 6, & 8) are less impressive. By the way, the album's title track (1), which is the only instrumental here, has nothing to do with Blues! Consisting of complex interplay between passages of violin and solos of flute, it lies somewhere between the Classical and Avant-garde kinds of academic music. What's interesting, the bits of the latter form can be found on some other tracks, too. Conclusion. If you, like me, believe the best Hard Rock (in a general sense) of the '70s was also a revelation, as well as, probably, the most important stage on the way to comprehending Progressive, you are well familiar with a sense when music's energy runs through every cell, compelling a heart beating thumping. Here is just the case to recall all those wonderful feelings. "Blues from Hellah" possesses everything necessary to be loved by you. This album is a superb masterpiece, at least in its genre category. Babyblaue Prog-reviews (Germany) Zwar sind Lucifer Was nicht ganz plötzlich zur Überband mutiert, doch ihr typischer Stil, der schwer bluesgetränkt bzw. im Hard Rock verwurzelt ist, aber immer wieder einige progressive Schlenker einbaut, erklingt auf Blues from Hellah“ so überzeugend wie noch nie. Die Band macht einfach aus den ihnen zur Verfügung stehenden Mittel das Beste, holt alles aus der Retro-Schublade heraus, was man bei ihnen passend verwenden kann. Besonders Mellotron und die effektvoll eingesetzten Streicher (stellenweise auch noch Bläser) helfen, das Klangspektrum aufzuwerten, während die verzerrte Gitarre so leidenschaftlich überzeugend schön, voller Weltschmerz heult. Na also, es geht doch! MusicSpot Uriah-Heep.com Mindawn "The Divine Tree" consists of six tracks, ranging in time from five to eleven minutes. The music is at the same time both weird and normal, and makes for an accessible, but still challenging listening pleasure. It's progressive, cathedral, heavy, bluesy and melodic. This album is oddly weird, oddly normal. MovimentiPROG (Italy) Per questo “Blues from Hellah”, loro terzo album, la band norvegese ha raccolto una lunga serie di vecchi brani, soprattutto dei Plann (la band della quale faceva parte negli anni '80 in chitarrista Thore Engen), e li ha remixati aggiungendo degli effetti moderni, come ad esempio lo strano effetto “circolare” in “Za Za Banshee”, l'unico brano davvero prog di questo disco. Il risultato è piacevole, molto più vicino ad Eric Clapton che ai Genesis ma bello comunque: diciamo che si tratta di un blues un po' modernizzato, ecco; ci sono alcuni accenni al soul (in particolare nei cori di “When the Crossword's Done”, o il già citato effetto in “Za Za Banshee”, ma pochissimo davvero di progressive, tranne appunto il fatto che la band insiste a definirsi tale. The Cutting Edge Reviews Lucifer Was is a big band hosting six members. Jon Ruder's baritone carries each song with dignified grace while Thore Engen cuts through with a clean almost mechanical guitar. Flutist Dag Stenseng and Morten Seyfarth duel it out as a wicked flute combo while Einar Bruu (bass) and Kai Frilseth (drums) keep the train steamed and running. They all come together in a cacophony of inspired prog equipt to take on the hooks of Captain Beyond's “Armworth”, the big band of “Lucilla's Gone” and on to the New Orleans-styled “Sleeping House” Personal favorites gravitate toward the sharp blues driven “Old In Eden”, the hypnotic (almost disco) “Za Za Banshee” and the power-house “When The Crossword's Done” which coaxes a Robert Cray riff from a Cliff Richard-like vocal. This has to be the record's highlight as an exceptionally well-crafted song. If it's a taste for the distinguished stadium rock of the Seventies (Kansas, Styx, Jethro Tull) then Lucifer Was is for you. ALLoTHAToIsoHEAVY Reviews, In Anadi's Bower (2000)From Sir Lord Doom (Germany) From Musikkavisen (Norway) Siden sist har gruppa fått ny hovedvokalist i Jon Ruder, som med sitt kraftfulle og varme stemmemateriale overbeviser stort. Dag Stenseng - som var en av to hovedvokalister på forrige album kan dermed konsentrere seg mer om fløytespillet, noe det også er mer rom for på dette albumet. En annen vesentlig forskjell fra tidligere et at mellotron tas i bruk, vel og merke i økonomiske doseringer tilpasset de tette arrangementene. Referansene til begynnelsen av 70-tallet er fortsatt tilstedeværende i musikken, og man kjenner absolutt Lucifer Was igjen fra forrige album. Dette har naturlig nok sammenheng med at bandets gitarist og musikalske leder - Thore Engen, står for størsteparten av komposisjonene, som ved forrige utgivelse. På alle måter et veldig gjennomført album, som nok vil appellere til et langt flere lyttere. Lucifer Was har blitt mer progressive, fått langt større bredde, komposisjonene har vokst ca. femten hakk (!), og med en utrolig god produksjon som får frem alle detaljer, vil jeg ikke nøle med å anbefale "In Anadi's Bower" til alle som setter pris på god, tung og kontrastfylt progressiv rock! From Progarchives.com Babyblaue Prog-reviews (Germany) Im Gegensatz zu meinen beiden Vorrednern, die dem geradlinigen Sound der Wikinger eher reserviert entgegentreten, stehe ich dem von glasklaren Riffs, folkigen Flöteneinsätzen und einer soliden Rhythmussektion dominierten Hardrock positiv gegenüber. Die Kompositionen glänzen zwar nicht mit progressiver Finesse, bieten aber einen angenehm stampfenden Rocksound, der auch mal in hymnische Gefilde tendiert. Hierzu passt der kraftvoll schmetternde Gesang hervorragend. Es wird eine grundehrliche Heavyästhetik geboten, die von gekonnt akzentuierten Mellotroneinsätzen veredelt wird, was besonders effektvoll im Titelsong "In Anadi´s Bower" zum Tragen kommt. Von einem sich ständig wiederholenden 08/15 Rhythmus kann hier nicht die Rede sein. Auch kann ich beim besten Willen keine unterkühlt-nordische Spielweise ausfindig machen. Es wäre höchstens die Kritik hinsichtlich einer Tendenz zu einem gewissen "Hauruckstil" gerechtfertigt, was aber bei solch einem ursprünglichen Rocksound in der Natur der Sache liegt und der Band nicht negativ angelastet werden sollte. Die Eleganz des instrumentalen Mittelteils des Longtracks "Little Child" präsentiert Lucifer Was aber auch mal in einem angenehm symphonischen und mellotrongetränkten Gewand. Disc-Empyre Freak Empeorium (UK) eCrater.com (Canada) Reviews, Underground And Beyond (1997)From Bjørn Egil Eide (Norway) From Rockadrome
By John Verica From Freak Emporium (UK) A hybrid of progressive Jethro Tull style mixed with 70's hardrock ala Black Sabbath. From CD Baby Amazon.com customer review Quam Libet Records Ceverna de Som (Brazil) From The Freak Emporium (UK) Online ResourcesThe Lucifer Was Home Lucifer Was on MySpace 
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