Fully Interlocking is the fourth album by the Dutch symphonic rock group Solution. It was released in 1977 by The Rocket Record Company. The line "Fully interlocking" appears on jigsaw puzzle boxes, as referenced on the album cover.
This collection can truly be called 'The Ultimate Collection' since it contains all the tracks they ever released. On this collection each track can be found as either a studio recording or a live recording.Disc one contains the complete debut album with some tracks from the second and third album. This disc gives the best example of how good Solution is. At their best they make progressive, jazzy music with references to Soft Machine and Supersister. The music is mainly instrumental with few vocals. But when they sing it sounds very nice. Disc two is less interesting. It starts good with a remaining track from 'Cordon Bleu', but with the fourth album Solution made more mainstream music. Most progressive music lovers will loose interest here.
The second part of "Nightmare in the waking state" concept of the Swedish Death Metal Group Solution .45. Christian Älvestam (Miseration, Torchbearer, UNMOORED, ex-Scar Symmetry) and Co. skilfully combine brutal riffs with melancholic passages and grandiose hooks.
Nightmares in the Waking State - Part I is the second studio album by Swedish metal band Solution .45. It turned out to be a monstrous project to assemble and the most complex and most challenging mixing task to date for everyone involved. The new direction contained all the ingredients “For Aeons Past” was known for but with added groove, aggression and darker elements. A dynamic journey from soft moody parts to soaring aggressive, darker elements. “Nightmares In The Waking State - Part I” is again a lesson in modern metal taught by the same people that helped write the book on the genre: crushing mammoth riffs, melancholic passages, infectious hooks, and blistering solos.
Preservation Act 2 is a 1974 concept album by British rock band The Kinks, and their twelfth studio album. It was not well received by critics and sold poorly (peaking on the Billboard 200 at #114), though the live performances of the material were much better received…