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  • You can hear the evolution of the band as the traditional Magma sounds start to emerge but at it's core it's still not quite there yet. The Coltrane influence is a bit more prominent as is the Teutonic overtones (read --> Wagner). Overall I just think of it as a smoking jazz rock disc!
    $23.00
  • Remastered edition of the 1991 album comes with two bonus tracks.  You also get a second disc that contains the live California Brainstorm album which if I recall was a particularly hot set.
    $18.00
  • "Sweden’s Bloodbound has returned with the fifth album “In the Name of Metal.” If you think this album is all about dripping anthems raging about the glory of metal and all related topics...you would be right. If you think you have heard it all before, well, perhaps you have. BUT....if you love "Franken-traditional" comprised of parts of Manowar, Accept, ancient Queensryche, Helloween, Skid Row, and oddly, old Bon Jovi, well you have a new master. What Bloodbound did was take the sum of those parts, add the slick 2012 production and put out one of the greatest true metal albums in memory. For every single solitary thing that Manowar did wrong with “The Lord of Steel,” Bloodbound did ten things right. If you will indulge me, let me impart a few words that apply: “Glory, majesty, unity Hail! Hail! Hail!”I often speak of songs of yore back in the great times of the beginning to mid-80's and how it evoked a spirit, a feeling...a metal brotherhood, if you will. I’ve pointed out many recent albums that evoked that spirit, and I am back to tell you that this is another of those, but the best of all - complete with the hair standing on the back of my neck. Only my favorite bands have the ability to do this, and Bloodbound was not in that realm up to this point. As far as an album that lives up to its name, “In the Name of Metal” is glaringly perfect. As an album that breaks new ground, it “falls flat.” As an insult, that last statement is completely the opposite.Having heard the song “In the Name of Metal,” it wet my appetite providing more Manowar than the aged egos of its members have since “Gods of War” (for some, much earlier). This is nothing compared to what follows: the Accept-ish “When Demons Collide” (a personal favorite), the “bonecrushing” sound of first album HammerFall on “Bonebreaker,” back to Manowar with “Metalheads Unite,” Bloodbound took every working formula and made it better. “Son of Babylon” had me head scratching wondering where I had heard that chorus and it dawned on me, if Bon Jovi made “In and Out of Love” a heavy song, it would be this. “Mr. Darkness” doesn’t just scream Helloween for nothing: it has “Mrs. God” all over it (or was that “Dr. Stein,” no...no “Mr. Torture,” wait, no “Mr. Ego”). “I’m Evil” has a chorus that echoes (linear wise) Queensryche’s “Breaking the Silence.” The comparisons here are merely meant to show the affluence of talent drawing influences from all over the metal spectrum.The most interesting combination is found within “Monstermind.” The verses present a riff right from Motley Crue’s “Dr. Feelgood.” Then right before the bridge it grinds down with that brash riff from Ozzy’s “No More Tears” (complete with the Zack Wylde style). So many great styles meld to make “In the Name of Metal,” which works in terms of catchy head banging greatness. It helps that a band has a phenom on vocals in the form of Patrik Johansson (from Dawn of Silence, not to be confused with Nils Patrik Johansson), a brotherhood of guitarists (Tomas & Henrik Olsson), the absolutely non-buzzing bass of Anders Broman, and the perfect (not mechanical) drumming of Pelle Åkerlind (Morgana Lefay). Fredrik Bergh is one of those keyboardists that is unassuming, but who’s presence is notable when absent. Even he would agree, in Bloodbound it’s all about the guitar.So, when you are all done mocking power metal for its lack of originality, Bloodbound will still be there: totally unapologetic, balls to the wall, hail and kill, steel meets steel, bells of seven hells metal that makes you want to be a metalhead. Music doesn’t always require over the top orchestration or melodramatic progressive Malthusianism. Most days, it’s what makes you instantly feel great, even though the world laughs at you for being in a “pre-pubescent phase.” For the metal faithful, every achievement in life is all “in the name of metal.”" - Metal Underground
    $15.00
  • Third album from this Danish band is a futuristic concept album based on the book Hyperion by Dan Simmons. Manticora play mega-fast power metal that mixes US and European styles. At times it has the coarsness of Iced Earth and at other times there is a more produced symphonic feel.
    $12.00
  • This is kind of a shocking release to turn up on Napalm Records. It looks as though they are joining the ranks of Nuclear Blast and Century Media in picking up progressive metal bands...and that can't really be a bad thing. Serenity hails from Austria. They've been kicking around for awhile but this is their debut release. The music is a mix of melodic and progressive metal with some power touches. Georg Neuhauser's vocals have a plaintive, emotional feel that suits the music quite well. They focus on melody but are smart enough to lure a prog head like me in with occassional instrumentals of the Dream Theater variety. Savatage, Vanden Plas, Threshold, DT - these guys have their bases covered. Solid debut. Highly recommended.
    $15.00
  • "Fortunately, part four of the quadrilogy, the blissfully laidback Ghost, will provide the perfect rest and recuperation at the end of that torrid ordeal.“Deconstruction is a complicated album. It’s got elements of Strapping without all the nihilistic, suicidal tendencies. For the people who want a heavy statement that’s very complicated, I think it’s gonna be the “be all, end all”. However, Ghost is a much more risky record on a lot of levels. It’s a really beautiful, folky, acoustic record with flutes and a real peaceful sentiment. I really like subtlety. That’s why I love Ghost so much. Deconstruction is about as subtle as a boner in sweatpants and that’s great too!”"
    $15.00
  • "After 4 studio albums, Papir unleash their first live album. It’s surprising it took so long, since the band’s shows have long been revered amongst fans.The music-biz has also noticed Papir’s stellar live performances: like when Mojo Magazine singled them out from the hoards of bands at danish music-showcase Spot 2012 as THE show of the entire festival - as well as the holy rite of passage for any cosmic Stoner Rock band: The Roadburn Festival in Tilburg, The Netherlands, where Papir was asked not to perform no less than 3 times during the festival in 2014! It’s the first and finest of these shows in full that Papir havde chosen for this release, and it’s all here: Christoffer Brøchmann’s jaw-dropping drum chops, easing from delicate jazzy drumrolls one second into deranged math-psych explosions the next - creating a diving board for Nicklas Sørensen’s vast array of guitar-styles, blending post-rock drones with majestic wah-drenched soloing. With Christian Becher keeping it all together with his bouncing and booming bass lines, as well as utilizing his groovemaker to make blistering ethereal soundscapes.While Papirs albums have always been based on live performances during intense studio sessions, there’s still a different element present at Live at Roadburn - maybe due to the drunken barks from the ecstatic crowd, or the fact that the band is not just playing for the tape machines. There’s an extra layer of adrenaline present - the added aggressive tone of fluttering fuzz and sizzling cymbals, an extra punch and and grit of their build ups. From the first note, Papir show just how far they’ve travelled over the span of a few years, catapulting a motoric track off their self produced DIY debut release into new soaring heights. The show also reworks “Monday” and “Sunday #2” from Stundum - their first El Paraiso-release, as well as drop a highlight from last year’s “IIII” into the equation. As if this wasn’t enough, they premiere two brand new tracks with the same stamina, making sure that Live at Roadburn is not just a roadmap of where they’ve been, but very much an up to date snapshot of one of Europe’s hardest working instrumental outfits.The album was mixed and mastered by Causa Sui’s Jonas Munk from a 24bit multitrack recording."
    $19.00
  • "The seventh studio album for Norwegian dark gothic metal band Trail Of Tears comes fresh on the heels of a new label deal with Massacre Records. Beginning their writing sessions in 2011, the quintet would record again in the familiar French Sound Suite Studio with Terje Refsnes behind the boards who they've worked with on and off since 2002's "A New Dimension Of Might" record. "Oscillation" is a 13 song, 59 minute plus platter that travels through dynamic gothic metal pastures, incorporating a slew of extreme and commercial elements that should keep the listeners on their toes.The cascading, echo guitar passage that opens "Waves of Existence" quickly gives way to this thumping gothic charge, Bjorn Erik Naess using a myriad of heavier picking and clean transitions on his guitar while extreme vocalist Ronny Thorsen and female clean vocalist Catherine Paulsen trade off the verse and chorus work to heighten the contrasts within the song. "Scream Out Loud" as a follow up is slightly more commercial in nature, the keyboard hook and alluring high melodies more in line with long-time Nightwish fans (although the whispering vocals from Ronny bring classic Moonspell to the table).Many will appreciate the heads down emphasis on aggressive guitars and semi-progressive/ tribal transitions for the title track (some of the best drumming on the album courtesy of Bjorn Dugstad Ronnow) and the upper soprano vocal delivery from Catherine on "Room 306"- wrenching out all of the drama that makes this sub-genre appealing to a wide swath of the populace. Trail Of Tears belong in the metal genre as they are unafraid to approach these arrangements with ferocity- emphasizing darkness and despair through all facets while adding outside influences from the symphonic world as texture and not overpowering the mix."Oscillation" is a strong effort from Trail Of Tears- packed with an assortment of dark gothic metal colors and professionally executed from a veteran act. Let's hope we don't have to wait 4 years between the next recordings." - Eternal Terror
    $15.00
  • One of the great overlooked albums released on Bellaphon's progressive Bacilus label.  Heavy organ/Mellotron clawing for space with blistering guitar leads.  Not too surprising some of this sounds a bit like labelmates Nektar.Limited gatefold vinyl edition of 500 copies."Strongly interconnected with fellow Marburg band Pell Mell, though the musical connection is not always so obvious, Frame exhibited a style that had very little in common with them really, being much more influenced by the late-60's heavy psychedelia and blues rock by the likes of Deep Purple or Vanilla Fudge. Only some of the rhythmic structures hinted at the Pell Mell connection. Mixing in folky styles and progressive touches into their heavy rock style, their sole album FRAME OF MIND bore the unmistakable stamp of Dieter Dierks at the mixing desk, with great use of dynamics and stereo dimension. Really varied, steering away from the mainstream of early-70's rock, with many classic moves and excellent vocals, all giving it that something special, it's an album that's still amazingly fresh even today. Andy Kirnberger was a featured guest on early Pell Mell albums, after Frame's demise he went on to the vastly inferior Hardcake Special, whilst Cherry Hochdörfer and Wolfgang Klaus moved to Pell Mell.Andy Kirnberger (guitars, vocals, piano), Cherry Hochdörfer (organ, piano, Mellotron, spinet), Peter Lotz (bass, vocals, percussion), Dieter Becker (vocals, percussion), Wolfgang Claus (drums, percussion)" - Crack In The Cosmic Egg
    $29.00
  • "After staking out new territory with the underrated South of Heaven, Slayer brought back some of the pounding speed of Reign in Blood for their third major-label album, Seasons in the Abyss. Essentially, Seasons fuses its two predecessors, periodically kicking up the mid-tempo grooves of South of Heaven with manic bursts of aggression. "War Ensemble" and the title track each represented opposite sides of the coin, and they both earned Slayer their heaviest MTV airplay to date. In fact, Seasons in the Abyss is probably their most accessible album, displaying the full range of their abilities all in one place, with sharp, clean production. Since the band is refining rather than progressing or experimenting, Seasons doesn't have quite the freshness of its predecessors, but aside from that drawback, it's strong almost all the way from top to bottom (with perhaps one or two exceptions). Lyrically, the band rarely turns to demonic visions of the afterlife anymore, preferring instead to find tangible horror in real life -- war, murder, human weakness. There's even full-fledged social criticism, which should convince any doubters that Slayer aren't trying to promote the subjects they sing about. Like Metallica's Master of Puppets or Megadeth's Peace Sells...but Who's Buying, Seasons in the Abyss paints Reagan-era America as a cesspool of corruption and cruelty, and the music is as devilishly effective as ever." - All Music Guide
    $7.50
  • Krzak Experience is a new collaboration between two members of the  long running (but now defunct) Polish blues rock band Krzak and two members of a metal band called Sepsis.  Its an all instrumental affair in which the band reimagines material from the Krzak catalog but done up in a heavier, more metallic direction.  Lots of high flying violin and guitar battles.  Chaos ensues.
    $15.00
  • "Back in 2008, a force in the German melodic power metal scene released an album called “Eternal Empire.” The album was met with as much disdain as I have seen critic’s muster. It seemed that after the release of epic power masterpieces “Lord of Earth and Heavens Heir” and “Defenders of the Crown,” the band had all but abandoned the foundation that built the Human Fortress. On one hand, creating a new sound to generate a bigger audience is understandable, but to hardened power metal fans it’s a sacrilege. So, after a five year hiatus, the departure of Carsten Frank (who sang and played guitar on “Eternal Empire”) and return of one the original members Volker Trost (guitarst) and vocalist Jioti Parcharidis, the band was set to regroup and attack. However, in 2010 Parcharidis left again for health reasons, leaving the band to seek a new vocalist. The search turned up one of the rising voices in metal - Brazil’s Gus Monsanto (Symbolica/Code of Silence/Ex-Adagio). With that, Human Fortress seeks to reclaim lost glory with “Raided Land.” The end result is a successful transition back to pre-2008 derailment as the the train coasts back on the track of straight melodic power metal, with the added bonus of the best production in the band’s history.In Monsanto, the band has brought back the soaring beauty that was lost with Frank’s pseudo-harsh style vocals. His range is even more varied than with his other bands (Code of Silence and Symbolica) and there are brief moments where he is inseparable from Tommy Karevik (see “Under Seige”). It seems there is no end to the breadth of what he can sing. His style is more wide open than that of original vocalist Parcharidis, though I suspect that many fans will identify his style with the band. In a similar aspect to MasterPlan, yet on a much smaller scale, the band’s rabid fanbase will raise red flags with a new vocalist. However, the only red flag that should be raised is the one depicted on the album artwork. Monsanto is by far the best vocalist Human Fortress has ever had, and it is his range that properly propels the band to a modern audience while keeping true to its history.With a perfect mix and fantastic sound (from Orden Ogan vocalist/guitarist Sebastian "Seeb" Levermann on the music side and vocalist extraordinaire Michael Bormann on the vocal side), Human Fortress draws elements from the first two releases with a distinct nod to the current style of Kamelot. Pure power metal fans might find that it leans more progressive and is mired in mid-paced muck and pure progressive fans will find it dips into more power than they might like. For those in the middle, “Raided Land” is the band’s finest hour. The songs are a perfect balance of power and progressive with the songs averaging a svelte 4 minutes.With a recipe of “Silverthorn” Kamelot and “Mystery of Time” Avantasia, the band also throws some shades of Running Wild within the riffs of “Gladiator of Rome, Pt. 2,” the album’s strongest track. “Evil Curse” is the longest track – at 5:22 – and also the heaviest. I do wish that mighty riff was carried in force through the first verse, but it comes back half way in the second. However, if there was one song on the album that shows the full range that Monsanto offers, this is it. Other notables are “The Chosen One,” “Child of War” and “Wasted Years.” The one most closely related to Kamelot is “Under Seige,” which if I hadn’t known better could have easily fooled me as coming from that band.“Raided Land” is a return to the style that started it all for Human Fortress. With Gus Monsanto, the group added the most versatile vocalist its ever had (with no disrespect to Parcharidis). The sound and production is the most pristine in the band’s history, striking a perfect mix – a testament to the mastery of both Sebastian Levermann and Michael Bormann. While I know some diehards will find the album unfulfilling as a pure power metal album, I cannot find a time in the band’s history outside of “Eternal Empire” where it sounded dramatically different, or better. “Raided Land” is one of the finest efforts from a German band with a tremendous upswing for the future." - Metal Underground
    $15.00
  • Respected band from Florida create a bruising powermetal concept album based on the Spawn comic character.
    $11.00
  • Its been four years since this British ensemble's debut album.  Been a long time coming but there have been a number of personnel changes in the band.  Founding members Alex Crispin (vox/keys) and bassist Dan Pomlett left the band, while guitarist Nicholas Richards switched over to bass.  While the band went through a state of flux their core sound didn't really change a hell of a lot.  Yeah maybe its pared down a bit but it is still steeped in the sounds of the early 70s.  Mellotron, organ and reeds abound.  Guitar is a bit more dominant but still with that retro Vertigo vibe.  Vocals only appear on one track and they are OK.  Think in terms of an instrumental VDGG in a massive jam session with members of Soft Machine and Eloy.  As if!  I will be hard pressed to come across a better progressive rock album released in 2012.  BUY OR DIE!
    $13.00