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  • "TAROT is not only a card game, but also a long time running Heavy Metal band from Finland. The band was founded in the early eighties (!) by the Hietala brothers, Marco and Zachary. The first album "Spell Of Iron" was finally released in 1986. Much later Marco became famous as a member of SINERGY and of course NIGHTWISH, but he never abandoned his "baby band“. From time to time with some breaks, for obvious reasons, TAROT have released great albums which have made them a great addition to the metal scene. In 2007 Tarot signed a contract with Nuclear Blast and released the highly anticipated album “Crows Fly Black”.. The first single “You” entered the Finish charts on position # 1. One Year later in 2008 after several tours they released their first Live DVD ever. “Live Undead Indeed” also entered the Finish DVD Charts on position # 1. Now in 2010, TAROT is back in business. The hairy dudes from the town of Kuopio, county of Savo, Finland have again come up with a bunch of songs, which you will be able to hear on their eighth studioalbum titled “Gravity Of Light”. Most of the demo work for this album was done in August and September 2009 by Marco Hietala, Zachary Hietala and Janne Tolsa, the main writers of the band. The actual recordings for the album started immediately after that in November 2009. Mixing has been done by Janne and Mikko Tegelman and the mastering by Mika Jussila at Finnvox studios in January and February 2010. The album feels like meeting an old friend. Some things are the same, but your friend has gained weight. He shows new scars, and tattoos. The beard is longer and he projects a meaner and faster temper. At the same time there´s still a big heart at the center. The blood might rush to your head when your friend takes you to a weightless sauna orbiting the sun. When you hear “Gravity Of Light” you will believe."
    $7.00
  • New edition of this wonderful third album from one of Canada's best progressive bands. Originally released in 1976, Ni Vent...Ni Nouvelle is classic Maneige - a sumptuous blend of keys, reeds, guitar, bass and percussion. The instrumental sextet is augmented by a string section. The music is a bit reminiscent of Camel and Gentle Giant with more than a touch of jazz rock thrown in. This new version features four bonus live tracks. Highly recommended.
    $12.00
  • This is the most enjoyable Devin Townsend album I've heard in years.  Townsend definitely walks to the beat of a different drummer and is constantly confounding his listeners.  Epicloud is no different.  The album is actually catchy in a poppy way but still plenty of metal elements.  The production is purely epic in nature - reverb gone wild!  Townsend mainly sings with a clean voice but even when he dirties it up its swimming in 'verb so his voice takes on an otherworldly quality.  He's complemented by the great Anneke van Giersbergen who appears through out - mainly as a backing vocalist but at times singing lead lines.  So what we have here is something I really didn't expect - a hook filled metal album that neatly collides with dream pop.
    $15.00
  • Following two highly successful tours with established Progressive metalists PAIN OF SALVATION and two years of exacting work, DARK SUNS have finished their third album "Grave Human Genuine.""Grave Human Genuine" – this unconventional title was chosen with care and purpose, as it represents the three characteristic elements of this work: "Grave" signifies darkness, the sinister force, and the inevitable fate. "Human" is synonymous with the music’s inherent soul-depth, while "Genuine" means "real" or "authentic" and hence refers to DARK SUNS’ uncompromising approach to music.But what about the music? DARK SUNS don’t merely pick up where the successful predecessor "Existence" (2005) left off, they present themselves as many-facetted as never before. A clear nod to Doom, complex polyrhythms, unusual and diverse instruments and, last but not least, drummer NIKO KNAPPE’s characteristic yearning vocals comprise the album’s cornerstones. The variety of sounds stretches from angular Metal riff attacks via atmospheric ambient soundscapes and Techno reminiscences to Avant-garde influences – despite this complexity, an accomplished musical mosaic of enormous expressiveness.Exciting nuances are created by the incomparable bass of Pain Of Salvation’s long-time member KRISTOFFER GILDENLÖW, a friendly turn that resulted from the tours mentioned above, and DISILLUSION’s SCHMIDT’s guest vocals in "Flies In Amber."With "Grave Human Genuine," DARK SUNS have created a haunting album full of autonomy and instrumental class, self-consciously charting new musical territory. In this, the band from Leipzig embodies the essence of every true progressive band: compositional genius coupled with advancement. The dark suns radiate: gloomy, human and egregiously genuine.
    $6.00
  • "Five years on from their Restless release and French eclecto-rockers Karelia are back with album number five, Golden Decadence. When I say back, what I actually mean is a couple of Karelia are back, with only singer Matt Kleiber (he also handles FX and there are plenty of them) and guitarist Jack Ruetsch actually return, with newcomers Sam Clauss (guitars), Phil Sissler (bass) and Fr-edd Seller (drums) now completing the line-up. However Golden Decadence certainly doesn't sound like a band settling in, instead being a bold confident, if not always sure-footed step from a band never easy to pigeon-hole into one genre box or another. It makes for enigmatic if not exactly essential listening, that offers up something a little different, while still somehow being exactly the same. Everything from Rammstein to Avantasia, Scorpions to Primal Fear belts past, huge exploding drums blasting, vocals growling, howling, soaring; melody pouring forth, while sing along choruses bounce off gritty abrasive riffs. On occasion it is completely compelling, at points utterly superfluous, although impressively it is never boring. A little left of centre undoubtedly, sometimes so far so that it soars straight past the point, however it also from time to time lands fairly, squarely and effortlessly slap bang in the bull's eye.The hugely melodic synth dweeps and scything guitars of "Ride It Wild" is a great shot of where this album works, the melody never sacrificing the aggression, the brutality never blunting the accessibility. Add to that some classy, poised guitar playing during a restrained break-down and there's a maturity on show that straight power metal usually lacks. That said the attempt at chest puffing posturing on "Body's Falling Apart" goes in completely the opposite direction, never quite being one thing or another. In the end being too tame for metal of power, too bristling for melodic rock and too sweet for industro-metal. This however is the price paid by a band desperate to be everything and none of the above, walking a tightrope thin line between success and failure. Other winners appear in the shape of "Bill For The Ride" and "Vanity Label", while "Animals" and "War Party" prove to be also-rans.Not an album that works from start to finish, there's still enough about the music of Karelia that makes each visit worthwhile and while the satisfaction levels can vary wildly from song, their wide ranging outlook deserves to be taken notice of." - Sea Of Tranquilty
    $15.00
  • "From December 1971 to April 1972, Carlos Santana and several other members of Santana toured with drummer/vocalist Buddy Miles, a former member of the Electric Flag, and Jimi Hendrix's Band of Gypsys. The resulting live album contained both Santana hits ("Evil Ways") and Buddy Miles hits ("Changes"), plus a 25-minute, side-long jam. It was not, perhaps, the live album Santana fans had been waiting for, but at this point in its career, the band could do no wrong. The album went into the Top Ten and sold a million copies." - All Music Guide
    $7.00
  • The North American Freak Kitchen catalog reissue program continues.  Freak Kitchen is Mattias Eklundh (guitar.vocals), Christer Ortefors (bass) and Bjorn Fryklund (drums). The band describes their album as "A corny little heavy-pop-rock-Latin-world-jazz-avant-garde-metal-blues-record straight from hell!". "Organic" is the band’s sixth album.  It features a guest appearance by Guns N Roses guitarist Ron “Bumblefoot” Thal.  Pure guitar driven insanity with tongue firmly planted in cheek.  Essential for fans of Frank Zappa, Bumblefoot, and Steve Vai."If there was such a thing as indie metal, Freak Kitchen would define the genre perfectly. This metal band hails from Sweden and was formed back in 1992. Their outstanding musicianship and authentic musical style makes this power trio a real treat for those of us lucky enough to find their music. The bands’ distaste for big corporate labels has not prevented them from getting their music out, just not on a scale one would expect them to be considering the high level of quality music that they put out. So, as they state on one of their songs: “I’m so alternative, I am so independent, this is the way to live the independent way of life.” I guess one could say the guys walk the talk!Frontman Mathias IA Eklundh is considered a premier guitar player, having himself released several instrumental solo albums, Freak Guitar (1999) and Freak Guitar - The Road Less Traveled (2004). Also of some importance I guess is the fact that I’ve read in several live performance reviews that Eklundh will often play his guitar using foreign objects, some of which are described as vibrating dildos! Oh yeah, and he can really sing too! Eklundh is also the founder of Mattiasology, of which Steve Vai (peace prophet) and Paul Gilbert (space prophet) are listed as members of the Grand Church of Freakiness.Organic is Freak Kitchen sixth studio album, which was released in different parts of the world on April 27, 2005, just don’t expect to find it in North America yet. When you hear them for the first time, and believe me - you will eventually hear them - it’s really like nothing you’ve heard before. It’s like mixing a heavy metal guitar sound with alternative rock and adding mild progressive elements and a clearly indie rock vibe. It’s going to turn your head as it did mine. If you’re into metal you’re going to wonder “what the hell is this” and if you’re into indie rock, you’re going to wonder the exact same thing? It’s a blending of styles that requires time to soak up. But after you get over the initial impact of it all, it grows on you very quickly and I mean that in an exponentially freaky kind of way.The album opens with the single “Speak When Spoken Too,” which also features the eccentric Bumblefoot (Ron Thal - another Mattiasology prophet) on back up vocals and guitar. The Pantera style guitar riffs will have you questioning the bands musical style and the evident alternative rock vibe will probably remind you of System of a Down. There's a whole lot of humour spread out throughout the album as well.The band plays hook laden guitar driven songs full of interesting arrangements and cool little guitar antics and solos. The crystal clear production, the occasional blast beats, the crazy guitar sounds, the humorous lyrics about everyday life (infidelity, racism, the role of parenting) and the radio-friendliness of it all makes this a very memorable listening experience." - Sputnik Music
    $6.00
  • Guitarist Steve Thorne has once again assembled an incredible cast of musicians. Appearing are Tony Levin, Nick D'Vigilio, Pete Trewavas, Geoff Downes, John Mitchell, Dave Meros, and Gavin Harrison.
    $14.00
  • "Recently reissued on the Cd format by the great ProgQuebec team, this album (and its predecessor) had been all too long ignored and denied a second life by the Harvest label. Oddly enough with the bulk of reserve material still waiting to be released back then, the CD reissue offers no bonus track, but the album alone is much worthy by itself. The last paragraphs are dedicated to the review being re-written after its reissue.Old review: How to describe this absolutely masterful and orgasmic music? Except for this lone LP where one number is sung, Maneige is an instrumental group that lets you know right from the start that they will take full advantage of this and will not allow you one second of inattention. The group mixes acoustic and electric instrument with such dexterity that they make it look easy and sound simple. NOT SO!!! Although people will classify this group in the fusion section , this is only partly correct as there is some jazz & folk , but there is an uncommon percentage of classical music but nothing stolen from the historical composers.This album and the debut as well as the recently released live 74-75 are highly indescribable melange of all sort of academic musics. If I must name one band of this site to come close to Maneige, I will tell you a cross between Univers Zero and Gentle Giant for the construction complexities but Maneige is so much more melodic and harmonious to your ears, that GG is rather distant cry from them."Why have you not heard of this band before?" you ask. My theory is that they got black listed because of their Quebecois origins at the time when Quebec was overtly menacing of separation from the rest of Canada because of the English compatriots refusing to recognize Quebec as a distinct society. This made Quebec groups unable to play freely in the rest of their country along with Harmonium (a little success), Pollen (just one superb record and disband), Aquarelle (I am not even sure they released something outside Quebec) and even the Franco-Ontarian band Cano, so they had real problems of exposure. This lasts still today except for Harmonium that does get international recognition. Is the best proof of this not that only three albums of this great band are on CD? As they are still relative unknown, your hunt for the vinyls should not be that difficult or expensive, but man, it is definitely worth it. Max: can you give a sixth star just for the sake of it?New review: The 19-min+ title track suite (written by wind player Bergeron) is grabbing by the throat from the first notes, and never letting it go of its grip through its six movement, with its constantly evolving composition and so many different acoustic instruments taking over the previous one and even a rare sung section, whose lyrics were reprinted in a weird fashion on a loose sheet alongside the inner sleeve. The first side closes on a short symphonic (a quartet really) piece that is not as inspired as the rest of the album. Indeed, La Grosse Torche sounds out of place on the Cd (this was less evident on the vinyl).The flipside starts with Saxinette and Clarophone's wild adventures and the opening minute could make you think of Genesis' The Lamb on the second disc But this is quickly forgotten as the two instruments share literally everything mixing blood, trading licks, making love to each other. Bergeron's sax and Langlois' clarinet are not just the stars of the show, they eclipse the sun for the duration of the track from shining so hard. Vincent (Jerome's brother) Langlois' electric piano solo draws chills in your back, until a weird animal meows like an elephant and the tracks veers into a wild goose chase ending in a chaotic crowd and dying a slow death! Du très grand art, monsieur!! The closing track Chromo is a much funkier track that will indeed remind what was coming ahead in NV.NN, which would be a much jazzier album.The amazing thing is that obviously at the autumn of the group's first career (the Jerome Langlois years, if you wish), the group had loads more music that was still waiting for a proper studio recording and release. Most of these tracks can be found throughout the three live albums that have been released since 98. And from these albums, it's easy to see that Maneige's first line-up could have released a third album that would have easily matched their debut and Les Porches. So as Chromo sort of announces the new Maneige, Jerome Langlois will leave the group to concentrate on the long-standing project that he had tried to get of the ground with his previous group Lasting Weep. Le Spectacle de L'Albatros would then see the light of day in early 76 with both Lasting Weep and Maneige playing alongside, but this is another superb ProgQuebec chapter of the marvelous musical adventures of Progresson." - ProgArchives
    $15.00
  • Beautiful, haunting experimental metal from this Icelandic band.  Like some other extreme metal bands (think Ulver and Opeth) they have evolved into something very different.  If Sigur Ros recorded a black metal album it might sound like this.  If you like to be challenged by metal outside the norm this is highly recommended."I’m a prime example of being caught in a rat race, a cog too much a part of the corporate clockwork and maybe that’s why on some basic level I identify so strongly with the timeless concept behind Sólstafir‘s fifth and much anticipated release. Ótta comes three years after the release of Svartir Sandar, with the concept of the album staying close and personal to their Icelandic roots. So much so that that the album flows according to an old Icelandic form of time-keeping similar to the monastic hours or Eykt (one eighth of a solar day), And so, Ótta consists of eight tracks, beginning with a representation of midnight, moving through each Eyktir in the day, coming to a close in the period between 9 pm and midnight. Hardly a riveting concept on paper, but thought provoking nonetheless.Much like the post-metal genre being built on rising crescendos, so “Lágnætti,” “Ótta,” “Rismál” and “Dagmál” are the slow and steady climb before you reach the boiling point of “Middegi” and “Nón,” only to have their power stripped away quite dramatically with “Midaftann” and “Náttmál.” Now stop for a moment, close your eyes and feel “Lágnætti” (low night) wash over you. The intro rises up, uncoiling with slow deliberation, pure atmosphere at first, culminating in an isolated and memorable piano melody that along with frontman Aðalbjörn Tryggvason’s vocals, would fit right in on Coldplay‘s Viva La Vida. “Lágnætti” quickly settles in and gives you that familiar feeling that Ótta is indeed the next logical progression from Svartir Sandar. The album grabs hold of and builds on the very same subtleties and charm, the same enveloping moodiness and even the same delicate eccentricities of the earlier release, rather than following on with the bolder adolescence like Köld and Í Blóði og Anda (In Blood and Spirit).Aðalbjörn Tryggvason’s vocals have been perfectly matched to each track and at times it’s tough to imagine it’s the same vocalist. For much of the front-end of Ótta and then again towards the back-end, our intrepid frontman dabbles in the same instrumental, minimalistic style he used on Svartir Sandar. In “Lágnætti” and the title track, he could take the place of Chris Martin fronting Coldplay, and then in “Rismál” and “Midaftann” he creates a new and fantastical beast seemingly from leftover parts of Shining and Katatonia. Giving the release more time to soak in, you’ll find hints to the glory of the past, like his screamy shouts leftover from Köld‘s “Love is the Devil (and I am in Love)” and then in “Middegi” and “Nón” there are hints of the glory locked and loaded in Svartir Sandar‘s “Þín Orð.”Instrumentally Ótta feels like a swirling melting pot of flavours, colours and textures. The title track stands out, surely competing with Ulver‘s “Not Saved” as one of the most addictive pieces of music I’ve come across, all thanks to its bluegrass-like banjo frivolity playing with the violins. And while I have no idea whom to credit for the piano arrangements on “Lágnætti” and “Midaftann” and they don’t don’t hold quite the same dizzying quirk of Svartir Sandar‘s “Æra,” they’re beautiful, melodic, well played and hold just the right amount of tragedy and atmosphere. Aðalbjörn Tryggvason, Sæþór Maríus Sæþórsson and Guðmundur Óli Pálmason go minimalist on the guitars and drum lines, only playing what’s absolutely necessary. The guitars are delivered with a tasty distorted fuzz that takes away from the cleanliness of the album, and while solos are used sparingly, stand-out moments do filter through on “Nón” and “Miðdegi.”The production used on Ótta sounds largely like what worked so well on Svartir Sandar, and if it ain’t broke don’t fix it. There’s enough fuzzy warmth and focus of dynamics to keep the album an interesting and comfortable listen. What more can I say here, I’m unable to find fault with this album. It’s not one you’re going to skip around and listen to in bits and bites and needs to be experienced as a whole. Ótta is a serious piece of art and yes, it does indeed stop time!" - Angry Metal Guy 
    $12.00
  • Brazilian edition of the third Nightwish album.  It features 3 bonus tracks.
    $12.00
  • Remastered edition with two bonus tracks."Searching for a way to retool their sound, Judas Priest attempted to accentuate their melodic side on Turbo by incorporating synthesizers and '80s pop-metal stylings ("Wild Nights, Hot & Crazy Days" sounds more like Poison, albeit with synths). The restrained songcraft sometimes pays dividends, especially on the synth-driven leadoff track, "Turbo Lover," easily the best song on the record and a successful reimagining of the Priest formula. But often, the band simply sounds directionless, unsure of exactly which path to accessibility it should follow; moreover, the synth-guitar backing and overly polished production give the album an oddly mechanized, processed feel. It certainly doesn't help most of the material, which is often at least competent but rarely inspired enough to make much of an impression. That's unfortunate because Turbo's best moments indicate that with a clearer focus, the album could have been a creative success; however, it's overall Judas Priest's weakest release since Rocka Rolla." - All Music Guide
    $7.50
  • New album from this Austrian symphonic metal band.  The band has been a bit of a revolving door with vocalists but Maxi Nil has settled in nicely.  The music is based in the traditional female fronted gothic style with clean male vocals trading leads back and forth.  This time around I hear more of a poppier, catchy sound - somewhat like the direction Delain is moving towards.  Highly recommended to fans of the genre (I wave my hand proudly).  Digipak edition with one bonus track.
    $16.00
  • This is a new project put together by ex-Xystus drummer Ivo van Dijk.  Its cut from a similar cloth to that band's Equilibrio album in that its a full blown epic all-star project.  While Equilibrio was based on an opera, Karmaflow is actually based on a video game that Ivo was involved in developing.  The album features the Metropole Orchestra and the following participants:Vocalists:Simone Simons - EpicaMark Jansen - Epica, MaYanDani Filth - Cradle Of FilthLindsay Schoolcraft - Cradle Of FilthMarc Hudson - DragonforceAlica White-Gluz - Arch EnemyElyse Ryd - AmarantheCharlotte Wessels - DelainHennning Basse - Rage, MaYanMariangela Demurtas - TristaniaTony Kakko - Sonata ArcticaDaniël de Jongh - TexturesLisette van den Berg - Scarlet StoriesBas Dolmans - XystusMusicians:Ariën van Weesenbeek - EpicaCoen Janssen - EpicaRuud Jolie - Within TemptationIvo Severijns - PowerplaySander Gommans - HDKMerel Bechtold - Delain, MaYan, Purest Of PainBob Wijtsma - Blaze Of DarknessLuuk van Gerven - After ForeverUri Dijk - Textures, EtherealWill SchutAnd did I mention the Metropole Orchestra?  Yes I did.  Again.This one is crazy good.  Highest recommendation.
    $14.00