The Atomized Dream (BLOW OUT PRICE!)

“The Atomized Dream” is the fourth full length release from this Georgia based instrumental metal band. With a new expanded lineup, the Canvas Solaris “sound” continues to evolve.

The band has shown tremendous growth since their beginnings in 1999, evolving out of the death metal/mathcore scene. Dropping their vocalist along the way the band decided to emphasize intricate arrangements, creating compositions that only the most adept musicians could play. Canvas Solaris’ music resonated equally with fans of technical metal co-horts Behold The Arctopus and Spastic Ink as well as bands like Don Caballero and Dillinger Escape Plan.

Following the recording of their third album, Cortical Tectonics, the lineup saw a radical change. Band founders Nathan Sapp (guitars) and Hunter Ginn (drums) replaced departing guitarist/bassist Ben Simpkins with 3 new members. Joining are Chris Rushing (guitars), Donnie Smith (analog synth), and Gael Pirlot (bass). While the core sound has remained these new members have clearly made their mark. Keyboards now play a more prominent role, while the twin guitar interplay is mesmerizing. The band continues to contrast hyper-technical metal passages with spacey and quiet acoustic based interludes.

A recent tour with Behold The Arctopus and Dyshrythmia brought attention to the band and they plan on continuing the momentum with additional shows in 2008.

The band is always interested in presenting their work with interesting graphics. They are honored to have noted low brow artist Mars-1 provide the cover art. Once again the album was produced by Jamie King (Between The Buried and Me) and mastered by Grammy winning engineer Bob Katz.

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  • This is so much better than the band's first album it's ridiculous. First off they axed Elisa Martin, who's accent-laden vocals never cut it for me. She was replaced by Max Leclerqe who also sings for Magic Kingdom. The production is way better as well. Basically this is epic fantasy symphonic metal bearing strong similarities to Rhapsody. Wuthering Heights comes to mind at times but this has more of a larger than life feel and none of their folk influences. I'm not always partial to this style since it's been done so often but I found this to be a solid album beginning to end. Highly recommended.
    $12.00
  • Arena return after a 6 year hiatus. New lineup includes new vocalist Paul Manzi, John Jowitt is back replacing Ian Salmon, Clive Nolan, John Mitchell, and Mick Pointer. Its a conceptual work focusing on the last hour of life and the following hour in the afterlife. High concept indeed! 
    $11.00
  • "When people think of Melodic Power Metal from Finland, obviously two of the biggest acts that come to mind are STRATOVARIUS and SONATA ARCTICA. ASTRALION are another quintet pumping out that addictive, uplifting Euro Power Metal sound on their debut, self-titled album. Forming in 2011 and containing two ex-OLYMPOS MONS members in vocalist Ian Highhill and bassist Dr. K. Lundell, they also have two musicians from the Thrash band THE ADDICATION in their ranks with drummer Arnold Hackman and guitarist Hank Newman. Keyboardist Thomas Henry rounds out the lineup, so the experience in terms of players and musicianship makes this 11 song record much easier to ingest than the average ‘newer’ act attempting to breakthrough on this very active scene.The foundation of ASTRALION’s style cements itself in the early to mid-90’s Power Metal movement: chord structures that have a touch of that mead hall/ cultural thematic feel, as well as those larger than life choruses that BLIND GUARDIAN, GAMMA RAY, and HELLOWEEN made a staple of their sound. The keyboards certainly have that Finnish meets FREEDOM CALL happy tone – the opening strains of “At the Edge of the World” reminding me at times of “Hunting High and Low” from STRATOVARIUS. Of course you’ll get the prototypical speed numbers featuring guitar/keyboard synchronized arpeggio-like runs as the double bass cruises and the vocals hit ultimate bird call highs – “When Death Comes Knocking” and “Five Fallen Angels” textbook Power Metal 101 arrangements that should go down a storm.Beyond the mid-tempo ‘ode to what we love about the genre at hand number “We All Made Metal;” I also enjoyed the theatrical/ semi-Symphonic nature of the dramatic “Computerized Love” as well as the 13 minute epic closer “Last Man on Deck” that opens in ballad form before picking up the Neo-Classical pace and giving Hank and Thomas ample solo break / ‘can you top this’ moments. Ian may not tickle all the right notes vocally at times, but his passion and personality makes up for any small deficiencies. I come away every time singing the chorus to “Mysterious & Victorious”, and isn’t that half the battle in winning over consumers in this style?ASTRALION are off to a high quality start, so those who miss the 1990’s style of Power Metal would be wise to scoop this up." - Metal Temple
    $15.00
  • The Diablo Swing Orchestra dates back to 1501 in Sweden, where history tells the tale of an orchestra that played like no other, with music so seductive and divine that the ensemble overwhelmed audiences all over the country. Their performances rapidly earned a reputation of being feral and vigorous and gained the orchestra a devoted crowd of followers. Their concerts attracted more people than High Mass in church and as a result the orchestra was accused of being treacherous and in league with the devil. The members were accused of being everything from heretics to the spawn of Satan. “The Devil’s Orchestra” was the epithet used by the church in it's attempt to halt the orchestra’s success. However, this eventually became a catchphrase that spread throughout the crowd, and before long it was the popular name of the orchestra. With the accusation of heresy a bounty was put on the orchestra, and as the hostilities from the church grew stronger the orchestra finally felt the need to flee. But they decided that if they were to disappear they should go out in style, by giving one last concert. Before doing so they all signed a pact saying that their descendants were given the task of reuniting the orchestra in 500 years, and that they should continue the orchestra’s work of spreading thought-provoking music. Six envelopes were sealed and given to trustees of the orchestra to pass on to family members. The final concert was a great success. Thousands of people came to see it, and the massive sing-along of the crowd made the performance the most talked about in history. Eventually, the armed guards arrested the orchestra. They were subsequently sentenced to death by hanging. Stockholm 2003. By mere accident two of the original orchestra descendants met in a music shop and began to discuss music. It later turned out that they both had received a strange letter from some ancient relative containing instructions on how to reunite The Devil’s Orchestra. By searching through archives and records they managed to track down the other ancestors. Daniel's sensibility for words and melodies made him the main composer. Annlouice's angelic yet powerful operatic voice gave a bombastic feeling to the music. Andreas swinging and energetic drumming provided the orchestra with a deep and solid foundation. And together with Andy's powerful finger style playing and funk-oriented slapping they made sure the songs had a steady groove. Pontus electronic and experimental influences proved useful as the orchestra wanted a contemporary sound. Johannes's emotive cello-playing, theoretical knowledge and stunning technique completed the orchestra. With reference to the old catchphrase they took the name Diablo Swing Orchestra and are determined to honor the legacy of their ancestors. Since the release of their debut “The Butcher’s Ballroom” in 2006/2007 the orchestra has gained a loyal fan base of their own. People have embraced their sound with open arms and they have been perceived as a fresh breath of air in a genre getting more and more stale and formulaic. The album was also well received among critics earning many rave reviews recognizing the new ideas the band brought to the scene. DSO’s sophomore effort titled “Sing-Along Songs for the damned & Delirious” proves that they are no one hit wonder but are here to stay. The new record set to be released in September 2009 is a smörgåsbord of different levels of musical insanity building on the foundation laid down on “The Butcher’s Ballroom”. Touring will begin in September starting with Progpower USA and will continue in Europe later in the fall.
    $13.00
  • One of my favorite albums from Threshold. Damian Wilson is a real standout and the music's subtle celtic underpinning give the album a distinct flavor. New edition comes with 3 bonus tracks.
    $18.00
  • "David T. Chastain has gained a reputation over the last 25 years as a powerful, progressive guitarist whose music has been centered around his melodic and technically fluent fret board mastery. For Those Who Dare, the fifth CHASTAIN album and originally released in 1990, showed David forging into new territory with the finest group of musicians he had ever worked with creating not only the most accessible metal record of his career but also the most inventive.While David did remain the principle songwriter, he admitted that the band’s sound on For Those Who Dare wouldn’t have been the same without David Harbour (bass) and John Luke He’bert (drums) supplying their own individual trademark performances. Besides David’s virtuoso style the other major attribute to CHASTAIN’s instantly distinct sound is vocalist Leather Leone’s superior and ultimately commanding presence.Originally brought together by Shrapnel Records’ Mike Varney, Leather quickly established herself as one of the greatest female heavy metal vocalists of all time appearing on all four previous and critically acclaimed CHASTAIN albums - Mystery Of Illusion (1985), Ruler Of The Wasteland (1986), The 7th Of Never (1987) & Voice Of The Cult (1988). Ever since his recording debut in 1983 David Chastain has been wowing fans with his innovative and technically superb guitar playing. For Those Who Dare is a perfect example that David Chastain was not just a great player, but also a talented songwriter and band leader with an exceptional group of collaborators to help make his melodic visions a reality."
    $12.00
  • Third album from this German retro-prog outfit.  A few seconds into the lead off 21 minute title track and you know you are taking a trip down memory lane.  The album is filled with enough old school keyboard sounds to embarass Tony Banks.  The main cog in the Argos wheel is keyboardist Thomas Klarmann, who also handles fute, bass, lead vocals.  He plays a mean Hammond organ and knows how to squeeze the right sounds out of a Mellotron as well.Genesis is one of the touchstone influences but you will also hear nods to Canterbury, Gentle Giant, VDGG, and hosts more (if you can think of 'em they are here).  These guys aren't going to win any originality contests but it sure is great ear candy.  Highly recommended.
    $15.00
  • "Drummer Ian Wallace (King Crimson, Jackson Brown, Don Henley, Bonnie Raitt) is joined by Jody Nardone and Tim Landers, and special guest Mel Collins, on this masterful interpretation of Crimson classics which is sure to please King Crimson fans and jazz aficionados alike. Volume Two takes the CJ3 a step further in its interpretations of the King Crimson catalog.These songs represent the final recordings in this life by the extraordinary drummer Ian Wallace. They represent the culmination of a lifelong dream and years of study, devotion, hard work and passion for the drums. They honor his past and his love of the music made with, and made by, his brothers in King Crimson. They celebrate his love of jazz. They are a beautiful swan song from an incredible musician.Volume Two is a slight departure from CJ3's first release, finding the trio taking more liberties with the material. The listener will hear more experimentation in the playing as well as the arrangements. The recording features ex-Crimson saxophonist Mel Collins on two pieces and finds Jody Nardone lending his vocals to a track. Like Volume One, Volume Two is, as it was intended, more experiment than a tribute album. It stands alone as a beautiful, and perfectly performed jazz album, as well as a medium to experience Crimson in music's most improvisational art form."
    $15.00
  • Second album of the collaborative effort from Porcupine Tree's Steven Wilson and noted Israeli pop singer Aviv Geffen. The music on this one is a bit mellower than the debut but still cut from a similar cloth.
    $14.00
  • "Blue Öyster Cult tried a new producer on Mirrors, replacing longtime mentor Sandy Pearlman with Tom Werman, a CBS staffer who had worked with Cheap Trick and Ted Nugent. The result is an album that tries to straddle pop and hard rock just as those acts did, emphasizing choral vocals (plus female backup) and a sharp, trebly sound. But this approach appeared to displease longtime metal-oriented fans without attracting new ones: "In Thee" became a minor singles-chart entry, but the album broke BÖC's string of five gold or platinum albums in a row. The real reason simply may have been that the songs weren't distinctive enough. Much of this is generic hard rock that could have been made by any one of a dozen '70s arena bands." - All Music Guide
    $7.00
  • "Few bands of the era offered as much variety in material from night to night. King Crimson’s propensity for improvisation & fondness for playing its newest material – often unreleased on record at the time of the concerts - is legendary. Fewer bands still, whether by accident or design, recorded so many of their live shows.Starless offers an in depth overview of one of the era’s most significant bands in its most celebrated live line-up.Autumn 1973: As King Crimson’s second lengthy US tour of that year was coming to a close, a short series of UK concerts for the end of October, followed by a more extensive European tour in November was already planned. Three of these concerts; Glasgow, Zurich & Amsterdam, were recorded as full multi-track recordings, with material from the Amsterdam show being used as core material for the January 1974 recording of Starless & Bible Black. From mid-March to the start of April, the band was on the road in Europe again, promoting the album with their final European concerts of the decade, prior to undertaking a further US tour. A number of these concerts were recorded on stereo reel to reel machines, fed directly from the signal as sent to the PA system on the night of the performance. These soundboards are often referred to as “The Blue Tapes”, named after the outer colour of the original tape boxes & are especially valued for both the quality of recording & performance.This boxed set presents eighteen CDs of live concert performances, seven of them mixed from the 1973 multi-track tapes and a further eleven presenting the complete run of “The Blue Tapes” for the first time. CDs of the ORTF Paris TV performance & the 2011 stereo mix of Starless & Bible Black also feature. Two DVD-A discs & two Blu-Ray discs contain concert & studio recordings in stereo, quadraphonic & full 5.1 surround sound – all presented in high-resolution audio."
    $190.00
  • Long awaited 5.1 remix of the classic Rush album in a limited  "super deluxe" edition comes housed in a hardbound book.  Here is what you get...CD:1. Remastered edition2. 3 previously unreleased live tracksBLU-RAY:1 5.1 remix in 24/96 PCM and DTS-HD2. Stereo mix in 24/96 PCMEXTRAS:40 page comic book by story artist Tom Hodges (Star Wars "The Clone Wars," The Simpson's "Treehouse of Horrors #17") and a 24 page book with expanded artwork, liner notes, lyrics and unreleased photos. New liner notes written by David Fricke, Rolling Stone.
    $69.00
  • Smoking hot chick alert!! New band formed by four members of the now defunct Karnataka. Taking over on vocals is Anne-Marie Helder, who also plays flute. The band has jettisoned the celtic touches of Karnataka. Instead they have a more varied and modern sound. Guest violinist Liz Prendergast adds a nice spacey touch with her solos. For a band that is going for a more immediate and less complex sound no one bothered to let them know that a 19 minute track like the album closer "The Dreaming" isn't going to get them any radio airplay!
    $17.00
  • "Despite the rumors, pre-fusion acid jazz-rock is alive and well, living it up in Southern California. Psicomagia is the joint forces of leading members of noted prog and stoner-rock outfits Astra and Radio Moscow. The band serves up a mixture of the same essence that Soft Machine, Tony Williams Lifetime, and Magma pioneered during that magical period just seconds before progressive electric jazz was grabbed by the institutional jazz scene. A formula thought lost until this day, when seemingly out of the blue, the relentless force of Psicomagia appeared. Spearheaded by multi-instrumentalist and producer Brian Ellis' roaring saxophone, constantly interplaying Tyler Daughn's franticly screaming organs and synthesizers, the soul of Psicomagia is in the endlessly permutated bursts of energy of the two. The relentless heart, however, is kept going by drummer Paul Marrow (Radio Moscow), who carves out a constantly brooding and shifting rhythmic base along with the heavy, travelling bass of Trevor Mast. Together they balance a line between an insanely tight and rhythmic notion of progress, as well as transgressing each instrument's carved path on this cataclysmic journey of musical events. Imagine, on top of that, two poets, repeating obscured mantras, rumbling bells and gongs, and you're getting closer to playing your own Jodorowsky-does-jazz movie playing in your head via Psicomagia. If Psicomagia sounds like a thing of the past, it's simply because they have inherited a unique quality lost in music today: grabbing onto a wide array of genres, and permuting them into their own distinct musical landscape. "
    $23.00