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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  • Now here's an album that kicks ass from start to finish. Easily going to be one of my favorite discs of the year. Venturia is a new French progressive metal band put together by guitarist Charly Sahona along with drummer Diego Rapacchietti. Charly found this incredible vocalist from New York named Marc Ferreira and paired him with Lydie Robin the band's female vocalist who primarily sings back up as well as the ocassional lead. Adagio's Kevin Codfert guests as the keyboardist. The New Kingdom is an impressive mix of phenomenal chops, infectious melodies and complexity. The closest comparison I can think of is Arabesque. A tune like "Words Of Silence" crushes but at the same time it's hook laden and will stay with you for days. Lydie Robin has a breathy gorgeous voice that works blends well with Ferreira. Venturia are to be applauded - they drew from a variety of different inspirations and put together something really fresh. Highest recommendation - I love this disc. Top 10 candidate.
    $14.00
  • "The average underground metal fan seeing Crucified Barbara in the daily news feed probably made the same mistake I did in expecting this Scandinavian all-female rock band to be too upbeat and soft to hold my attention. That turned out to not be the case at all, as “In The Red” has the best of both worlds: an energetic rockin' vibe with more than enough of a metal edge. If you dig metal/rock crossovers like Doro or want a more serious and less humorously misogynistic Steel Panther, “In The Red” is absolutely the album for you.The album opens with the catchy “I Sell My Kids For Rock 'N Roll,” an anthem of rebellion against slowing down the rock just because of age, and then shifts into the slower but harder hitting “To Kill A Man,” which would make a great soundtrack to an “I Spit On Your Grave”-style revenge flick. Third track, “Electric Sky” then splits the difference, being catchy but still heavy.The album as a whole is incredibly cohesive, keeping up a solid and recognizable vibe while slightly altering the formula to switch between punk rock partying and darker themes. There's not much in the way of experimentation or a single stand-out track, but that's actually more of a good thing than you might think, as there's really no filler tracks either.“In The Red” is likely to hold the attention of extreme metal fans better than a good deal of the other rock hybrid groups. Granted it's not brutal or extreme, but so long as you don't head into it expecting Arch Enemy you'll be good to go. These tracks are definitely heavier than say Lita Ford's material, but much more rock focused and less on the extreme end than other all-female groups such as Astarte. This leads to both high powered guitar riffing on tracks like “Lunatic” alongside an old school Blue Oyster Cult feel on “Finders Keepers.”Refusing to give up the fist pumping fun of rock while playing heavy metal, Crucified Barbara's “In The Red” is a must-hear for fans of either genre.Highs: A great meshing of energetic rock with hard hitting metal with essentially no filler material.Lows: If you only dig extreme metal this won't have as much appeal, and there's not much in the way of experimentation or a single stand out track.Bottom line: Rock and metal rarely sound this good together - even if the less heavy end of music doesn't usually appeal to you, give this one a listen anyway." - Metal Underground
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  • "Being around since 2003, the Greeks finally issue their first full length album named “Caught In this Iless Storm”, a very interesting attempt, leaving their mark on the scene. Their previous Demo CD “Asymmetric” has received very good reviews in 2005 leaving great prospect for future. Well, taking first things first it is of high importance to portray the band’s purpose which is to play music in a way that a listener not familiar with the sound can enjoy and at the same time a listener that searches for something more is intrigued. ART OF SIMPLICITY basically play progressive metal, with many elements from jazz and classical music, following paths engraved by great bands such as Pain Of Salvation and Dream Theater, however they have achieved to combine and enhance their music with very interesting ideas resulting to an inspired personal sound. Very good vocals accompanied with well played guitar riffs and solos along with different sounds and instruments such as piano and violin, form a constantly changing environment, describing the band’s purpose to the limit. The production is of high quality standards whereas songwriting is complex enough to satisfy the demanding listener, but at the same time simple enough to leave memorable moments in mind almost from the first listening.Taking into consideration that the band features members from the highly respectable bands Fragile Vastness and Wastefall, it makes no surprise regarding the quality of the album, admitting their very good job in almost every part of this attempt.So, waiting future to confirm their potential, enjoy the ART OF SIMPLICITY…" - Metal Invader
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  • 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! 
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  • "The posthumously assembled ten-track outtakes collection The Sky Is Crying actually proves to be one of Stevie Ray Vaughan's most consistent albums, rivaling In Step as the best outside of the Greatest Hits collection. These songs were recorded in sessions spanning from 1984's Couldn't Stand the Weather to 1989's In Step and were left off of the LPs for whatever reason (or, in the case of Soul to Soul's "Empty Arms," a different version was used). What makes the record work is its eclectic diversity -- Vaughan plays slide guitar on "Boot Hill" and acoustic on "Life by the Drop"; he smokes on the slow blues of "May I Have a Talk With You" and the title track just as much as on the up-tempo Lonnie Mack cover, "Wham"; and he shows the jazzy side of his playing on Hendrix's "Little Wing" and Kenny Burrell's "Chitlins Con Carne." But it's not just musical diversity that makes the record work, it's also Vaughan's emotional range. From the morbidly dark "Boot Hill" to the lilting "Little Wing" to the exuberant tributes to his influences -- Lonnie Mack on "Wham" and Albert King on "The Sky Is Crying" -- Vaughan makes the material resonate, and in light of his death, "The Sky Is Crying" and the touching survivor-story ballad "Life by the Drop" are two of the most moving moments in Vaughan's oeuvre." - Allmusic
    $5.00
  • Realm Of Shadows is the third album from the Dutch masters of symphonic rock. Knight Area creates harder edged progressive rock in the vein of Arena, Marillion, and Dream Theater. This latest effort is a conceptual work about a metaphysical journey that finds their music and themes taking a decidedly darker turn. Knight Area was founded in 2004 after Gerben Klazinga recorded the first album The Sun Also Rises. This album was a project of Gerben, who wrote all the music, with many musicians participating in the recordings of the album. It was a worldwide success and as a consequence Gerben formed a band to play live. Their second album, Under A New Sign, was released in 2007 after the band successfully played European and American stages including a performance at Nearfest. The album was a real band effort receiving superb reviews worldwide. A subsequent tour found the band performing in the UK, Germany, and Canada. The band will support the release of Realm Of Shadows with a European tour including appearances at ProgPower Europe, Prockfest, and the Classic Rock Society Octoberfest.
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  • "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."
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  • "Jeff Beck has never shied away from following trends, at least as far as the musical styles he uses to back up his signature guitar sound. Back in 1969, in a sleeve note on Beck-Ola, he noted that he hadn't come up with "anything totally original," and instead made an album "with the accent on heavy music" at a time when the "heavy music" of the Jimi Hendrix Experience and Led Zeppelin was all the rage. In 1975, at the height of the jazz fusion movement, he made a jazz fusion album, and a good one, too. In both cases, however, the fashionable genres only provided a contemporary-sounding context in which his playing could flourish. If anyone has ever needed to be inspired to work, it's this recluse. So on his first regular studio album of new material in ten years, Who Else!, Beck, on at least a few tracks, solos over heavily percussive techno tracks reminiscent of Prodigy. But whether he's piercing such a rhythmic wall, rearranging the blues on the live "Blast From the East," or floating over an ambient soundscape on "Angel (Footsteps)," it's the same old Beck, with his stinging and sustained single-note melodies, his harmonics, his contrasting tones, his drive. And the man who played "Greensleeves" straight on Truth in 1968 is the same one who is faithful to the Irish air "Declan" here. Older fans who haven't been spending time at raves in recent years may want to program their CDs to avoid the electronica, but they should at least give those tunes a listen -- are they any heavier than the "heavy music" of 1969?" - All Music Guide
    $5.00
  • "'Hand. Cannot. Erase.' is the highly anticipated fourth studio album from Steven Wilson - four-time Grammy nominee and founder member of cult legends, Porcupine Tree.Hand. Cannot. Erase. follows the critical and commercial success of The Raven That Refused To Sing, released in February 2013, and a run of sold-out shows around the world including London's Royal Albert Hall. Steven will embark on an extensive 'An Evening With Steven Wilson' European tour in March & April 2015.Recorded at London's illustrious Air Studios, Hand. Cannot. Erase, reunited Steven with Guthrie Govan (guitar), Adam Holzman (keyboards), Nick Beggs (bass / stick), and Marco Minneman (drums), the spectacular band responsible for The Raven That Refused To Sing album and world tour.The album is presented in an elaborately designed 96 page case-bound book, with several additional inserts - including a diary, a sketchbook, newspaper cutting, a letter etc - featuring artwork by long-term SW collaborators Lasse Hoile (photography), Hajo Mueller (illustrations) and Carl Glover (design).Blu-Ray contents include hi resolution stereo & 5.1 audio (96/24 5.1 LPCM & DTS-HD Master Audio 5.1), seven additional alternative versions, mixes & radio edits, half-hour studio documentary, studio sessions photo gallery.The album follows the critical and commercial success of 2013's 'The Raven That Refused To Sing' (Germany #3, UK# 28) and an international run of sold-out shows, including London's prestigious Royal Albert Hall.Joined by Guthrie Govan (guitar), Adam Holzman (keyboards), Nick Beggs (bass / stick), and Marco Minneman (drums) - all part of the world-class band that graced The Raven and the 2013/2014 world tours - Wilson recorded 'Hand. Cannot. Erase.' at the renowned Air Studios in London."
    $16.00
  • "Balansia is the third release from the instrumental prog outfit from Finland called Hidria Spacefolk. Their music, I discovered, is a more clearer description of what could be truly termed "acid rock" in my mind. Mikko Happos' guitar work explodes like a shooting star that rides, reaches, and discovers an endless night. Janne Lounatvuori accentuates the ride with pulsing, hypnotic synths, electric & acoustic piano, and organ, especially on the songs "Astroban" and "Pajas." The six tunes, which total just over 50 minutes, channel fluidly from the hot (as in molten core) rhythms of Sami Wirkkala's intricate guitar weaves, Kimmo Dammerts' steady bass, and Teemu Kilponen's pounding drums. Hidria Spacefolk is a proper name for this band, as the use of trumpet, cello, slide, vibraphone, and marimba help make the journey complete, adding folk instruments to their sonic approach for a unique sound. The band soars, roars, and rambles through the outer limits of galaxies not yet discovered. Highly recommended!" - Sea Of Tranquility
    $13.00
  • "“Where Dreams Are Forgotten” is the sixth album by Swedish power metal quartet “AXENSTAR” and is their first to be released under “Inner Wound Recordings”.Power metal is one of my favourite metal genres; I love the energy, the melodies, the vocals, everything about power metal never fails to get me pumped up, and that’s exactly what AXENSTAR achieve from the very start of this album, “Fear” opens up “Where Dreams Are Forgotten” with speed and intensity, and sets the attitude for the album perfectly. What I love about this album is the diversity; frequently you will hear that signature power metal sound of harmonised guitar melodies and pretty ‘cheesy’ choruses, whilst surrounding all of the typical ‘happy’ sounding power metal genius, you also gets tastes of darker and moodier music, and AXENSTAR seem to blend the two attitudes well without causing too much musical conflict and confusion within a song.“Inside The Maze” kicks off with a very catchy melody which slightly makes me think of bands like “HELLOWEEN” or “EDGUY”, this is a great song with a moody verse and a typical catchy power metal chorus along with some great riffing from Joakim and Jens. “My Sacrifice” is next and is one of the highlights of this album. It starts off with possibly my favourite riff on this album, when the drums come in under this main riff you cannot help but bang your head to its galloping aggressiveness! Some of the lead work in this song is pretty amazing too!I love when a power metal band like AXENSTAR can showcase a lot of aggression along with that signature power metal ‘cheese’; It gives an album and/or band a lot more personality with the type of diversity shown here on “Where Dreams Are Forgotten”. I feel as if this album can easily reach my top 10 power metal releases this year; it is a brilliant well structured, well written, well recorded work of art and I urge you to not let this go without your attention, buy it and support AXENSTAR. I’m already eager to see what these guys do next." - Metal Temple
    $15.00
  • "Getting your head and ears around an Andromeda album can be a challenge. It's not that their music is perplexing, but it is often varied and eclectic. Consider the first two songs on their fifth album, Manifest Tyranny. Preemptive Strike is a short introductory piece of mostly heavy and thrash metal. The following Lies R Us slows the pace offering a melodic, yet heavy in parts, prog piece with a great melodic vocal arrangement. It's quite accessible. Okay then ...Expect more than a little intrigue throughout Manifest Tyranny. Stay Unaware offers an abundance of riffage, but also noticeable synth layers and solo. False Flag, the longest cut here, seems a moderation, like heavier prog rock (also noticeable on Survival of the Richest), but shifts and moves with the clever ease you expect from progressive music. Then there's simply some strange stuff. Chosen by God has a muted ethereal vocal arrangement, lots of riffage and synths, which evokes a lighter atmospheric motif. Then there's the integration of words (speeches) from political leaders. (This occurs throughout the album, often to the point of distraction.)The nuance of progressive rock returns later in Go Back to Sleep. It offers a lighter blend of electric and acoustic guitar, with a later synth solo, and some disturbing lyrics. Of note, this song displays David Fremberg's supreme vocal talents. Allowing some more convention and accessibility, Asylum offers complexity but provides a hard rock edge in the guitar solo. Play Dead and Antidote find Andromeda simply offering an arrangement of, sometimes heavy, but certainly complex and delectable progressive metal.With Manifest Tyranny, Andromeda continues to challenge and entertain. This is what a fan of progressive metal should expect: intrigue and enjoyment, and the need for more than one listen. Fans and critics will wonder if it's equal to, or better, than their critically acclaimed first outing Extension of the Wish (2001). Perhaps this is a question left to the fans or, perhaps, those who are braver than me. Strongly recommended." - Dangerdog.com
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