Brutal Romance

SKU: FES4010
Label:
Free Electric Sound
Category:
Fusion/Jazz
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“Crazy French phenomenon Christophe Godin applies his nothing short of bonkers rock guitar abilities to this ferocious yet tongue-in-cheek display of post-Vai/Zappa composition and musicianship. Jazzy it ain’t, but full of immense playing technique and cool tones it most definitely is. Be afraid.” – Guitarist Magazine



Brutal Romance is the fifth release from this intense French instrumental trio. Through extensive gigging in the US, this Morglbl has developed an ever expanding fanbase addicted to their crazy blend of jazz and metal. The band consists of Christophe Godin (guitars), Ivan Rougny (bass), and Aurelian Ouzoulias. All three members of the band are known around the world not just from Morglbl but as clinicians as well. Morglbl injects a dose of tongue in cheek humor into jazz rock laced with crushing power chords. They have a strong cross over appeal between fans of progressive rock, fusion, and metal. Morglbl has performed at festivals alongside Liquid Tension Experiment and Umphrey’s McGee. They have most recently toured the US as co-headliners with Sweden’s Freak Kitchen.



Fans of shred and fusion Gods like Allan Holdsworth, Steve Vai or Freak Kitchen’s Mattias Eklundh will find this essential.

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  • The double disc hard back 32 page book comes with lots of extras, including the complete remix of the album, extra bonus tracks and a DVD featuring live video footage of material from ‘Tales’ along with a host of MP3 files, original mixes, audio commentary and previously unreleased writing/rehearsal/demo material. The full track listing for the CD/DVD edition is: CD:
 • The Last Human Gateway
 • Through The Corridors (Oh! Shit Me) • Awake And Nervous
 • My Baby Treats Me Right ‘Cos I’m A Hard Lovin’ Man All Night Long
 • The Enemy Smacks 2013 remix by Michael Holmes 
Engineered by Rob Aubrey Bonus tracks
: • Wintertell (2012 recording) • The Last Human Gateway (end section, alternative vocals) • Just Changing Hands (unfinished demo)
 • Dans Le Parc du Château Noir (unfinished demo) DVD: 
• The Last Human Gateway • Through The Corridors (Oh! Shit Me) 
• About Lake Five / Awake And Nervous • The Enemy Smacks 
(Live at De Boerderij, Zoetermeer, Holland: October 23, 2011) • Photo Gallery (contemporary photos and artwork) • DIY Mix of ‘Through The Corridors': multi-track audio files and mixing software MP3 files:
 • ‘Tales From The Lush Attic’ (original mix: August 1983) 
• Seven Stories into Eight (original cassette album) • Tales from the Lush Attic - audio commentary by Peter and Mike Further listening:
 • The Enemy Smacks (first attempts: November 1982) • 
The Last Human Gateway (writing session: February 1983)
 • Just Changing Hands (instrumental demo: February 1983)
 • Just Changing Hands (rehearsal: February 11, 1983)
 • Wintertell (demo: July 1983)
 • The Last Human Gateway (first complete version - rehearsal: July 27, 1983) 
• Unused idea version 1 (rehearsal: August 1983) • 
Unused idea version 2 (rehearsal: August 1983)
 • Hollow Afternoon (demo, original lyrics: 1983) 
• Just Changing Hands (Cava demo: 1984)
 • The Last Human Gateway (middle section) (1991 recording)
    $25.00
  • New digipak edition of the rarest Italian prog album its certainly also one of the strangest... "This is one weird album indeed. Even more weird when you consider some of the musicians involved. For example you got keyboardist Charles Tiring. He was not your typical twenty-something like you usually expect in prog rock bands. At the time this album came out, he was said to be 68 years old (not likely alive these days) and married to an 18 year old, which meant that didn't exactly endear himself to the rest of the band (he left after this album and they became Antonius REX). The rest of the musicians included Anthony Bartoccetti on guitar, bass and vocals, Doris Norton (known as Fiamma Dello Spirito on this album) on vocals, violin, and flute, and someone named Franz Parthenzy conducting the medium. What's also weirder was they were exploring the occult, performing under séances. While other prog rock bands simply used keyboards like the Hammond organ, Charles Tiring went totally hog wild on the pipe organ, although he used the occasional Moog for sound effects, and harpsichord and piano on occasions. There are times that it's really difficult to call this prog rock, because it's not rock, and pipe organ is sometimes the only instrument used. The album opens up with "U.F.D.E.M." which is often regarded as the album's high point. Here you get pipe organ and harpsichord, with Doris Norton singing in Italian, sounding a bit like an Italian Anna Meek (of CATAPILLA fame). "Praesentia Domini" is largely pipe organ, but near the end comes some chanting in Latin, obviously a séance. "Jacula Valzer" is a nice, pleasant jazzy piece with that atmosphere of a bad early '70s horror film. This one features some nice flute and piano. "Long Black Magic Night" is another worth mentioning. Violin and flute dominates, and Doris Norton chants in English, and comes to demonstrate just how lousy her English is. This song even more just screams "bad horror film". Listening to this, you can just imagine the cobwebs, vampires, and a pipe organ. The last piece, "In Old Castle" is the most pointless piece, as it's all pipe organ and nothing else. "Tardo Pede In Magiam Versus" is a truly like or hate it album. Some just call this a bunch of Satanic nonsense, others call it spooky and Gothic. I can be certain GOBLIN had heard their share of JACULA and Antonius REX in their lifetime, especially since GOBLIN was best known for scoring gory Dario Argento horror flicks (luckily GOBLIN went for a more conventional prog/fusion direction, with normal instrumentations, even though they sometimes used pipe organ). The original LP of "Tardo..." isn't easy to come buy, but Mellow Records reissued it on CD, if you can find a copy for cheap, get it, for a curiosity, but I bet you that you'll probably be waiting for Halloween to play this. Weird album indeed that might scare a few people away." - Progarchives.com
    $16.00
  • Reissue of their first album. A total corker!
    $15.00
  • "You've got to give Signum Regis founder and bass player Ronnie Konig some credit. He keeps trying to up his game with each new Signum Regis album. With his third album, Exodus, he tackles another concept album: the slavery in and exodus of the Israelites from Egypt from the Biblical book of the same name. Additionally, rather than a single lead vocalist, namely Goran Edman, Konig brings in no less than nine notable vocalists. (See the list below.) Whether this amounts to a good thing will be in the ear of listener.Something that has not changed is Signum Regis' sound, remaining traditional European melodic heavy and power metal. Considering the nature and significance of the Biblical story, some properly composed power metal could give the listener a lively interpretation of that story. Often it does.For instance, in pace, lyrics, and vocal arrangement there's a feeling of urgency within Let Us Go!, as the Hebrews seek release from their Egyptian masters. If you recall your Biblical history, you'll remember that Pharaoh was not to happy with Moses, becoming royally pissed and stubborn. Wrath of the Pharoah gets some of that with it's heavy and raging sound and piercing vocals. Of course, Pharaoh and all Egypt was warned of what would happen if they did not comply with Yahweh's wishes. The Ten Plagues offers some bracing straight power metal, with some ripping guitar work, to emphasize the drama of the event.Curiously, I would have thought the song Last Days in Egypt, which would have included the first passover ceremony (and foreshadowing Christ's atonement later), to be a more somber and introspective piece, perhaps acoustic guitar driven. Rather, it's basically electric guitar driven instrumental. There's some drama to the centerpiece song, Exodus, as it has a marching feel, thinking of the Israelites marching to their freedom.Finally, but not the final song, Song of Deliverance, based on Moses' song after crossing the Red Sea from Exodus 15, is likely the best and clearest reference to this profound and true story. It's also one of the better songs on the album because it's not all charging power metal. No, there's rather light breakdown just before the middle and also at the end that adds a reflective character to the story and song.The album comes with a bonus track, Mountain of God. Though the lyrics are hard to define, this song may have something to do with Israel arriving at Mount Sinai and the giving of the ten commandments.While this is probably the best Signum Regis album to date, some might find it too familiar, and there for redundant, thanks to the predictable, or typical, as the case may be, European power metal throughout. Nevertheless, it's also still very good melodic heavy power metal from some talented fellows who know how to get it right. Recommended." - Dangerdog.comExodus Guest VocalistsLance King [ex. Pyramaze, Balance of Power], Michael Vescera [Obsession, Animetal USA], Matt Smith [Theocracy], Daísa Munhoz [Vandroya, Soulspell], Eli Prinsen [Sacred Warrior, The Sacrificed], Samuel Nyman [Manimal], Thomas L. Winkler [Gloryhammer, Emerald], Göran Edman [ex. Yngwie Malmsteen, John Norum] and Mayo Petranin [Castaway].
    $14.00
  • New art rock project from Tim Bowness (No Man) and Giancarlo Erra (Nosound). This is simmering atmospheric progressive music that will definitely appeal to the fanbase of both No Man and Nosound - as well as Porcupine Tree and David Sylvian. Very low key atmospheric music created by an amazing array of talent including: Peter Hammill (Van Der Graaf Generator), Colin Edwin (Porcupine Tree), Robert Fripp(King Crimson), Steven Wilson (Porcupine Tree, No-Man etc), Julianne Regan (All About Eve), Jim Matheos (OSI/Fates Warning) and Ricard Huxflux Nettermalm (Paatos). 21st Century Chillout Man!
    $6.00
  • Danish guitarist Erik Ravn unites with vocalist Kristian Andrn (Tad Morose, Memento Mori) to creat a conceptual tour-de-force of symphonic speed metal infused with folk and classical elements. Fans of Rhapsody, Angra, and Blind Guardian will not want to miss out on this epic musical adventure!
    $13.00
  • "The Moody Blues returned after a five year hiatus with a very different sounding album. The punk and disco era were now in full flower and such groups as Styx, Journey, and REO Speedwagon were dominating the rock charts. Octave would abandon the cosmic and symphonic sound of the group’s past, and move toward one more in tune with the era. As such it would not stand out as a unique creation as did their core of classic albums.Octave would also be the last album for founding member Mike Pinder. He had always provided a spiritual and in many ways the classical center of their music through his mellotron and chamberlin. Now playing a synthesizer the sound was different and not as grand. Years later it would come to light that he was not pleased with the musical direction of the group. Patrick Moraz would replace him as the group’s keyboardist and tour in support of the album.Octave would have no unifying theme and be the most diffuse album that The Moody Blues had released up until that time. Each song would match the individual personality of its composer.The John Lodge composition, “Steppin’ In A Slide Zone,” was typical of the new sound. It is a typical energetic Lodge rocker but the musical center was the keyboard-guitar interplay which was in vogue at the time. Still it was catchy and was a commercially successful single.Justin Hayward is in ballad mode for this release and while he would not create anything as wonderful or unique as “Nights In White Satin,” his music is still very listenable because of the innate beauty of the songs. “Had To Fall In Love” and “Top Rank Suite” are both very mellow. “Driftwood” is the best of the three as it is a gentle love ballad which was a Hayward trademark by this time.Ray Thomas created two songs for this release. “I’m Your Man” just disappears but “Under Moonshine” contains a strong lead vocal by him plus some classic harmonies by the other members of the group.“One Step Into The Light” would be a final spiritual statement by Mike Pinder and his only composition on the album. The music would be more progressive rock than the grandiose sound of his past as he would bring his Moody Blues career to a conclusion.A fourth Justin Hayward song would close the album. “The Day We Meet Again” would unintentionally or intentionally point toward the future as a new keyboardist was on the way and the grand classical sounds were being left behind.Make no mistake, Octave remains a very good late seventies album but does fall short of the group’s best work. It was different, more modern, and ultimately a transitional work. Despite all that it still remains a good, if not essential, Moody Blues listen today." - Blogcritics.org
    $9.00
  • Third album from this fine Polish prog band finds them stepping up their game even further. Believe is led by former Collage/Satellite guitarist Mirek Gil. Those bands had a decidedly symphonic sound, but with Believe a more modern sound is achieved, moving the band more in the direction of bands like Riverside. One of the key elements of the band is the use of violin and flute, adding a classical dimension and a nice counterpoint to Gil's Gilmour-esque guitar lines. Oh yeah - there is a new vocalist in place. His name is Karol Wróblewski and he's great. His expressiveness reminds me a bit of Mariusz Duda. This is the limited edition digipak that comes with one bonus track. How limited? I don't know but experience with Metal Mind tells me that eventually it will be gone....
    $15.00
  • Atmospheric and mysterious. Those were the key words that Arjen Anthony Lucassen had in mind when he started his ambient rock project Ambeon back in 2001. For this, the multi-instrumentalist started a co-operation with singer Astrid van der Veen, a 14 year old super talent that Lucassen had discovered shortly before, and the later Within Temptation drummer Stephen van Haestregt. Ten years after the first release, Ambeon’s only album Fate of a Dreamer is now being released as a digipack with remastered original recordings, some single-edits/remixes and an extra track. The big surprise is a bonus-cd with acoustic versions of various Ambeon songs and many Ayreon classics, which has been Lucassen's flag ship for almost two decades.DeLuxe 2CD Set in Digipack, Original Album, Extensive Booklet,27 Remastered Tracks = 10 tracks Original Album + 17 Bonus Tracks,over 115 minutes of music.Liner notes by Arjen Lucassen.Track listingTMD-070 AMBEON – Fate Of A Dreamer: The Album – The Unplugged RecordingsCHAPTER 1: THE ALBUM1. Estranged 2:512. Ashes 5:293. High 4:154. Cold Metal 6:505. Fate 7:456. Sick Ceremony 3:447. Lost Message 4:338. Surreal 4:389. Sweet Little Brother 6:0810. Dreamer 5:17Bonus Tracks11. Cold Metal 3:48 – Single Version12. Merry-Go-Round 4:4513. High 3:29 – RemixCHAPTER 2: THE UNPLUGGED RECORDINGS1. Actual Fantasy 1:252. Valley of the Queens 2:393. Ashes 3:154. Charm of the Seer 3:295. Castle Hall 4:336. Estranged 2:497. Temple of the Cat 3:328. Isis and Osiris 6:099. High 3:4310. Garden of Emotions 4:3111. Sick Ceremony 3:0212. House on Mars 5:2213. Lost Message 3:4214. Into the Black Hole / Cold Metal 5:10REMASTERED IN THE 24-BIT DOMAIN FROM THE ORIGINAL MASTERS
    $22.00
  • "A very special semi-acoustic live set from this seminal gothic metal band. The album captures their favourite songs specially rearranged for this event, while also including reworked cover versions of songs by Slayer and Nick Cave, the latter featuring guest vocals from Tiamat's Johan Edlund."
    $2.00
  • "Wow, what lovely album!When we talk about North American Metal, always comes to our minds the idea of a good level of musical technique and the use of great melodies. It’s a characteristic of their scene, and the Power/Heavy Metal trio NINTH CIRCLE is to be as melodic and catching, knowing how to be heavy and melodic on the same proportions. And their new album, “Legions of the Brave”, is an excellent sample of what your Ol’ Big Daddy here is saying.Their music is catching, elegant, heavy, full of life and energy, with good level of technique. And their music really is charming, with excellent clean vocals, great guitar riffs and solos, a rhythmic kitchen showing a good work in terms of technique and weight, and the keyboards work is lovely. And their music is not simply a mix of Heavy Metal with Power Metal aspects, but has high doses of AOR/Hard Rock touches. And it’s excellent.The sound production really is on a high level, making the band sound clear and the arrangements appear, but without losing the notion that we’re dealing with a Metal band.So, you will got in love with their work listening great and perfect songs like “After the Rain”, “Living on the Sun” (what great chorus), “The Quickening” (the great chorus and keyboards are giving a delicious taste to the music), the bold and heavier “Legions of the Brave”, and “Grinding the Bastards Down”. But don’t get the wrong idea: the album is wonderful from beginning to the end.Listen, got on the circle, and buy it. Illegal downloads are for sissies, wimps, posers and other sick mind idiots." - Metal Temple
    $6.00
  • Dark, ominous, symphonic, theatrical...and very compelling is the best way to describe this concept work. Put together by guys using the names David Grimoire and Adrian de Crow, Opera Diabolicus is a project embracing the darker side of metal. Featured performers include Snowy Shaw (KING DIAMOND, MERCYFUL FATE, MEMENTO MORI, THERION), Mats Leven ( (KRUX, THERION, YNGWIE MALMSTEEN) Jake E (AMARANTHE),and Niklas Isfeldt (DREAM EVIL) on vocals. Camilla Alisander-Ason provides all the female vocal parts. Andy LaRocque produced and mixed the album and given the direction of the music, he's the perfect man for the job. Big sounding production that craftily blends doom, black, gothic, and orchestral metal together. Think Phantom Of The Opera meets King Diamond meets After Forever. Highly recommended.
    $15.00
  • "Well, Italy is known for being a country with extremes: on one hand, you have very good bands of extreme Metal; on the other, bands of more melodic and technical Metal. And the both ways granted the world with excellent works. Going into a more Power/Progressive Metal way, coming from Trieste (Milan), we have the trio STARBYNARY, which released their first work, the album “Dark Passenger”.We can say that they follow a technical and heavy path of the style, making an elegant work on the same vein from old SYMPHONY X, but not eclectic as DREAM THEATER (so you won’t hear elements from Pop and Jazz on this album). Excellent vocals (a legacy from Italy in terms of Metal), very good riffs and solos (being melodic, heavy and technical in the due proportions), good rhythmic kitchen and powerful and grandiose keyboards parts is what they offer in a musical work full of elegance and weight. And we must accept it with opened heart and soul, for their efforts in create good music had success!The sound production is fine, granting their music a clear and heavy sound quality, so we really can hear all the musical arrangements and little details that make the difference. Yes, they are near perfection on sound quality. To speak about this album is a pleasure, for the trio’s music is wonderful, flows spontaneously into our ears and souls, and really conquest, but to name songs on this album as the best ones is an act of injustice. From “…Dawn of Evil” to “The End Begins” (a very long song, divided in three excellent parts), they show that they made their songs with hearts and wisdom. So hear it, and you’ll understand what your Ol’ Big Daddy here is trying to say." - Metal Temple
    $13.00
  • "A more ruminative effort than Sanguine Hum’s well-regarded 2010 debut, The Weight of the World is post-prog in both the most “post” and the most “prog” sense of the words.Recorded at Evolution studios in Oxford, The Weight of the World finds Joff Winks, Matt Baber, Brad Waissman and Andrew Booker absorbing, and then brilliantly modifying, some of the best of what’s come before, imbuing The Weight of the World with the impressive gravitas of very familiar antecedent influences.For instance, dreamscape reminiscences associated with Radiohead (“System For Solution”) find a home here. There are whispers of Steven Wilson (“From The Ground Up”), too. You’ll recall the wonders of Gentle Giant (“Phosfor”), and the mesmerizing sound collages of Boards of Canada (“Day of Release”), as well. Yet, on free-form, ambient-meets-jazz-meets-math rock moments like “In Code,” Sanguine Hum never sounds like anything so much as itself.That holds true even when the band swerves into the murkier waters of epic songcraft, though — like much of this project — the title track takes shape slowly, or at least more slowly than Diving Bell. As it does, however, there is a lot to recommend about The Weight of the World — so much that reveals itself, so much that rewards repeated listenings.Even as its most complex, Sanguine Hum retains an approachability that steers these proceedings well away from any polyester-era excesses. In other words, The Weight of the World remains all proggy, but also all post-y — in the very smartest of ways." - Something Else! Reviews
    $15.00