Dark Passenger

SKU: BT042CD
Label:
Bakerteam Records
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"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

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  • "“Cast me into desolation, I’ll find my path again” bellows Sylosis frontman Josh Middleton on “Mercy”, the first single from the UK metal quartet’s fourth full-length release, Dormant Heart.  There is a great deal of sincerity found in these lyrics, in this voice, and in this band.  Sylosis has been making a name for themselves within the metal community for some time, but the band was recently able to attain increased prominence following their 2012 release, Monolith.  This, in part, was also due to extensive touring with bands such as Lamb of God, Killswitch Engage, Trivium, DevilDriver, Devin Townsend, and others, as well as appearances at various festivals around the world.  After yet another change in lineup, Sylosis is back with what could very well be their best, as well as their darkest, grittiest, and most pissed off record to date.No word exists in The Oxford English Dictionary that can adequately describe the level of my excitement upon finding out that I would be given an opportunity to review Dormant Heart.  A few weeks ago, I rushed to indulge in the debut of “Mercy” just minutes after its release.  Now, after experiencing the album in full, I can say with conviction that Dormant Heart certainly lives up to the standard that Sylosis has set for themselves, as if there was ever any doubt that they would to begin with.The album’s first and shortest track, “Where the Wolves Come to Die”, serves as a fantastic opener that brings both heaviness and atmosphere.  An excellent cut in its own right, the track prepares listeners for the sheer brutality that soon follows.  “Victims and Pawns”, as well as title track “Dormant Heart”, feature Sylosis’ massive Bay Area Thrash influence at the forefront.  Both of these tracks contain sections that parallel the unique sounds heard on Monolith, but with a new, fresh approach.  These full-on thrashers, as well as others on Dormant Heart such as “Indoctrinated” and “Callous Souls”, are more than enough to supercharge your being within a matter of seconds.  On release day, be sure to leave the morning coffee at home; you won’t need it.While select cuts from Dormant Heart spend a significant amount of time at higher BPMs, the massive groove that Sylosis is also known for is certainly heard throughout the record.  Tracks such as “To Build a Tomb”, “Overthrown”, and “Servitude” often leave me wondering how such an aggressive, ass-kicking, heavy-as-fuck sound is created in standard tuning.  Then again, most of what this band does leaves me in a similar state of astonishment. Guitar work provided by Josh Middleton and Alex Bailey weaves its way through your being, leaving listeners to pick their collective jaw up off of the goddamn ground.  “To Build a Tomb” and “Servitude” are personal favorites of mine on Dormant Heart.  The first time I heard them, my head was metaphorically sent spiraling into oblivion.Since initially taking on the role of lead vocalist after Jamie Graham’s departure from Sylosis, Josh Middleton’s vocal abilities have steadily improved with each release.  The frontman’s voice hits unexpected highs during both the verses and chorus of “Leech”, in which he soon after unleashes a breathtaking solo.  “Harm” and “Mercy” also showcase Middleton’s competence vocally, as well as the overall expected musicality from the entire band.  Before leaving Sylosis due to other obligations, former drummer Rob Callard laid down drum tracks that complement the material in every which way, along with longtime bassist Carl Parnell providing powerful blends of low-end.  “Mercy” is another personal favorite of mine, containing a chorus that is beneficially infectious and a doomy outro so enormous it practically destroys everything in its path.Closing Dormant Heart is “Quiescent”, a track that stands apart from the preceding eleven.  Middleton sings cleanly over acoustic guitar, which gives way to an eruption of aggressiveness.  Without giving too much away, think of “Quiescent” to Dormant Heart as “Enshrined” is to Monolith, in a way.  The song and album fade, signifying a new beginning of sorts for a band that has seen an eventful two years since its previous effort.  Their dedication and contribution to the world of heavy music is unwavering.  Make no mistake; the future of metal lies in the hands of the mighty Sylosis." - Rock Revolt
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  • "It has become patently unfair to review a Luca Turilli creation as a “metal album.” No matter what you call it… “cinematic metal,” “symphonic metal,” “classical metal” – Turilli composes musicscapes beyond comparison. While he will never be held to the unattainable standard of a modern Mozart and Beethoven – the giants who receive 100% critical acclaim whether deserved or not – Luca can easily draw comparisons to modern composers like John Williams, Hans Zimmer and Jerry Goldsmith.With his composition company created, his ability to mix both old world classical and modern/new world classical with metallic elements is unprecedented in heavy metal. This music transcends the metal world and thrusts deeply into mainstream music and movie soundtrack lore. On “Prometheus – Symphonia Ignis Divinus” – Turilli uses both dark and light elements, a real combination of “Prophets of the Lost Eclipse” and “The Infinite Wonders of Creation,” to create a stunning masterpiece that trumps the impossibly towering “Ascending to Infinity.”It is literally pointless for fans that do not enjoy meticulously orchestrated cinematic metal to run out to buy “Prometheus,” so just stop right here. Long time Luca fans, read on! Imagine, if you will, being on board the Hollywood backlot tram tour, only its much cooler than you can imagined. As you pass by various sets for movies like “Solomon” (with “King Solomon and the 72 Names of God”) “Lord of the Rings” (with “One Ring to Rule Them All”), “Valhalla Rising” (with “Yggdrasil”) – you are whisked away on a musical journey that is a rich and pure as the breathtaking mountains, valleys, lakes and oceans. Luca creates music that conjures images teaming with life that flash on every note, which is as extraordinary as the breathtaking compositions themselves.After the accident that nearly took the hand and career of guitarist Dominique “Dodo” Leurquin, his presence on “Prometheus” is a both relieving and required. It’s also a welcome sight to see drummer Alex Landenburg (21 Octayne/Mekong Delta), who joined the band before the release of “Ascending Into Infinity” in 2012, but who hasn’t played on a release until “Prometheus.” A favorite skin basher for many years, it’s a triumphant display from one of the best and hardest working in the business. Sound wise…albums do not get much more pristine.With Luca at the helm along with his team of Sebastian Roeder (recording) and Christoph Stickel (mastering) – “Prometheus” is a sonic jewel. Having freed himself from the binding storylines of the pre-split Rhapsody/Rhapsody of Fire days, Luca seems bent on raising the bar with everything he does – becoming part opera, part soundtrack, part metal, part symphony.Where tracks like “Rosenkreuz,” “Prometheus” and “Yggdrasil” ratchet up the heaviness that metalheads expect (notably those fans who have become disillusioned at the orchestrated distractions away from guitar), other songs bring a beautiful “non-metal” element, best represented through “Il Tempo Degli Dei” – which has quickly grown to be the go-to favorite after a mediocre first listen (it sounds immensely happy) – and “Notturno,” the operatic ballad showcasing uber-talented vocalists Alessandro Conti and Fench soprano Emilie Ragni.Once again, the album’s keystone monument is “Of Michael the Archangel and Lucifer’s Fall” – this time with the second part, subtitled “Codex Nemesis.” Remembering greatness levels reaching stupid proportions on “Ascending to Infinity,” the second part matches but comes from a different melodic angle.Overall, “Prometheus - Symphonia Ignis Divinus” ties elements from all of Luca’s previous efforts – with a heavy dose of “Prophet of the Last Eclipse,” nods to the Dreamquest release “Lost Horizons,” and a victory lap from “Ascending to Infinity.” If you are a fan of Turilli, there is little doubt you will gush all over “Prometheus.” If you find the cinematic, operatic and symphonic elements a little too over the top for your metal cravings, then steer clear. One thing is certain, the only composer on earth who can top Luca Turilli is the man himself.Highs: High expectations realized from the world's best composer.Lows: With Luca's Rhapsody, either you find it amazing or way too over the top to be respectable.Bottom line: "Prometheus" may seem like an "Ascending to Infinity" victory lap, but it goes way deeper than what you hear on the first listen." - Metal Underground
    $15.00
  • "Centric Jones is Chris Fournier and Tobe London, augmented by an eclectic set of revolving musical guests. Chris plays bass, guitars, keyboards, and electronic percussion and Tobe plays drums, acoustic/electronic percussion,and keyboards. They met in 2007 and discovered a shared goal: they both wanted to create songs that broke through musical boundaries without sacrificing feel and an emotional connection to their audience. And, they had the ability to excel at doing this. A few years later in 2009, after many hours of practice and composition, they released their Foreign Tea CD. Centric Jones continued to build up the emotional appeal and complexity of their music both rythmically and melodically following that first album, culminating in the up-coming release of their new CD, The Antikythera Method, on Prog Rock Records. With both Tobe and Chris being involved in various bands since the late 1970s, Centric Jones is able to stand apart from much of the musical pack today by merging their mature musical senses with the drive to create ever-more-expansive sonic imagery."
    $3.00
  • Tony Bank's first solo album, originally released in 1979, is given a fresh breath of life with a new stereo mix courtesy of Nick Davis. This was done at the same time that Rutherford and Collins recorded solo albums as well - between the time of And Then There Were Three and Duke. Musically it pretty much fits into that gap as well. Its a concept album that sounds a bit like the lighter side of Genesis. One cool piece is the opener - "From The Undertow". It opens the album and was composed as the intro the the Genesis tune "Undertow". I remember seeing the British film "The Shout". Weird flick but that track was featured in the soundtrack and it was moody and creepy and un-nerved the hell out of me."Esoteric Recordings are proud to announce the release of 30th Anniversary editions of the album “A Curious Feeling” by Genesis founder member and keyboard player Tony Banks on Monday October 19th 2009. This classic album, inspired by the novel “Flowers for Algernon” by Daniel Keyes, was first released in October 1979 by Charisma Records. Recorded at Polar Studios in Stockholm, whilst Genesis were on a brief hiatus following the “And Then There Were Three” tour, this majestic work featured contributions from drummer Chester Thompson (a member of GENESIS for concert appearances) and vocalist Kim Beacon.Stylistically the album is equal to anything Banks composed for Genesis and includes the evocative instrumental “The Waters of Lethe” and the song “For a While” (released as a single in 1979 and issued as a Download single via iTunes on October 19th) among its highlights. Significantly, this new edition of “A Curious Feeling” has been remixed from the original master tapes by Nick Davis (who also remixed the entire Genesis catalogue in 2007) and Tony Banks, resulting in a more dynamic sounding album."
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