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  • "Helloween really couldn't have picked a more appropriate band to support them on their 7 Sinners Tour than Stratovarius. There's more than a few parallels between their respective careers and not just because the two are among the most influential in power metal. While they've each had their fair share of successes, both Helloween and Stratovarius have also faced a great deal of (well documented) adversity. Between all the internal drama, which eventually saw the exit of important band members, as well as poor musical output, future prospects must have looked bleak. But Helloween was able to bounce back; 2010's 7 Sinners was their best record in twenty-two years, and the two that preceded it were worthy listens as well. Stratovarius isn't quite there yet, but with Timo Tolkki gone, and the songwriting reins taken up by pretty much every one else, they seem to be moving in the right direction.Elysium more or less continues where Polaris left off in 2009. Think mid-paced, European power metal they helped popularize years ago alongside groups like Helloween and Sonata Arctica. Hardly revolutionary, to be sure, but that isn't Stratovarius' aim. Unfortunately, this serves to limit the scope of Elysium. As far as middling power metal goes, the album is top notch. But at the end of the day, middling power metal is still middling power metal. Give Stratovarius credit for when they do pull through; Matias Kupiainen's guitar work is consistently excellent, particularly in "Darkest Hours", and keyboardist Jens Johansson is no slouch as well. Problem is, this doesn't happen often enough. In a song like "The Game Never Ends", while the riffing is quite good, the formulaic structure and bland chorus hold it back. This isn't a problem unique to Stratovarius (one might remember Helloween struggling with the same issue ten years ago), but rather comes with the whole melodic power metal shebang. Because of how derivative it is, it's difficult to be very impressed. That isn't to say it can't be done; Sonata Arctica very nearly perfected the style between Elicptica and Reckoning Night. But they were successful because they incorporated a far more spirited dynamic into their music, something that can't be said about Stratovarius consistently enough.Interestingly, Stratovarius shows the most promise on the album's title track. Given the uneven level of quality heard throughout Elysium, (and the unfortunate tendency of other groups to screw up this type of song) an eighteen minute track seems ill-advisable. But it works. Although not departing too far from the band's comfort zone, "Elysium" at least breaks out of the rigid power metal model that constrains a lot of the earlier material. In doing this, Stratovarius adopts a more progressive approach, seamlessly incorporating a number of different movements into what turns out to be the most satisfying song the band has released in years. Impressively, Stratovarius avoid sounding bloated and overbearing, a pitfall that traps so many of their contemporaries; what could have sunk Elysium instead emerges as its biggest highlight.As it stands, Stratovarius haven't quite recaptured the flare that helped them claim initial success. However, Elysium is at the very least a clear step above much of the material the band has released, and considering how weak Stratovarius was, it’s a start. The band still has trouble with consistency and variance, and given how keen Stratovarius seems to be on playing it safe, Elysium is unlikely to draw in new listeners. However, the solid songwriting in the title track is encouraging enough; whether Stratovarius can fully revitalize ala Helloween remains to be seen, but listeners finally have reason for optimism." - sputnikmusic.com
    $12.00
  • Bjorn Riis isn't exactly a household name but if you are a fan of the Norwegian band Airbag he's more familiar than you realize.  Riis is the band's lead guitarist.  For his debut solo album he's enlisted members of Airbag in all aspects of the production.  Riis himself says that the sound doesn't stray too far from Airbag but its a more personal affair.  This is pretty accurate.  Riis is an avowed disciple of David Gilmour.  In fact he set up a website dedicated to Gilmour and his iconic (and easily recognizable) guitar sound.Many aspects of Airbag's three albums owe a heavy debt to Pink Floyd and Riis' solo album fits neatly into the same box.  The album consists of six tracks - three of which run 10+ minutes.  The easiest and most concise way to describe "Lullabies" is that it sounds like a head on collision between Wish You Were Here and The Division Bell.  Nothing wrong with that!  BUY OR DIE! 
    $12.00
  • Under the Red Cloud marks the 12th studio album from Finland’s grandfathers of extreme metal, the band’s sixth LP with Tomi Joutsen as vocalist and his 10th year in the band. The string of Tomi’s six records started with 2006’s Eclipse and had an absolutely epic beginning. Eclipse, Silent Waters and Skyforger  showed the band’s new found drive and energy, reclaiming some of their death metal heritage, while veering further into what Nuclear Blast has fittingly labeled ‘melancholy rock.’ Unfortunately, Angry Metal Guy’s Law of Diminishing Recordings™ is a fickle mistress, and The Beginning of Times and Circle were both records that were good, but lacked the urgency of that initial trilogy. These records saw the band pushing into newer territory—heavy Jethro Tull influences bled through on the former, while Circle developed some of the band’s folky elements in cool ways. Neither album gripped me. But when Amorphis releases an album, it’s hard for me not to get excited, and upon seeing the cover art for Under the Red Cloud, all that warm anticipation came back. And fortunately, they didn’t disappoint.Under the Red Cloud is a return to form for Amorphis, and the most cohesive album the band has released since 2009’s Skyforger. Clocking in at 50 minutes, it’s made of ten thematically cohesive tracks. The album isn’t a story though. Instead, the lyrics (written, as always, by Pekka Kainulainen) are conceptually foreboding; about living under a red cloud in troubled times. The music matches this feel, and while I wouldn’t say the album is necessarily so much heavier than previous records, it may have been influenced by the 20th Anniversary of Tales from the Thousand Lakes, because the band has certainly produced the most growl-heavy material of the Joutsen-era.You wouldn’t notice that on the opening title track, however. “Under the Red Cloud” starts with an atmospheric piano bolstered by throbbing bass and a clean guitar in harmonic minor before merging into prime Amorphis territory: a chunky, groovy riff with Tomi’s cleans augmenting the sound perfectly. This format—the classic hard rock song-writing—is the stamp with which the band’s newer material has largely been pressed. “Sacrifice” is similar, breaking in with a “House of Sleep” intro, and a heavy, syncopated verse before giving way to a hooky chorus and a slick guitar melody. “Bad Blood” features Tomi’s growl in the verse, but it’s heavy on the groove and light on the melody before giving way to an epic chorus and beautiful bridge.Amorphis isn’t afraid of their death metal side here. Between “The Four Wise Ones” and “Death of a King,” every single track starts with growls, and the former doesn’t feature any clean vocals from Joutsen at all—instead there’s a short bridge with a haunting, effected vocal line that evokes Elegy. “The Four Wise Ones” and “The Dark Path” both feature crescendos with a ’90s black metal feel—wet with keys and a trem-picked melodies—only undermined by Rechberger’s refusal to use blast beats and Tomi’s growls. The death-laden material works well, though moments like the verse in “Bad Blood” or “Death of a King,” which is one of the singles from Under the Red Cloud, are places where I would have chosen clean vocals rather than growls.There is a danger, however, in Amorphis‘s modern sound, in that it’s pretty easy to fall into a rut. A fairly close listen to Under the Red Cloud reveals that the songs pretty much all follow the same structure, which when the band isn’t producing their sharpest writing can become repetitive. When the album hits its stride, though, it’s an extremely well-crafted record. From “Sacrifice” to “White Night” is a stretch of pure enjoyment—each song flowing into the next, while peaking on the final two tracks. “Tree of Ages” features a folky Celtic theme that has been stuck in my head since the first time I heard it, and “White Night” is a moody track that closes the album out with a surge.Under the Red Cloud is a very good album and a return to form. The record simply sounds like Amorphis; the band has developed a sound that bridges the gap between their old material and the new—with plenty of moments on here that remind me of Elegy and Tuonela with sitar (“Death of a King”) or bong water keyboard solos (“Enemy at the Gates”). And it’s incredible how the band’s riffing can still be so idiosyncratic. “The Skull” and “Enemy at the Gate” have riffs you only hear in Amorphis and Barren Earth; and after 12 records they still pull them off without feeling like they’re ripping themselves off. Consistency is a virtue for big bands if they’re any good, but I think there are hints on UtRC that Amorphis could get more adventurous going forward, and I hope they do. Until that time, though, I’ll be sitting here enjoying these tunes under the red clouds." - Angry Metal Guy
    $15.00
  • "Houston, Texas is the place that the group who go by the name of Six Minute Century call home. Six Minute Century have a new album Wasting Time and it's one that comes with some serious hooks courtesy of guitarist Don LaFon. This melodic power/progressive group's well received debut Time Capsule introduced us to Six Minute Century in 2008 so it has been quite a long period between albums for fans of that release, but now the wait for their sophomore release is over.The first thing that I noticed about this group was the soaring vocals of Chuck Williams that is in a John Arch kind of way and fans of the heavier side of Fates Warning should give Six Minute Century a go. His approach totally suits the intriguing metal of Wasting Time, Six Minute Century is also group with very competent musicians the bass and drums really give Six Minute Century a hard driving sound not to mention some dynamic performances of their own along the way.Six Minute Century aren't afraid to put their bass player Michael "Dr. Froth" Millsap in the spotlight like on the instrumental "Czardas" and you can soon tell why as this guy is impressive, he also puts in a very nice introduction to "Last Days in Paradise". Two mid tempo songs that easily won me over thanks in a large part to guitarist Don LaFon are "Just Remains" and "The Killing Fields" these aren't the only memorable songs Six Minute Century have on Wasting Time but they certainly do reel you in promptly. Six Minute Century have a real knack at writing songs that entice you back again and again.Six Minute Century are onto something very agreeable here, and yes while their debut Time Capsule was quite good this new album Wasting Time shows a band that have lifted their game and the results are much more impressive." - Sea Of Tranquility
    $14.00
  • Remastered edition with 2 bonus tracks."The third and final album of what could be called Journey's cocoon phase (Escape would give birth to a fully formed butterfly and put the band through the stratosphere), 1980's Departure would also be the quintet's last with keyboardist/vocalist Gregg Rolie. Produced by Geoff Workman and Kevin Elson (essentially both engineers turned producers), the album continued to build on the band's previous two recordings, but offered an added edge, arrangement-wise. This was likely due to the fact that the band had walked into Automatt Studios with 19 new tunes and proceeded to record most of them live, eventually trimming down to 11 songs. Catapulted all the way up to number eight on the Billboard Top 200, Departure was the band's highest charting album to date and got off to an explosive start with the driving riffs and chorused vocals of "Anyway You Want It" (another radio smash that would chart Top 25). Never sounding tighter, the quintet then launched into "Walks Like a Lady" (another future FM staple, climbing to number 32) and a string of outstanding rockers, including future concert opener "Where Were You" and the stop-go-stop-go energy of "Line of Fire." On the other hand, elegant power ballads like "Good Morning" and "Stay Awhile" would foreshadow the band's future commercial triumphs on Escape. And even though it packs the occasional filler like "Someday Soon" and "Homemade Love" (a weak attempt to boogie that falls absolutely flat), Departure is a solid record all around. Soon, Rolie would be replaced by the greater pop-savvy songwriting muscle of former Babys keyboard man Jonathan Caine, and Journey would go from huge cult act to monster superstars." - All Music Guide
    $7.50
  • "Neal is best known for forming and being the front man of the prog rock band Spocks Beard.In 1999 he joined Mike Portnoy (ex Dream Theater/Winery Dogs) on the project that was Transatlantic and more recently Flying Colors.In 2002 Neal became a born again christian & has recorded prog christian rock albums since leaving Transatlantic & Spocks Beard as he felt a calling to make his personal faith more prominent in his recorded outputThis HUMUNGOUS boxset features 4 discs consisting of the live performances of Testimony (originally released back in 2003) & One (released back in 2004) & 2 live DVDs featuring the FULL concerts recorded over 2 nights making 6 discs in total.The DVD portion of this set runs for 5 hours & DVD 2 contains behind-the-scenes documentary with footage of Neal’s exclusive acoustic concert, rehearsal footage & “Name That Prog Tune” game with Mike Portnoy & created by Randy George, who has been a long time collaborator with Neal as well as being the touring bass player.The DVDs are beautifully shot & shows the band in full on fun & praise mode. It’s blatantly obvious with the amount of massive grins that the musicians really enjoy playing this music.The 4 discs of audio are tremendous in not only sound quality but the production alone actually leaves the DVDs audio in the dust.Personally speaking I’d recommend watching the DVD synchronized with the CD audio (not overly easy as it’s split over 4 discs but well worth persevering with)I’m a huge fan of Spocks Beard & Transatlantic so the inclusion of a couple of tracks on the 2nd DVD is superb. The version of Transatlantics Stranger In Your Soul is the best I’ve heard since the Live In Europe DVD (Transatlantic release 2003) & the classic The Light featuring Alan Morse (Spocks Beard from the album The Light released in 1995)If you’re a fan of Neal Morse, Spocks Beard, Marillion, Flower Kings or just a prog aficionado with a penchant for epic tunes you are not going to be disappointed by this.There are more time signatures than the world clock & vocal harmonies that even The Beatles would be hard pushed to replicate.It’s a stunning body of work. The time & effort that has been put into this set is perfectly clear. I cannot recommend this purchase highly enough." - All About The Rock
    $38.00
  • THIS NORTHERN VIRGINIA BASED BAND is a three-piece at heart, musically rooted in the raw energy and rhythmic interplay of RUSH and KING’S X. Fans of dark, guitar-driven rock bands from ALICE IN CHAINS, DEFTONES to the contemporary metal riffing of LAMB OF GOD and PANTERA, will connect to the heavy core of IRIS DIVINE’s sound. Add to that progressive complexity and moody synths inspired by DREAM THEATER and PORCUPINE TREE, and a liberal dose of memorable hooks and melodies, to understand some elements of IRIS DIVINE’s sound. And yet, the band has a distinct identity, not quite sounding like any of the aforementioned bands, and with an emotional urgency that pulls subtly from alternative and other influences.KARMA SOWN IS A TRIUMPH OF A DEBUT ALBUM, immediate and memorable but revealing layers and depth upon repeated listens."Progressive metal is in a rough period right now. The old guard are either releasing sub-standard albums that only make it more obvious how far they have fallen, or they are drastically uncool with anyone who didn't become a fan when progressive metal was first being created. Progressive today tends to mean djent, a style that has sapped all the life and humanity out of music, turning metal into a math equation of time signatures, and not songs that anyone can actually remember. There was a time when progressive metal remembered the ultimate goal of music; to have listeners enjoy the songs so much they would return to them again and again. Today, progressive metal is mostly the sort of music that could pass for muzak, if you don't turn the volume up too loud.Iris Divine wants to change that. They set out with the mission of writing progressive metal that is intricate and challenging, but still produces the kind of songs that listeners who don't have an advanced degree can love and sing along to. It's a challenge, and it goes against the tide, but it's a desperately needed revolution if progressive metal is going to flourish anytime in the near future.I knew from hearing the pre-release track “A Suicide Aware” that Iris Divide was special, and the full album reinforces the point. “The Everlasting Sea” comes out of the gates with plenty of tricky riffing and unusual rhythms, but they lead into big melodies with strong hooks and vocals. Their progressive playing isn't meant for show, it's a tool used to set a tone that juxtaposes with the more melodic moments. Finding the proper balance between these elements is not easy, and many a band have failed miserably trying to do so, but Iris Divine doesn't. On their debut record, they show a skill some bands have spent their entire careers failing to learn.What I love most about the record is that it can be seen in many different lights. If you like straight-ahead metal, there is plenty of heavy riffing and pounding drumming here to keep you satisfied. If you like progressive music, these songs have twists and turns, and Rush-like keyboards, in enough quantity to match the djent crowd. And if you're a fan of old-school radio rock, the choruses in these songs will be music to your ears. Keeping all three of these in mind at the same time can be tricky, but it's worth the effort.For being a trio, “Karma Sown” is a massive sounding record. The production is flawless, big and clear, without ever sounding too polished. The heavy parts are heavy, the vocals are up front, and you would never believe this was a self-produced record that was crowd-funded. I can put it up against many, many of the big label releases, and it would win the fight.In fact, I can think of a dozen so-called progressive metal bands that should immediately hand over their label contracts to Iris Divine, because it's a crime that a band that is advancing progressive metal in the right direction doesn't have the backing of one of the labels. Not to name names, but this album would be bigger than half of the progressive metal released this year if it had the media push behind it.In case you haven't noticed, what I'm saying is that “Karma Sown” is a fantastic debut, and the future of progressive metal. Iris Divine isn't a Dream Theater clone, and they're not djent. What they have done is integrate all the strains of progressive metal into a singular sound, one that could set the standard moving forward. If every band sounded this good, progressive metal wouldn't need to be underground. “Karma Sown” is the best progressive metal album of the year, bar none." - Bloody Good Horror
    $6.00
  • "It feels like it’s been longer than two years since Lacuna Coil’s last release, Dark Adrenaline, but where that album fell a little short, Broken Crown Halo feels like a true return to form for the band and this is perhaps one of the band’s strongest releases to date.Broken Crown Halo begins with Nothing Stands In Our Way, which slowly builds up into an absolute earworm of a tune and it’s no wonder that this was the track chosen to represent the album because it just has everything – fantastic vocal performances from both singers with a small hint of heaviness amongst the melody, and this wonderful heavy tone to the guitars atop of crushing drums.It’s not just the opener that will get stuck in your head however; with this album it really does feel that Lacuna Coil have crafted a whole collection of wholly memorable tracks. There’s Zombie, which features one of the best vocal performances from Andrea to date, with him seamlessly blending harsh and clean vocals together, and then there’s Die And Rise which begins with an introduction so catchy it’ll be stuck in your head for days. In all honesty, there isn’t a single track on the album that stands out as being bad.In essence, Broken Crown Halo is an exceedingly strong release from the band. It’s adventurous and fresh, whilst still retaining the classic Lacuna Coil ‘sound’ – and it’s excellent." - Soundscape
    $12.00
  • Digipak edition with bonus track."These Power Metal merchants are held in high regard thanks to their personnel who have the experience, plus the previous four albums by Silent Force have held the attention mixing the hooks with rampant guitar riffs and their flair for clinical execution.Their last album, 'Walk The Earth', was unleashed back in 2007 so there has been plenty of water under the proverbial bridge leading up to this release.One notable difference for fans of Silent Force is the absence of D.C. Cooper on lead vocals. He has returned to the mighty Danish Melodic Progressive Rock band Royal Hunt and on this album is replaced by Michael Bormann known for his work with Bloodbound and Powerworld.Known as the main brain behind these Metal marauders, Alex Beyrodt starts the proceedings with some Yngwie Malmsteen style fretwork before 'Caught In Their Wicked Game' runs loose. Fast paced and ready to eliminate the competition the band sound hungry and eager to please.The new vocalist here really complements the sound, but may have some struggles winning over purists who yearn for their favourite original singer. 'There Ain't No Justice' and 'Circle Of Trust' both thrust the sword through the torso as the energy remains relentless.I really enjoyed the opening salvo of these three songs the first time I heard this album, through to the fifth spin and so on. The latter of these three tracks retains a pop sensibility, but loses none of the Metal credentials that you'd expect from this band.Not much to find fault about regarding 'Living To Die' which doesn't have the same prominent and obvious hooks as the previous songs, but still retains the quality. Listen out for some tasty keys from Alessandro Del Vecchio in the song 'Before You Run' and there's some mean riffing throughout 'You Gotta Kick It'. The balancing trick between the keys and guitar is the love affair that makes this album so appealing to the ears. They are the real stars from start to finish.Sarah has a lot to answer for as 'Turn Me Loose' tackles a relationship lyrically and maintains the groove in the backdrop. Solid drumming from AndrĂ© Hilgers keeps the good ship Silent Force on course providing a solid backbone, but is still unable to save this song from being below par in comparison to the rest. Perhaps slipping a little through the gears and reaching auto-pilot, 'Born To Be A Fighter' goes through the numbers competently enough, but the sparks aren't flying.Meanwhile, 'Anytime Anywhere' picks up the level of quality and mixes things up with a fine arrangement oozing melodies at each turn. This brings us to the final track 'Kiss Of Death' which chugs along like your favourite Metal anthem. The chorus stands up well and is a great way to round off what overall has been an enjoyable journey.Eight out of ten of the songs here are monuments to their reputation and abilities. Top quality musicianship, crisp production and power found in the crevices are all that I was hoping for initially, plus a feisty and strong delivery from the new vocalist. Thankfully, they tick the boxes consistently apart from a couple of weaker tracks that don't quite reach up to the benchmark they set with the rest of the album. Let power and melody unite in a blissful collision once more, as album number five aligns itself with their back catalogue." - Metal Talk  
    $16.00
  • Second full length studio album from this British band finds them with new vocalist Ashe O'Hara replacing the great Dan Tompkins.  This shouldn't be inferred that O'Hara is any less a vocalist than Tompkins - he's excellent as well.While the core djent sound is there the band has moved a bit more into a prog rock direction.  In general its less metal and more rock.  O'Hara's vocals don't go in the screamo direction that a lot of djent bands prefer.  The instrumental parts are still stupifyingly crazy but crazy in a King Crimson meets Tool way.  I'm not sure what the djent metal community will think of this shift in course but I like this new direction.  The old was good - to my ears this is better.  Highly recommended.
    $9.00
  • Redemption is one of the leading progressive metal bands in the world today.  Formed in Los Angeles, California in 2000 by guitarist / keyboardist / songwriter Nicolas van Dyk, the band features legendary progressive metal vocalist Ray Alder of Fates Warning, as well as guitarist Bernie Versailles (Agent Steel), and the phenomenal rhythm section of Chris Quirarte (drums) and Sean Andrews (bass).Redemption’s combination of heaviness not usually found in progressive metal, irresistible melodies and emotional urgency has created a unique and resonant voice for this band that sets them apart from the many clones in the genre, and which has gained them the attention of fans, critics and musicians.Through the band’s first three studios CDs (2002s self-titled first release, 2005’s The Fullness of Time, and 2007’s The Origins of Ruin), Redemption gained a loyal fanbase and garnered rave reviews worldwide from critics, who describe Redemption’s music as“one of the best progressive metal acts to emerge in the past decade” – DPRP“magical aura and incredible songwriting” – BLABBERMOUTH“it's powerful, catchy, enslaving, technical; it's the whole bunch” – LORDS OF METAL“the new star on the US prog-metal sky” – SQUEALER ROCKSAfter touring in support of Dream Theater and documenting at headlining show at tour’s end entitled Frozen in the Moment, the band returned to the studio to release 2009’s Snowfall on Judgment Day and 2011’s This Mortal Coil.Performing in support of that record, in 2012 Redemption co-headlined the world-famous ProgPower Festival in Atlanta, where the band recorded a unique show featuring nearly 80 minutes of material and staged with complementary visuals that drive home the compelling emotional impact of this band.   That performance is now being released as a CD/DVD set with additional bonus material through Sensory Records, the band’s original label.  From fan favorites such as the never-before-performed Parker’s Eyes to the crushing emotional weight of Stronger than Death, Redemption’s performance captured the special ability of its music to deeply connect with fans.  In the words of one concert-goer, Redemption’s show “was definitely the most exhausting, personal and emotional musical experience I’ve ever had.” 
    $17.00
  • "'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 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."
    $15.00
  • Fourth studio album from Leprous reinforces the fact that they are one of the most innovative and cutting edge bands working in the prog metal idiom.  The music of Coal has already kicked up a bit of controversy from the early listeners.  The music isn't quite as angular and frenetic as Bilateral.  Atmospheric passages similar to Tall Poppy Syndrome are perhaps a bit more prevalant as well.  All in all it's clearly identifiable as Leprous.  Ihsahn guests on one of the tracks - don't forget Leprous is his backing band.  Nice guys - great band.  Highly recommended."Considering Leprous‘s previous album Bilateral is considered by many to be a masterpiece of progressive metal; Norway’s Leprous had a tall order in front of themselves. Coming up with a followup to such a critically acclaimed and beloved album is no doubt a daunting task. Despite that, after two long years of waiting, Leprous have conjured the successor to Bilateral, and it’s called Coal. Usually, when bands release an album after their magnum opus, the result is either a “version 2.0″ of the previous album, or it’s a return back to the normal style of the band. Leprous have taken a bold turn instead, and they have reinvented themselves. Coal is clearly a Leprous album, carrying all their trademark touches, but it’s also very fresh and unique.With Bilateral, the band were clearly rooted in a sound that has been defined by the big names of progressive metal. By applying their characteristic syncopation, moody riffs and singer Einar Solberg’s haunting and powerful vocals, they were able to perfect an already existing sound. With Coal, the band have taken a different direction. The album is very dense, emotional, and quite avant-garde at times. While there are some more traditional songs similar to Bilateral, there’s also an air of neo-80s on some songs, while others carry some characteristics of modern Scandinavian indie bands. Longtime fans of Leprous will definitely see the direction that has been present since the band’s inception, but listeners who know of them only via Bilateral might be slightly confused. In the end, Leprous have always been about mood, and Coal is oozing with it.In terms of structure, Coal is more similar to Tall Poppy Syndrome than Bilateral (but not too similar to either in the end). The songs are slow burners, setting up a mood, then deliberately building on it until overwhelming the listener with the climax. Everything is very subtle, the production making every hit of every instrument matter. Each song is an exercise in building an atmosphere by slowly adding layers to form a very powerful sound. Einar Solberg is at his best here, he has taken his voice to the next level. He was already an amazing vocalist, but Coal sees him becoming a master of expression. There are many progressive metal bands nowadays with clean singers who can hit insanely high notes and execute amazing melodies. But what is often lost is the soft touch, the control over timbre that makes one’s voice special. Einar is a master of timbre, and he uses his abilities to their full extent in Coal. While this is an album about the big picture and constructing an ambiance with the convergence of all instruments, his unparalleled vocal skills definitely deserve a special mention, because he is what hammers down the emotions and makes this album so special.As mentioned before, Coal is a deliberate album, where attention is paid to every instrument. And the production, by Ihsahn (who also has a stellar guest appearance on the closing track), is perfect for this. Especially of note are the drums, they sound very real and quaint. The intimate feeling of some of the songs can directly be attributed to the unconventional drum sound. The drumming has also taken a turn for the more subtle, with small flourishes and cymbal runs building tension in the more atmospheric sections of some songs. The bass is also clearly audible and adds to the sound. The guitar work isn’t as flashy as Bilateral for the most part, but it also has more character because of that. It should come as no surprise to longtime followers of the band, but Leprous are masters of doing more with less, and all of the instruments reflect this. Another production detail worth noting is the presence of keyboards. The keyboard work is more prominent now. In Bilateral it was used mostly to add some extra layers to parts driven by the guitars, but here the keyboards form the building blocks of the sound. This is perhaps what sets the album apart from Leprous’s previous work, the heavier focus on atmosphere and a dense aural landscape. This might be disappointing to some who preferred the more direct approach of Bilateral, as Coal is less “metal”, but the more developed sound suits the band.In terms of songs, Coal is a very diverse album. The first three songs and the closer can be interpreted as a direct evolution of the band’s sound from their previous work, then there is the extremely moody and emotional masterpiece “The Cloak”. This is where the album takes a turn for the introspective, as the rest of the songs are quite experimental and ethereal. Overall, the album has a very clear journey with a defined start and end, and it works quite well. Some of the later songs can feel like they last half a minute too long, but the deliberate pacing of the album makes more sense as is.In the end, it’s hard to deny that Coal is yet another masterpiece by Leprous. The songs ooze character and deliberation. Coal is expressive, emotional and brave. It might not be what everyone expected after Bilateral, but Leprous have defied expectations and raised the bar again." - Heavy Blog Is Heavy
    $14.00
  • One of the truly great albums of the 70s. The band developed long form compositions incorporating elements of jazz, folk, and r'n'b in a unique but lyrical way. This is music that just ebbs and flows as it jams on. Perhaps only topped by their next studio album. This remastered edition is a real killer - it features three tracks from a proposed/documents/catalog #'d live album that was never released called "Live - November 70". The tracks were recorded at the Fillmore East in November 1970. A stone cold classic.
    $13.00