Ex Tenebris

SKU: TERMOCD016
Label:
Termo Records
Category:
Progressive Rock
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Termo Records reissue program of the White Willow catalog continues.  This remastered edition features new artwork and liner notes as well as 4 previously unreleased bonus tracks.

Seven songs of melancholy and mysticism... White Willow's music embraces gothic, folk and classical elements within a progressive rock framework. The second release from Norway's White Willow carries on in the tradition of their debut Ignis Fatuus. Joining founders Jacob Holm-Lupo and Jan Tariq Rahman are new members Frode Lia, Sylvia Erichsen and Anglagard's Mattias Olsson. Also returning is engineer Jo Wang who's audiophile approach to recording has once again created a sonic masterpiece. Ex Tenebris features a dynamic mix - from moody quiet instrospection to heavy symphonic pyrotechnics. Perhaps more personal and focused than Ignis Fatuus, yet the album offers a more mature sound. Clearly one of the finest progressive rock bands currently recording.

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    $5.00
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  • Fireballet's much maligned second album Two, Too finally receives an authorized release.  Much of the criticism of the 1976 album stems from the awful cover art.  Its definitely something those guys wish they could take back and in a sense they did since they used something different for this CD.  All the prog rock elements of the first album are still in place but the tunes are a little bit shorter and the production is definitely slicker.  Its also clear that Yes became a big influence on the band - check out "It's About Time".  Frankly if you listen to the album objectively it has a lot of merits.  Does it stand up to their first?  No...but it definitely offers something solid for prog fans with open ears.  Definitely worth revisiting.  Comes with one previously unreleased bonus track.
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  • Limited first edition digipak of live recordings culled from Firewind's 2012 European tour as well as their 10th anniversary gigs in Greece from December 2012.
    $7.00
  • Lance King is out...replaced by Iced Earth's Matt Barlow."Formed in 2001, Danish power metal band Pyramaze has managed to maintain a fairly steady line up. However, there have been several recent changes to the vocalist position. After releasing two albums with Pyramaze, 2004's "Melancholy Beast" and 2006's "Legend of the Bone Carver," vocalist Lance King decided to step down. Pyramaze would find a surprising replacement in Matt Barlow, who stepped down from American power metal giant Iced Earth in 2001 to pursue a career in law enforcement. However, Barlow's stay in Pyramaze would be brief, as he was only used to record vocals on "Immortal" before reuniting with Iced Earth. Urban Breed is now the current vocalist for Pyramaze."Immortal" has a predictable, but interesting theme. Each song depicts a different form of immortality. Including the recount of the 300 Spartans gaining immortality both historically and mythologically during their legendary last stand at the battle of Thermopolea, to the horror of not being able to escape from a nightmare and a ghost that wanders for eternity. The theme also covers emotional subjects such as finding peace via suicide to suffering in hell and the never ending battle against the demons that plague us everyday. Though immortality has become a cliche in the power metal subgenre, Pyramaze has shown how diverse the theme of immortality can be.Stylistically, "Immortal" is intended to be a power metal epic, and it delivers. The main influences seem to be Iron Maiden and Iced Earth's "Horror Show" and are dominating throughout. Other influences that appear are the Kamelot inspired piano ballad "Legacy in Rhyme," the Children of Bodom keyboard tone and riff in "Ghost Light" and the King Diamond influenced "Touched by the Mara." Symphonic elements give the album a very epic sense. The opening track "Arise" and the closing track "March through an Endless Rain" sound like they could have come from the "Gladiator" or "300" movie soundtracks.The music on "Immortal" is quality symphonic power metal. Guitarist and mastermind Michael Kammeyer puts in an excellent performance with Matt Barlow showing that he hasn't lost a step and delivering a stand out performance. However, the use of some cheesy Dragonforce-esque guitar effects for a few solos along with some cheesy vocal melodies and overly simplistic riffs are my biggest criticism of the album. However, these complaints are nothing new, as every Pyramaze album to date has incorporated those elements. Even so, the cheesy elements are only a small portion of the album and don't take away from the overall epic feel. Overall, "Immortal" is a positive step for Pyramaze." - Metal Underground
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  • "Back in 2008, Arkan helped to expand the diversity of metal even further by including Arabic and oriental sounds in brutal death metal with the “Hilal” album. Although not without its flaws, the release showed that metal can’t be pegged down and all fans of the genre should learn to expect the unexpected. In the three year interim, Arkan has matured and progressed this burgeoning sub-genre of “oriental metal” to create an album that isn’t just a mashup of two diverse styles, but a complete package that will be hard to top in future releases.Like with its predecessor “Hilal” (reviewed here), the Arabic sounds and influences rarely detract from the heaviness on the album. Rather than being a primarily symphonic metal experience, “Salam” sticks fairly consistently to a heavy vibe. The first half of the disc tends to be more crushing than the second half, which has more instrumental interludes, but overall the album is constantly on a simmer getting ready to explode with death metal at any given moment.This time around the band also makes frequent use of clean female vocals for an added melodic element alongside the deep death growls, and Kobi Farhi of Orphaned Land even makes a guest appearance on the song “Deus Vult.” Besides simply changing up the vocal styles, the music itself is much more varied and willing to explore new territory than in the last release. Rather than being relentlessly brutal in some parts and then completely ethnic and melodic in others, the songs instead go for a measured and properly paced assault that blends the two. The tracks also have consistently more staying power this time around, with elements of other metal styles working their way into the guitar playing.The 37 second instrumental “Common Ground” is where the disc shifts into a more melodic focused atmosphere. It’s not clear if anything is supposed to be read into the length and title of the song, such as if the band is trying to say there’s not enough common ground or common ground is only a small step away from the various religions of the world. Overall the song titles and lyrics seem to head in a direction similar to Orphaned Land, touching on issues of how religions impact the world.For anyone who liked the idea of Orphaned Land but wanted a much stronger death metal presence, “Salam” is a must-hear album. The band’s second full-length outing is a fantastic blend of modern heavy death metal with traditional Middle Eastern sounds." - Metal Underground
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  • Its been quite some time since we've heard from Guy LeBlance and Nathan Mahl.  He's been busy touring with Camel and now having to deal with some serious health related issues.Justify finds Nathan Mahl with a reconstituted lineup.  Guy displays his prodigious keyboard abilities once again but this time he's also playing drums.  The new lineup features a twin guitar attack and bass.  For a keyboard player he sure as hell gives a lot of room for the two guitarists to stretch out and shred.  The album is split about 50/50 between instrumental and vocal oriented tracks.  You can tell his time in Camel has rubbed off on him - just check out the albums finale "Infinite Light".  It features a guest appearance on guitar and keys from none other than Andy Latimer!  Highly recommended.
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  • "In 2013, Norway's ever mercurial Motorpsycho released Still Life with Eggplant, with second guitarist Reine Fisk added to the fold. It was a collection of "other songs," those written for previous albums but not recorded. Those five cuts, despite their random sources, did have another connecting thread: they reflected some of the band's earliest explorations into hard rock and neo-psychedelia as displayed on records like Demon Box and Timothy's Monster. The way forward for Motorpsycho was apparently through the lens of the past. Behind the Sun marks the band's 25th anniversary, and once again, they journey further into that back catalog of unrecorded material. Produced by bassist and vocalist Bent Sæther, Motorpsycho once more employs Fisk as well as violist Ole Henrik Moe and violinist Kari Ronnekleiv. These nine tracks are as focused as those on Eggplant and often more adventurous. Opener "Cloudwalker (A Darker Blue)" begins as something of a Baroque psych tune and unwinds into a taut dynamic rocker with the strings and multi-part vocal harmonies adding texture and force. "On a Plate" is furious, riff-driven guitar rock that recalls the unhinged energy of the band's earliest sound. Rumbling tom-toms and pulsing synths introduce the instrumental "Kvæstor (Incl. Where Greyhounds Dare)," but are quickly joined by the twin-guitar attack of Hans Magnus Ryan and Fisk. A throbbing bassline and strings drive the front as the guitars sing, churn, and shape-shift between intensity and melody. The "Hell, Pts. 1-3" is a suite that began on Eggplant. It continues here with "Hell, Pts. 4-6: Traitor/The Tapestry/Swiss Cheese Mountain." Over nearly 13 minutes, it commences as airy, twisting prog rock with blended acoustic and electric guitars, synths, and strings, all buoying Sæther's urgent vocal. While a fingerpicked vamp holds the center, tension begins to ebb and flow as stinging guitar solos, dreamy keyboard interludes, and cymbal washes gradually erect an architecture of transcendent, anthemic rock. "Entropy" reveals Motorpsycho's more subtle dimensions. At over seven minutes, it gradually unfolds with a lyric bassline, lush, layered vocal harmonies, shuffling drums and skittering cymbals, and breezy keys and guitars, all contrasting sharply with its melancholy lyrics. "Hell, Part 7: Victim of Rock" closes the set with a screaming solo guitar and drum assault over a frenetic bassline. Unhinged sonic psych effects -- loads of reverb, backmasking, etc. -- frame this labyrinthine, careening rock ride that sends Behind the Sun off on stun. After more than 20 records, Motorpsycho remain inexhaustible in their creativity, fully, energetically, in command of a musical vision that is boundless." - Allmusic Guide
    $18.00
  • "Mattias “IA” Eklundh is a Swedish guitarist, founder of the eclectic Metal band, Freak Kitchen, a band of which I am certainly a fan. The Smorgasbord is his third album under the moniker of Freak Guitar, essentially a solo album, and isn’t one I would quite classify as Metal. It is more of a guitar aficionado’s type of recording with a wide variety of types of music, ranging from nice acoustic pieces, songs that could fit in on a Rippington’s album, to heavier songs with lightning-fast playing and IA’s signature guitar sound and style. For the most part, it is an instrumental album as well. At 40 tracks, I simply cannot do a track by track review but will hit on some of the songs I thought to be highlights. Opener Amphibians Night Out has quite a bit of guitar wizardry over a dance-type beat. The second song on the album is Musth, an alternative-type Metal song with interesting playing and quite a bit going on. Apparently there is comb involved. IA’s take on the AC/DC song Hells Bells is well executed and gives me a new perspective on the song. Friedrichs Wahnbriefe is a cool, sort of chaotic, tune and very well executed. IA’s interpretation on Mambo Italiano of the mambo style is certainly interesting and displays some of his more traditional soloing. Mind Your Step has a nice riff throughout, a bit heavy, sort of something OSI might do. His take on the song That’s Amore is very cool and Metal. Keep it in the Dojo offers complexity in both the guitar lines and the drumming by Ranjit Barot. Mandur and Morgan’s Camel Safari is a song that easily could be mistaken for one on a Freak Kitchen album. Kali Ghat features a 23/16 time signature, making for a weird, different flow than most Westerns are used to hearing. Meralgia Paresthetica‘s drum tracks are played by Morgan Ågren and he is absolutely amazing: precise, powerful, intricate, and delicate are all words I would use to describe his playing here. IA is certainly a master at his craft and an amazing musician, not simply a guitarist. The Smorgasbord is a challenging album and has significant variety, a true smorgasbord of musical styles. It certainly is not a Metal album, but there are things on here that we may appreciate. For “heavier” stuff from IA, I definitely recommend Freak Kitchen, the album Organic to be specific. I hear the sound in a METAL way." - We Love Metal
    $15.00
  • "The live recording was taken from their critically acclaimed performance at RoSfest USA at the beautiful Majestic Theatre in Gettysburg. Following the success of their award winning second studio album 'Moments', IOEarth present their first live album to the world, showcasing 11 tracks from their ground breaking albums including the sublime 'Cinta Indah' , the explosive 'Home' and the dynamic 'Harmonix'. "
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    $18.00
  • "This story began in 1973 when Museo Rosenbach recorded their magnificent debut album Zarathustra that still is one of the boldest and most beautiful work in Classic Italian Prog and in contemporary music in general. And now nearly forty years later this new Italian band Il Tempio delle Clessidre (name taken from one song on the Zarathustra suite) performs the Zarathustra album in its entirety and most importantly and luckily, they perform it with respect to the original feel with original (obviously true analog sound I guess) and don´t try to change it to today´s "standards" in any way, with exception of some jamming that features nice Moog soloing from the great Elisa Montaldo on Superuomo. She´s also a great vocalist and is another lead voice on the Zarathustra, with Stefano "Lupo" Califi the original voice in Museo Rosenbach. And yet the sound is their very own, it´s just a bit different in colour. Actually their performance of Zarathustra is so mature in everything that I couldn´t have had believed to expect. If an inexperienced listener doesn´t know Museo Rosenbach ever existed he/she would be completely fooled by Elisa & boys as playing their very own music, they are that good. Bravo ! What a nice surprise. The band gives the very best and Zarathustra revisited is a superb performance and does honor and does justice to legendary band Museo Rosenbach.Il Tempio delle Clessidre is an incredible debut album and for me is like a continuation to the Zarathustra epic, in a way. It represents the softer, female side of the subject, of course thanks to Elisa´s compositions and performance. Don´t get me wrong, it is far from mellow or dull passages. On the contrary, it contains some very heavy moments, like all great music does. The music of both Rosenbach and Clessidre have the power, grandeur and, most importantly emotion as the best Italian (prog) music always is so very special of. Clessidre is a bold evidence that RPI is very alive and kicking, so to speak. Because music is foremost and most importantly emotion, in the positive sense and that´s the essence of all .Oh yes, the second part of the show features they own songs from the superb eponymous first album. Elisa Montaldo is the main composer and I just can´t stop admiring her enthusiasm for classic Italian prog that is so clear in her compositions. She is the most important female instrumentalist and writer in Prog of today. There are many good prog bands in modern Italian scene but Clessidre is very hard to surpass, both musically and as a performing unit. They are unique in modern Italian rock and in Prog Rock in general, they create a universe of their very own. There are not so many bands lead by a woman, particularly in Prog and especially in Italian scene, aren´t there. With the vocalist of Museo Rosenbach, Stefano "Lupo" Califi and the lovely lady Elisa this is a magical line-up.Needles to say there´s no single dull moment. This is a fine document of a very special band in modern prog, namely the "Lupo" Califi era Clessidre. Alongside the Italian Prog Exhibition (4 DVD set from 2010) this the very best DVD release in modern prog rock music so far, obviously a very hard job for any band to make better, particularly musically. Il Tempio delle Clessidre nicely represents the New Generation of Italian Prog and reigns supreme.Another nice surprise, their very first live show, in Genova they hometown in 2009 with very good sound & picture quality is in the second disc.Italian is the perfect language for symphonic progressive music, it just suits beautifully. And it´s so great to see the veteran proghead enjoying performing with his young companions who respect and prefer the origins of progressive rock, the symphonic way. They seem to understand that it´s only the music who is the true protagonist. This is a perfect union of the old & the new. This is triumphant for new Italian Prog and music itself. This all is so wonderful and extraordinary beautiful. Thank you so much, Elisa & boys." - ProgArchives
    $26.00