Haven (2CD Mediabook)

SKU: 840588102693
Label:
Napalm Records
Category:
Power Metal
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Please note that we are offering the 2CD import Mediabook edition which is not available in normal retail outlets.  This is a much nicer version than the standard digipak version that will be available through normal distribution channels....but at the same price.  The bonus second disc features instrumental and orchestral versions of Haven tracks.

"Opener ‘Fallen Star’ has a couple of elements that are comparable to ‘Silverthorn’. Mostly the intro, but something in the refrain also reminds me of the previous record. However the riffs are more aggressive, Karevik is giving it his everything in his very own way. It’s a unique feeling to listen to the opener like this.

There are two ballads on the record and first up is ‘Under Grey Skies’. It’s somewhat of a typical Kamelot ballad, combined with the pipes of Troy Donockley (Nightwish) and an amazing appearance of Delain’s Charlotte Wessels graces this track.

But on the other hand there is ‘Here’s To The Fall’, the other slow song. It could easily be one of the best refrains I’ve ever heard in a ballad. Everything on the track is gentle, the vocals are brilliantly executed and the refrain is only a little bit more bombastic than the rest of the track.

'My Therapy’ is a brilliant showcase of Kamelot songwriting. It has the well-known romantic touch that is ever present on the records. “You’re the antidote for solitude, injected in my vains. Let the touch of your hand forever be, my therapy.” The rest of the song is slightly heavier than we are used to hear, but very well played and mixed as well.

At the end of the record we find what is probably the most heavy song that Kamelot has ever recorded: ‘Revolution’. The grunts of Alissa White-Gluz (Arch Enemy) are very well integrated, way better than on ‘Sacrimony (Angel Of Afterlife)’ from the last record. It’s heavy, fast and aggressive, yet it never loses its symphonic sound. ‘Revolution’ is the last official track and it fits perfectly. With the melancholic ‘Here’s To The Fall’ before it and the two minutes of the somewhat triumphant instrumental closer ‘Haven’.

What an album! I couldn’t have wished for anything better than ‘Haven’. Kamelot have reinvented themselves, without losing their very essence. The sound has become somewhat more modern, while the vocal work of Tommy Karevik is spot-on the entire time. When the tunes of the short closing track ‘Haven’ fade away, all that’s left is a triumphant feeling. They nailed it again, but in an entirely different way. Kamelot has taken the next step and it has been in the best direction possible!" - Overall Loudness

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  • EMI is breaking up the Genesis remix/remaster boxes and making the individual albums available. This features the Nick Davis remixed version of Nursery Cryme .
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  • "Italy has a long and ample heavy metal history, notably in the melodic, power, and symphonic metal genres. Here's At The Dawn, from Bologna, returning with their second album Land In Sight, now signed to Bakerteam Records.In that longstanding Italian tradition, At The Dawn brings classic melodic heavy power metal, often with some synth produced symphonic elements. While neither this genre or their music is not novel or extraordinary, it is well-crafted and well-played. And they do this with varied and diverse arrangements. Not every song requires the gallop of power metal, nor the abundance of bombastic synths.But when these classic elements of symphonic power are necessary, ATD delivers as with Tiger Within of The Deserter. Then there's the series of four songs Ouverture, The Offense, The Revenge and The Day When Heroes Day expand on those elements but also add traditional melodic metal to the mix. The first two of the tetralogy are notable for the use of simple piano and vocals. This only demonstrates that the band has a keen sense of melody and understands the need for good vocal harmony. Stefano De Marco has a clean melodic style and strong presence throughout this album.After these things, most every song is loaded with guitar harmony and fiery leads. After all the band was founded by it's lead guitarist, Michele Viaggi. In the best power metal sense, like the synths, his riffage makes the arrangements large and bombastic as well. You can catch this within A Crow With No Wings. His leads are of the classic variety, but so much the neo-classical Malmsteem widdling.Finally, mention should be made of two additional songs. The first is Siren Call which features Letizia Chiozzi of Synful Ira adding female vocals for a quite ambitious melodic vocal arrangement, one of the best here. Another is the cover of Iron Maiden's Revelations, where At The Down bumps up the speed ever so slightly, but also offers some symphonic notes. It sounds pretty good. All in all, At The Dawn's Land In Sight is interesting and entertaining album of melodic and symphonic power metal, which will please most any fan of the same. Recommended." - Dangerdog.com
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  • "The album is produced by Brett Kull (Echolyn) and Fractal Mirror, mixed by Brett Kull and mastered by Larry Fast (Peter Gabriel/Synergy). The album contains 11 new songs featuring beautiful background vocals and guitars by Brett Kull and guest appearances by Larry Fast, Don Fast, Jacque Varsalona and the Stephanus Choir from Amsterdam. We feel that Garden of Ghosts is a major leap forward for us.A Brief History:The origins of Fractal Mirror can be traced back to the mid-eighties when three friends from Amsterdam started to make music together influenced by bands from the famous 4AD label and artists like David Sylvian and Japan. At the same time a new wave of progressive rock was expanding ist listening audience with bands like IQ, Pendragon, Twelfth Night, Marillion and Pallas but especially the virtually unknown Canadian band Terraced Garden having an influence on their writing. Ed and Leo continued making music together into the 21st century, focusing on the Alternative or Progressive audience. They met their drummer and lyricist via the Big Big Train site and met the challenge of transatlantic recording and communications with the release of Strange Attractors to very positive reviews. Their music is song based and there are no long instrumental passages or difficult time signatures. The music has a dark, raw edge yet they often uses the Mellotron. In March 2014 Fractal Mirror signed with Third Contact, a record label owned by Larry Fast (Synergy/Peter Gabriel)."
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  • "Stanley and I had been working together for some time before we made this record. We often talked about the possibility of recording an album together and Epic agreed to let us do it. The interesting thing about this record is that it is a power trio record. Stanley and I decided right away that this record would live or die by us; that we had to be the focus of this record; not the orchestration, not the background vocals, etc. The music had to emanate from us and by us, and that would make it unique. Stanley and I decided to make a totally different record from what the record company expected. We felt we had to stretch the boundaries. I'm sure Epic thought they were getting a fusion jazz record; But Stanley had played all the Return To Forever music he cared to by this time.The largest surprise for Epic was the song we chose as our first single from the record, "Sweet Baby." In fact they fought us on this track. The R&B department said it was too white and there was nothing they could do with it. The pop department said we were black artists with a white record and that they didn't have the time to promote this record at pop radio. So Stanley and I went to an independent promotion firm (Cliff Gorov) to push this record, and in essence bypass CBS. Well, needless to say, when the record began to make some noise, CBS jumped in as if they were there all along and brought the record home.I wrote "Sweet Baby" while looking over the water one afternoon in Berkeley, California while we were already in session for the project. It was written very quickly, and I called Stanley, who was in the room next to mine, and told him to come over and listen to this little pop song. I thought he would hate it, but just the opposite happened. We went in the next day and recorded it and the rest is history. To date, it is my largest across the board hit record. I finally made the top ten pop charts, WOW!We chose John Robinson as our drummer because of his strong steady approach to rhythm. He was with Rufus and layin' it down real hard. He was perfect!!Stanley and I were constantly on the road, doing television shows, or whatever. I broke up my band during this period and everyone went their separate ways. One thing I should mention that meant so much to me during this period, was a congratulatory phone call from Quincy Jones. After we hit the top ten, Q called me just to say "a job well done" I'll never forget that gesture on his part. "Q, I'll always love ya!!"Don't ask me why we did so much singing, but we did!! We wanted to make an instrumental record with vocals as a vehicle to communicate. Besides, instrumentals were not and still are not played on top radio formats. We went after this one and were fortunate to realize our dreams. We became R&B/Jazz/Pop stars for a moment. This LP also became the vehicle for my first video. Actually, it spawned three videos. I can remember that Stanley and I were extremely upset that MTV would not play any of our videos because we were black artists. I guess they can't be accused of that now! Oh yeah, we got a Grammy Nomination, but lost. It was 1981." - George Duke
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