Heimdal

BY Enslaved

(Customer Reviews)

$13.00

SKU: NBR6747-2

Label:

Nuclear Blast

: Category:
Black Metal

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"Greetings and god Fredag. This is a journey into sound. And sounds. And time, and shifting perceptions, and journeys (journeys of journeys), and our relationship to all of these things, but mostly to sounds. And mostly to the sounds of Heimdal, the 16th full length album by the legendary Enslaved. Let’s begin by setting the stage with some blanketing statements, both of which can be true:

Heimdal is handily the best album Enslaved has released in over a decade, since at least 2012’s Riitiir.
It still probably won’t replace your favorites.

We’ll get into the first statement in greater detail below, but first let’s tackle the latter. First of all, it’s okay for a new album to not eclipse the peaks. Have you heard Isa? It’s incredible! Have you heard Below the Lights? It’s splendiferous! The number of metal bands that have recorded albums of that quality can be counted with your combined hands and feet.

Perhaps more important is your personal relationship with this band. Enslaved’s career has long been marked by eras, even if the exact time when each begins or ends is often blurred by their evolution and progression. As music fans, we go through our own eras, with any number of our innumerable experiences shaping how we perceive and appreciate things. This can be extra true for a band with as dramatic an arc as that of Enslaved’s first 15 years, where we might not appreciate a particular album, phase, or sound until our personal circumstances are just right, and even then the ones that made the biggest impression on us at that key moment in time may always be our favorites.

Basically, Enslaved has an extremely high Get Out What You Bring With You factor, and while that doesn’t mean it’s completely based on circumstance, those factors can and of course will influence how much a very good new record like Heimdal will leave you ensorcelled. Enslaved is also a big Patience Will Be Rewarded band, and even for them Heimdal is a fairly deep and diverse album. In other words, your weapons (snap judgments), you will not need them.

But what if you’re the type that really misses that constant Enslaved evolution? How much did you believe the statements from the band that Ivar Bjørnson was more inspired as a songwriter this time around? Here are a couple more points about Heimdal that can both be true:

It does indeed sound more inspired than recent efforts, and is undeniably darker, more intense, and relatively weirder than the last few albums.
Inspired is one thing, and evolution is another, and the album’s shifts are minute compared to the rapid changes the band used to exhibit from album to album.

Basically, if you’re okay with Enslaved not shapeshifting faster than a T1000 dipping its little piggies in lava, you’ll be way on board, because again, this is the best set of tunes they’ve penned in a good while. After a three-album run in which they seemed to be in a holding pattern, it’s great to hear that extra touch of fire and focus on an album that features an organic but obviously well thought out flow (it feels nearly as “concept album” in structure as Isa). They might not be rapidly and restlessly moving about, but they definitely sound like they’re starting to stir from what has felt a bit like a decade-long chill sesh on the couch. Let’s dive in, yes?

Opener “Behind the Mirror,” almost crucially, does not unload all the album’s intensity from the get-go, but instead begins things with a slower, slightly doomy prog riff that wouldn’t sound out of place on many a King Crimson album (that almost cheeky menace at which Fripp so excels is present). The clean vocal passages are rather communal and understated, which provides a great contrast to Grutle Kjellson’s somehow never better growl. It’s a very good, not quite amazing track, but what makes it work so well as an opener is it introduces the kind of on-the-move, traveling, journeying vibe that permeates the record, which is amplified much more on later tracks.

It also sets the stage by being a bit of a stylistic deke before the band goes nuts on “Congelia,” a tune that is almost shockingly heavy and urgent, especially considering the type of material you’d expect of them these days. It spends several minutes hammering the listener with a choppy-chunky riff, Iver Sandøy’s relentless drum pattern, Grutle’s growl, and some positively killer organ warble and spaced out key parts from Håkon Vinje (who really stars throughout). All the intensity is eventually rewarded with a wicked, triumphant swell of group clean vocals in one of the album’s biggest moments, of course punctuated by a smooth and deeply narrative Ice Dale solo (the man is a marvel). It ought to be an instant Enslaved classic.

The journey continues with “Forest Dweller,” which again shifts the mood into something more classically prog, with serene-but-eerie vocal melodies, simulated flute sounds, and plenty of sections that feel like blackened Deep Purple and/or later Opeth peppered with harsh rasps. It’s another track that doesn’t so much shift a paradigm as it refines the model in glorious fashion. It’s also a great diversion between the beastly track that precedes it and the wild, fun, and riffy “Kingdom,” which is fairly irresistible all the way through with its techy harmonies and spaced out keys, but really reaches another level when it pairs some serious bombast with a nice sassy hook.

The journeying vibe reaches its peak with “The Eternal Sea” and “Caravans to the Outer Worlds.” The former begins with sounds of being lost at sea, framing the dominant catchy drive and clean vocal melodies with sorrow, almost a lament. It’s beautiful, simultaneously distant and immediate, and perhaps the biggest grower track of the bunch. The latter flips that feeling of trekking across great distances into something resembling a battle, with its punchy keys, twitchy riffs, and a fittingly less smooth Ice Dale solo. The track, despite being introduced through its titular EP in 2021, feels even more at home here, fitting in perfectly with the overall arc of Heimdal.

Since the days of “Miðgarðs Eldar,” Enslaved has spliced their speed with slowness, and that touch of doom really helps Heimdal’s closing title track set the scene for the end. The main riff pattern of its initial passages is like a meaner and slower inversion of the riff that opens the album, and ‒ because of a somewhat unbalanced prog setting ‒ feels the tiniest bit drunk (oddball keys and Grutle’s vocals help the unsettling vibe). And then, almost out of nowhere, it suddenly becomes a completely different song, infectiously pushing forward as if driving away from destruction without a worry in mind, as if the only goal is to keep chasing the sunset.

It admittedly comes off as a strange choice the first few times you hear it, but everything comes together when you remember a great truth about this band: Enslaved is best when they’re at least a little weird. Heimdal is probably only a little weird (at least to seasoned ears), but it’s certainly weirder than In Times, E, and Utgard. It isn’t just weirdness for the sake of weirdness, however, it’s the sound of a creative band feeling looser and more at home both within their songs and with each other. Heimdal is the first time that this “newer” Enslaved lineup sounds fully gelled, with all five guys turning in excellent performances that add just the right touches (and then some) to these tunes.

It’s admittedly a comforting feeling to be excited about an Enslaved album again. It’s a somewhat tempered excitement, sure, but that might be less about the record (which is great and has the potential to keep growing in stature) than me, us, I, we. We ‒ meaning fans and band both ‒ are older, a little less excitable, and generally stiffer in our joints when the barometric pressure acts up. And to reiterate a big point, this band has released 16 (SIXTEEN!!!) albums! That’s a lot of records!!! And the worst you can say about their output is that a few albums feel a mite superfluous, because none are nearly bad. That they can emerge from the type of rut that is really only a rut for a band of their caliber and climb at least halfway back up their own colossal mountain of standards ought to bring a smile to many a fan’s face.

Enslaved is even celebrating the record with a release event called Heimhug, which yes, translates to “homesickness” (at least according to Google), but these world travelers surely knew that putting “hug” into the name would make it seem rather affectionate to non-Norwegian-speakers. Regardless, it’s a fun thing for these joyous old vets to do with their fans, and just the latest in a great recent stretch of events and live streams and other little things that make them so relatable. They clearly want their fans to be part of their journey, and Heimdal not only feels like a big part of their story, but one of their destination albums. Give them and this great record a good squeeze, you will." - Last Rites

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Enslaved
Heimdal

Black Metal

"Greetings and god Fredag. This is a journey into sound. And sounds. And time, and shifting perceptions, and journeys (journeys of journeys), and our relationship to all of these things, but mostly to sounds. And mostly to the sounds of Heimdal, the 16th full length album by the legendary Enslaved. Let’s begin by setting the stage with some blanketing statements, both of which can be true:Heimdal is handily the best album Enslaved has released in over a decade, since at least 2012’s Riitiir.It still probably won’t replace your favorites.We’ll get into the first statement in greater detail below, but first let’s tackle the latter. First of all, it’s okay for a new album to not eclipse the peaks. Have you heard Isa? It’s incredible! Have you heard Below the Lights? It’s splendiferous! The number of metal bands that have recorded albums of that quality can be counted with your combined hands and feet.Perhaps more important is your personal relationship with this band. Enslaved’s career has long been marked by eras, even if the exact time when each begins or ends is often blurred by their evolution and progression. As music fans, we go through our own eras, with any number of our innumerable experiences shaping how we perceive and appreciate things. This can be extra true for a band with as dramatic an arc as that of Enslaved’s first 15 years, where we might not appreciate a particular album, phase, or sound until our personal circumstances are just right, and even then the ones that made the biggest impression on us at that key moment in time may always be our favorites.Basically, Enslaved has an extremely high Get Out What You Bring With You factor, and while that doesn’t mean it’s completely based on circumstance, those factors can and of course will influence how much a very good new record like Heimdal will leave you ensorcelled. Enslaved is also a big Patience Will Be Rewarded band, and even for them Heimdal is a fairly deep and diverse album. In other words, your weapons (snap judgments), you will not need them.But what if you’re the type that really misses that constant Enslaved evolution? How much did you believe the statements from the band that Ivar Bjørnson was more inspired as a songwriter this time around? Here are a couple more points about Heimdal that can both be true:It does indeed sound more inspired than recent efforts, and is undeniably darker, more intense, and relatively weirder than the last few albums.Inspired is one thing, and evolution is another, and the album’s shifts are minute compared to the rapid changes the band used to exhibit from album to album.Basically, if you’re okay with Enslaved not shapeshifting faster than a T1000 dipping its little piggies in lava, you’ll be way on board, because again, this is the best set of tunes they’ve penned in a good while. After a three-album run in which they seemed to be in a holding pattern, it’s great to hear that extra touch of fire and focus on an album that features an organic but obviously well thought out flow (it feels nearly as “concept album” in structure as Isa). They might not be rapidly and restlessly moving about, but they definitely sound like they’re starting to stir from what has felt a bit like a decade-long chill sesh on the couch. Let’s dive in, yes?Opener “Behind the Mirror,” almost crucially, does not unload all the album’s intensity from the get-go, but instead begins things with a slower, slightly doomy prog riff that wouldn’t sound out of place on many a King Crimson album (that almost cheeky menace at which Fripp so excels is present). The clean vocal passages are rather communal and understated, which provides a great contrast to Grutle Kjellson’s somehow never better growl. It’s a very good, not quite amazing track, but what makes it work so well as an opener is it introduces the kind of on-the-move, traveling, journeying vibe that permeates the record, which is amplified much more on later tracks.It also sets the stage by being a bit of a stylistic deke before the band goes nuts on “Congelia,” a tune that is almost shockingly heavy and urgent, especially considering the type of material you’d expect of them these days. It spends several minutes hammering the listener with a choppy-chunky riff, Iver Sandøy’s relentless drum pattern, Grutle’s growl, and some positively killer organ warble and spaced out key parts from Håkon Vinje (who really stars throughout). All the intensity is eventually rewarded with a wicked, triumphant swell of group clean vocals in one of the album’s biggest moments, of course punctuated by a smooth and deeply narrative Ice Dale solo (the man is a marvel). It ought to be an instant Enslaved classic.The journey continues with “Forest Dweller,” which again shifts the mood into something more classically prog, with serene-but-eerie vocal melodies, simulated flute sounds, and plenty of sections that feel like blackened Deep Purple and/or later Opeth peppered with harsh rasps. It’s another track that doesn’t so much shift a paradigm as it refines the model in glorious fashion. It’s also a great diversion between the beastly track that precedes it and the wild, fun, and riffy “Kingdom,” which is fairly irresistible all the way through with its techy harmonies and spaced out keys, but really reaches another level when it pairs some serious bombast with a nice sassy hook.The journeying vibe reaches its peak with “The Eternal Sea” and “Caravans to the Outer Worlds.” The former begins with sounds of being lost at sea, framing the dominant catchy drive and clean vocal melodies with sorrow, almost a lament. It’s beautiful, simultaneously distant and immediate, and perhaps the biggest grower track of the bunch. The latter flips that feeling of trekking across great distances into something resembling a battle, with its punchy keys, twitchy riffs, and a fittingly less smooth Ice Dale solo. The track, despite being introduced through its titular EP in 2021, feels even more at home here, fitting in perfectly with the overall arc of Heimdal.Since the days of “Miðgarðs Eldar,” Enslaved has spliced their speed with slowness, and that touch of doom really helps Heimdal’s closing title track set the scene for the end. The main riff pattern of its initial passages is like a meaner and slower inversion of the riff that opens the album, and ‒ because of a somewhat unbalanced prog setting ‒ feels the tiniest bit drunk (oddball keys and Grutle’s vocals help the unsettling vibe). And then, almost out of nowhere, it suddenly becomes a completely different song, infectiously pushing forward as if driving away from destruction without a worry in mind, as if the only goal is to keep chasing the sunset.It admittedly comes off as a strange choice the first few times you hear it, but everything comes together when you remember a great truth about this band: Enslaved is best when they’re at least a little weird. Heimdal is probably only a little weird (at least to seasoned ears), but it’s certainly weirder than In Times, E, and Utgard. It isn’t just weirdness for the sake of weirdness, however, it’s the sound of a creative band feeling looser and more at home both within their songs and with each other. Heimdal is the first time that this “newer” Enslaved lineup sounds fully gelled, with all five guys turning in excellent performances that add just the right touches (and then some) to these tunes.It’s admittedly a comforting feeling to be excited about an Enslaved album again. It’s a somewhat tempered excitement, sure, but that might be less about the record (which is great and has the potential to keep growing in stature) than me, us, I, we. We ‒ meaning fans and band both ‒ are older, a little less excitable, and generally stiffer in our joints when the barometric pressure acts up. And to reiterate a big point, this band has released 16 (SIXTEEN!!!) albums! That’s a lot of records!!! And the worst you can say about their output is that a few albums feel a mite superfluous, because none are nearly bad. That they can emerge from the type of rut that is really only a rut for a band of their caliber and climb at least halfway back up their own colossal mountain of standards ought to bring a smile to many a fan’s face.Enslaved is even celebrating the record with a release event called Heimhug, which yes, translates to “homesickness” (at least according to Google), but these world travelers surely knew that putting “hug” into the name would make it seem rather affectionate to non-Norwegian-speakers. Regardless, it’s a fun thing for these joyous old vets to do with their fans, and just the latest in a great recent stretch of events and live streams and other little things that make them so relatable. They clearly want their fans to be part of their journey, and Heimdal not only feels like a big part of their story, but one of their destination albums. Give them and this great record a good squeeze, you will." - Last Rites
$13.00

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Aurora Clara
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Clear Dawn is the second album from this incendiary fusion ensemble. Aurora Clara is the multi-national band led by guitarist Raul Mannola. Once again the great Jerry Goodman guests on violin on the opening track. If you are a fan of the 70s great fusion bands - Mahavishnu Orchestra, Nova, Return To Forever et al you need to hear this guys. BUY OR DIE!!"CLEAR DAWN is the second album of the Madrid-based international Jazz-Fusionband AURORA CLARA. A work full of colours, fascinating rhythms, vertiginous unison lines, and inspired improvisations in the framework of elaborated and original compositions. The acoustic 12-string guitar mixed with flute, violin, and an electric Funk/Jazz rhythm section creates a very unique soundscape."“It is, however, my great pleasure to report that Aurora Clara’s second album, Clear Dawn, eclipses its first brilliant release, Transformation “ (Walter Kolosky, Music journalist and podcast host specialized in Jazz-Rock)Raul Mannola - guitarsFlamenco guitarist with 30 years of professional experience and over 10 solo albums, with roots in Blues and Jazz. Born in Buenos Aires, Argentina to Finnish parents. One of the most outstanding musicians when it comes to merging Flamenco with Jazz and Rock. The first to play Flamenco on the 12-string guitar.Juan Carlos Aracil - fluteFlutist from Alicante, Spain. Specialist in Flamenco and Flamenco-Jazz with an exceptional talent in improvisation. He has an impeccable sense of rhythm, developed over years of work with the virtuoso Flamenco dancer Juan Ramírez.Denis Bilanin - keyboardsHailing from Rumania, is a keyboardist with a very heavy groove, and a sound reminiscent of the 1980’s, but at the same time very atmospheric. He plays and produces many different styles, like Funk, Afrobeat, R&B, World Music, and Mainstream.Jorge Barrero - bassA Colombian musician, resident in Madrid for the last two years, he specialises in different Latin and African American music styles, such as Andean music, Colombian folk, Rock, Funk, Jazz etc. A brilliant virtuoso player, who encompasses all the modern techniques.Marco Anderson - drumsDrummer and multi-instrumentalist born inYorkshire, England. Musician with more than 40 years of professional career playing almost every musical style imaginable. Was drummer with The Groundhogs, seminal UK progressive blues band, and has featured in live performance and recordings with Steve Vai (Saurang Orchestra) and Carl Orr (Billy Cobham), amongst many others.Boris Momtchilov - drumsBorn in Bulgaria, resident in Spain for four decades, this drummer started to play in rock bands in Madrid, evolving towards alternative and progressive rock styles. He is Influenced by Balcanic folklore and the fusion of cultures.Collaborations:Jerry Goodman – violin (1) Zeke Olmo – congas (4, 7)
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Viper Solfa
Carving An Icon

Black Metal

"I actually found Carving an Icon quite the retroactively blind purchase, suspiciously ironic since I had been tracking this project for quite a while and assumed I knew what to expect from Morfeus in regards to his avant-garde songwriting and abstruse, distinctive approach to the axes. From this isolated point of view, his sonic handprint is indeed all over Viper Solfa, making the unreasonably long wait for Dimension F3H’s This Mechanical World somewhat easier to mitigate since the dude has at least kept the old creative mind juiced as ever. What I wasn’t quite able to ready myself for was the remaining contributions, hardly something to just gloss over, as Viper Solfa is presented as something of a “supergroup” after all as opposed to a mere side-project.Ronny Thorsen supposedly leads Viper Solfa for all formal intents and purposes, the proclivity for many a conflagration granted by his burly speaking timbre and rousing death roars is a concerted force to be reckoned with. It can be argued that he is just another head in the pack, hardly boasting the standalone merit to turn one’s knees to jelly, but Viper Solfa isn’t done yet. The centrepiece of the band isn’t actually Thorsen, but Miriam Renvåg, whose swaying, affecting timbre opens doors unexpected for the band both conceptually and stylistically. So while I can’t feign shock now, I do recall bemused skepticism at the introduction of such audaciously disparate factors. Renvåg’s voice is very sleek and refined, with an almost pop-caliber cadre of appeals that land Viper Solfa closer to bands such as earlier Sirenia once the vocal trade-off between Thorsen is taken into account. It isn’t what I expected, having come into this project for Morfeus alone, but I certainly applaud Viper Solfa for attempting to merge sodden, opaque, death growls with avant-garde female vocal idiosyncrasy.With nearly all preconceptions espoused by this point, and with Renvåg’s quivering and psychedelic banshee wails taking their mental toll, I realized that there are plenty of parallels that can be drawn between Dimension F3H and Viper Solfa. Symphonics are used sparingly and as punctuation as opposed to the primary arsenal. Morfeus is basically the main songwriter here, and he is still shipping out crunchers of high order in the modern black/death format he began employing in earnest on Legacy of Evil during his waning years with Limbonic Art. In fact, the hard-lined, basal distortion sounds very similar to that record, and as the rollicking, flighty webbing of tremolos grow thicker and denser, Carving an Icon hammers out a welcoming mat to the most unexpected clientele.This ends up being the album’s tripping point, however, as far too much time is spent grooming vocal melodies that sound almost shoehorned in just for the sake of keeping the singers occupied. Thorsen’s petulant rasp gets one-upped by Renvåg’s (sometimes sorely overacted) caterwauling, and the end result borders on the monotonous more often than it should. The band still makes a good show of their missteps, what with a dense, abysmal grandeur pervading the nether reaches of what is honestly a relatively compact and easy listen on the whole, but these shortcomings remain. Carving an Icon may not be a masterpiece, or even the best outlet for all of the talents involved, but I can promise that it sounds like absolutely nothing you have heard lately, or likely will in the near future. At the end of the day, a neat project that delivered at least a few truly lethal numbers like “Whispers and Storms,” “Deranged” and most notably the floods of choppy, aggrandized viscera that embody the aptly-titled “Vulture Kingdom.” My expectations are not in line with the norm due to my familiarity with Morfeus’ back-catalogue, so take of this what you will, but Carving an Icon got more than a few spins out of me."
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Borknagar
Borknagar - 25th Anniversary (2CD)

Black Metal

Norway’s avantgarde Black Metal innovators BORKNAGAR celebrate the 25th Anniversary of their self-titled debut album. Back in 1996, “Borknagar” saw mastermind guitarist Øystein G. Brun join forces with like-minded musicians from Enslaved, Gorgoroth, Arcturus, Immortal and Ulver with the goal of rupturing the peripheries of what was then deemed “traditional” Black Metal. This “Borknagar (25th Anniversary Re-issue 2021)” edition comes as Digipak 2CD with a careful remaster of the 10 album songs, a makeover for the original artwork, a disc full of previously unheard bonus material, exclusive photos and profound liner notes, making it the definitive version of a pioneering Norwegian Metal classic!CD 1:Vintervredets Sjelesagn (Remaster 2021)Tanker mot Tind - Kvelding (Remaster 2021)Svartskogs Gilde (Remaster 2021)Ved Steingard (Remaster 2021)Krigsstev (Remaster 2021)Dauden (Remaster 2021)Grimskalle Trell (Remaster 2021)Nord Naagauk (Remaster 2021)Fandens Allheim (Remaster 2021)Tanker mot Tind - Gryning (Remaster 2021)CD 2:Vintervredets Sjelesagn (Live Session at Grieghallen Studios 1995)Svartskogs Gilde (Live Session at Grieghallen Studios 1995)Krigsstev (Live Session at Grieghallen Studios 1995)Dauden (Live Session at Grieghallen Studios 1995)Grimskalle Trell (Live Session at Grieghallen Studios 1995)Fandens Allheim (Live Session at Grieghallen Studios 1995)Ved Steingard (Alternate Mix)Nord Naagauk (Alternate Mix)Vintervredets Sjelesagn (Rehearsal 1994)Grimskalle Trell (Rehearsal 1994)Ved Steingard (First ever recording 1994)Vintervredets Sjelesagn (Alternate Mix)
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Vly
I / Time

Progressive Rock

Vly began as strangers sending 1's and 0's across the Atlantic Ocean. British-based guitarist Karl Demata had a vague idea and a few demos, when a friend put him in touch with New York singer / artist Keith Gladysz. Keith began working on the demos, adding a more melodic, dream-like and decidedly indie sensibility. "It was a new way to work", says Gladysz. "The music and collaborative art I've made always started with people I knew, and creating naturally came out of that understanding. That's not the case with Vly. We managed to make an album without ever meeting. There was no gauge or reference point except for the music. It was a total shot in the dark".The sound of Vly shooting in the dark hits elements of progressive rock, classic rock, folk, early-Floydian psychedelia, intimate pop melodies, massive walls of epic guitar riffage, post-classical, post-rock and electronic music. And it's the diverse background of the members that lead to the breadth of their sound.The progressive sentiment of Italian keyboardist Elisa Montaldo quickly attracted the ear of Demata. "The first time I heard Elisa play" says Karl "I knew we had to be in a band. Her innate melodic approach and instinctual understanding and knowledge of 'anything prog' is simply remarkable"."Karl asked me to join the project at the very beginning" Elisa picks up: "My idea of prog is somehow more vintage, more typical 70's Italian style. After various experiments on arrangements and sounds, I went to Karl's studio to record most of the keyboards, where we found the right balance".Connecting with strangers, and expanding circles of mutual friends became the pattern for Vly. Karl next recruited experienced bass player Chris Heilmann who worked together previously in Crippled Black Phoenix. Chris provided a solid backbone with a more classic rock attitude.Demata doesn't hold back when talking about Sweden-based musician Mattias Olsson. "He is simply a genius. And he's never predictable as a drummer. Mattias also contributed some vintage keys and odd analog noises, which have a definitive effect on the bands sound. A common friend described him as a 'lateral thinker', and I can't think of a better way to describe him."Vly makes good on the futuristic dreams of the late 1990's, when promises of international recording sessions via the Internet excited incredulous musicians. Now that it's a reality (thanks to Dropbox and Skype), the method may be less glamorously sci-fi than one had hoped; still, they get the job done."I always disliked the cliches about music as a universal language, and more recently about the Internet bringing people together", explains Keith. "I'm even more uncomfortable with those sentiments now, since Vly proved them true".Vly's debut album, I / (Time) is available on the Laser's Edge imprint September 18, 2015. It's engineered and produced by Karl Demata, with additional production by Keith Gladysz and Mattias Olsen, and audiophile mastering by Bob Katz.VLY is:Keith Gladysz (Diet Kong, Typical Reptiles) - Vocals.Karl Demata (ex-Crippled Black Phoenix, Karl Demata Band) - Guitars, synths, programming.Elisa Montaldo (Il Tempio Delle Clessidre) - keyboards and synths.Chris Heilmann (ex-Crippled Black Phoenix, Bernie Torme', Shark Island) – Bass.Mattias Olsson (ex-Änglagård. White Willow, Necromonkey) - Drums & keyboard
$5.00

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Enslaved
In Times (Digipak)

Black Metal

"Enslaved are back with their 13th studio album, In Times, marking their first album in three years. The gap between discs ties their longest since the span between Frost and Eld. A lot has changed since then as the band has been blending their fondness for ’70s progressive rock with lengthy black metal songs remaining at the core since the dawn of the new millennium.At first glance, six songs may not seem like much for a new album by the modern standard, but the Norwegians echo the sentiment of quality over quantity. Five of the six songs clock in between the eight and nine minute mark with the title track being the lone exception at nearly 11 minutes in length.The opening track “Thurisaz Dreaming” tricks the listener by fading in with a sound that seems to be setting the tone for a lengthy and progressive introduction. Instead, Enslaved go for the throat as Grutle Kjellson shreds his in a matter of seconds with shrieks that alleviate any doubts that the band has strayed far from their black metal foundation. As quickly as Grutle presents himself, he sits back resigned to his bass, content letting the soothing clean vocals take over for a bit as the band embark on another journey revering the sacred runes.With each passing album, keyboardist Herbrand Larsen has become a more integral part of the band utilizing his soothing clean vocals to contrast and compliment Grutle’s uncompromising rasp. This is true again on In Times as the duo continue to vie for center vocal spot, creating a playful atmosphere where the listener can feel fully absorbed by both the progressive and black metal facets of Enslaved.The best demonstration of this can be heard on the masterful “One Thousand Years of Rain.” A true conquest among the entirety of the band’s catalog, this song sees each member of the band contribute a performance that transcends their individual duties. This is also where Cato Bekkevold’s drumming starts to truly stand out as the kick drum anchors In Times, often stitching together the disharmony.“Nauthir Bleeding” continues the experiment of clean vocals intersecting with the blackened side of the band and vice versa with astonishing results. This ambidextrous-like quality rounds out their most progressive aspect, allowing them to excel and innovate in both genres independently.With successive listens it becomes quite evident that In Times is written to be listened to as a whole. Each song flows into the next so seamlessly that it can be easy to forget where one song ends and another begins. Certain songs will always stand out more than others, but that isn’t what this album is about. The ever-consistent Enslaved have churned out another album to cement their legendary status in a style the continue to call their own." - Loud Wire
$12.00

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Wobbler
From Silence To Somewhere

Progressive Rock

Wobbler's latest simply blew me away...The band's musical history has shown a variety of influences. While their debut Hinterland demonstrated elements of King Crimson, Gentle Giant, and many other 70s prog bands, later efforts moved towards full blown Yes worship (not that there's anything wrong with that).Personally I was a fan of Hinterland. We released it on our in-house label and it pushed all the right buttons. From Silence To Somewhere reverts back to that sound. Its very English and very 70s. The band has matured and they really have established more of their own identity. Sure you will hear something that might remind you of Genesis or Yes or [Insert your favorite 70s prog band's name here] but it will only evoke the feel - it won't sound like music that was written with tracing paper.There can be only one true answer: BUY OR DIE!
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Alder, Ray
What The Water Wants

Progressive Metal

"Longtime Fates Warning frontman Ray Alder with his first solo album on Inside Out Music. Showcasing 10 highly melodic and imposingly versatile songs created with assistance from guitarists Mike Abdow (Fates Warning touring member) and Tony Hernando (Lords Of Black) as well as drummer Craig Anderson (Ignite, Crescent Shield), "What The Water Wanted" was mixed by Simone Mularoni (Rhapsody, Michael Romeo, DGM)."
$16.00

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IQ
Resistance (2CD)

Progressive Rock

"English neo-progressive rock spear-header IQ has been furthering the genre in the 21th century with much acclaim. Sound-wise the band hasn't changed much since ' The Seventh House', but on this album the band has finally revolutionized their composition style, arrangements and production. The symphonic layering by Neil Durant has this adult feel, reminding me of 'Tilt' era Scott Walker or 'Blackstar' era Bowie ' yet drenched in a Bladerunner like delicate sci-fi universe. Somehow this album sounds like a collaboration of the band IQ and... well a new 'force' that can look beyond its songs, its verses, its solo's and its refrains. Because of this 'force' the band has also given new meaning to the prog epic. On 'Resistance' a prog epic isn't just a multi- song. Don't take me wrong ' I really like a track like 'The Narrow Margin' ' but on this album the longer tracks really make sense from a songwriting point of view. Bare with me. Like a in a small song, where a bridge can add to strengthening the final refrain ' IQ manages to intelligently intervene and keep the song growing towards that final refrain. Furthermore, the first cd, which is 'the album', flows like a continues experience. Almost like a movie, including some modern cinematic sound-effects. What also becomes apparent after a few spins is the absence of leaning on catchy refrains, which gives the music a modern feel ' at times almost hinting at modern classical music. Peter Nicholl's voice doesn't allow for much variation, but because of the distinctive atmospheres of the songs his performances do tick the box every time. This material doesn't need catchy line A or B, it needs a performer. The rhythm section of the band has found a perfect balance between fusion styled sophistication and adding to the effectiveness of the material. Guitar player Mike Holmes somehow comes off as a bit left behind in the old IQ with his Marillion/Floyd styled guitar solo's. On acoustic guitar his contributions strike me as more imminent ' like on 'Perfect Space'. If the band ever aims to top this album in the future ' which would prove extremely difficult I guess - the electric guitar will need to contribute in more diverse ways. Now about that second disc, which I will describe in a bit more detail because most reviewers will probably focus on the first disc. If that were an album; the 22 minute 'The Great Spirit Way' alone would suffice for an indispensable purchase. Personally, I think this song is placed right after the rather dark and soundtrack-like first disc because it matches best stylistically. 'Fire and Security' is a more traditional IQ piece ' albeit a bit bleak - with a balled type opening, some darker passages and a melancholy ending section with some strong lead guitars. On 'Perfect Space' the band drives its jazz/fusion influences to the max, which will perhaps turn of some ' but I like it. The second epic, the 20 minute 'Fallout' is a bit more relaxing, abstract and dreamy. In its second halve the band experiments beautifully with sophisticated chord progressions, which also allows for Holmes' most interesting guitar solo. Conclusion. Without a doubt this will become the progressive album of 2019 and I hope it will inspire a lot of other neo-progressive bands to elaborate and expand on their Marillion/Genesis/Floyd roots and take the music to a next level of artistry. This album will probably outshine the nostalgic likings of many of its listeners, but it may also attract listeners that have previously written off the neo-prog genre. " - ProgArchives
$15.00

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Borknagar
Fall

Black Metal

"BORKNAGAR might’ve been born at the backend of black metal’s second wave in the mid-90s, but the course they’ve set sail on over nearly three decades and 12 albums travels further than the genre’s rigid confines. If 2016’s Winter Thrice was the blueprint, and 2019’s True North the prototype, 12th album Fall is the unveiling of their progressive black metal masterpiece.Soundtracking the human struggle and survival against nature, Fall is a multi-dimensional journey through the mountainscapes of Norway. Opener Summits is a sweeping cinematic shot of mountain regions unfolding in your eardrums; espresso-sized wailing howls and harmonic cleans drizzle off into heaping honeypots of thickly-woven dissonance. That’s about as traditional black metal as Fall gets, and it’s all the better for going off the beaten track. Nordic Anthem’s tribal percussion and hypnotic harmonies see you descend into the mysterious depths of the mountains, echoing the nomadic desert blues of TINARIWEN. Rather than explode like fireworks in the night, Nordic Anthem lives and breathes like the Northern Lights’ swirling rivers of light; its quiet, sombre moments erupt into a chorus so anthemic you’d see it sung in stadiums, showcasing the sheer depth that ICS Vortex and Lazare’s dual-vocals have given BORKNAGAR visionary Øystein G. Brun to play with.Afar is your moment to feel out the mountainous regions you’re making home in, as the experimental fierceness of BATHORY bleeds into the silky, synthy hinterlands DREAM THEATER create; Moon’s double-bass drums and dissonant riffs flood your eardrums like a wildfire spreading through the forests before Brun and Jostein Thomassen cool the burning blasts with solos straight from the New Wave of British Heavy Metal playbook.Bjørn Dugstad Rønnow’s blast beats are supernovas colliding in the night sky as ICS Vortex sets the Stars Ablaze, before Unraveling does just that to their tapestry of sounds, symbolising how nature adapts and evolves to counter humanity by commandingly straddling both MASTODON’s Crack The Skye and Hushed & Grim eras simultaneously. The Wild Lingers does just that; plucking strings conducted operatically as if a living, breathing forest speaks to your soul, before the nearly-10 minute closer Northward is a kaleidoscope of sharp dissonance, blistering blast beats and howling vocals, as if the elements are at war.By the time its nearly hour-long runtime wraps up, you’re fully submerged in nature’s grasp. Your mind is left lingering on the many food-for-thought lyrics Fall offers long after it ends. At once, this album is deliciously dark yet hauntingly hopeful, summarised emphatically on Nordic Anthem: “The north wind whispers in our ears / Old tales of hardship, of hopes and fears / We fought to forge our own destiny / Now we stand strong for the world to see” — the question you’re left battling with though is who’s left standing strong, humanity or nature?Fall is the masterful culmination of nearly three decades of work, a testament to the dedication of Brun and BORKNAGAR at large to pushing black metal’s envelopes beyond its cavernous boundaries. Now, where will they take us next?" - Distorted Sound
$11.00

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Evergrey
The Atlantic (Digipak)

Power Metal

"Still masters of conveying dark, atmospheric introspect through their music, Swedish metal legends Evergrey are set to return with their eleventh studio album, ‘The Atlantic’ in early 2019. Spread thick with melody and following on thematically from its predecessors, ‘The Storm Within’ and “Hymns For The Broken”, closing out an oceanic concept trilogy, vocalist Tom S Englund and the band have indeed weathered some heavy storms to see this record come to light. And their efforts were not for nothing.Unbeknownst to some, upon its initial completion, work on ‘The Atlantic’ was stolen from the bands studio during a break in robbery. Reflected on by Englund as “the worst fucking timing ever”, the singer also confesses that had it not happened, it is likely that the current incarnation of the album would not be what it is now, which is a heightened sense of aggression and vulnerability in light of its initial misfortune. A sentiment reflected in the bands leading single, “A Silent Arc”. A multi-layered composition which takes the listener through both chaos and tranquility, “A Silent Arc” makes for a strong handshake to new efforts from Evergrey.While it may have been an obvious single choice, it certainly wasn’t the bands only potential front-runner. ‘The Atlantic’ is riddled with worthy contenders, perhaps none more so than “Weightless”. Englund and guitarist Henrik Danhage produce what is arguably the strongest grooves on the record in the form of the tracks infectious man riff, further capitalized on by Rikard Zander’s haunting keyboard melodies and bassist Johan Niemann‘s undeniable grit and grumble. Drummer Jonas Ekdahl has a commanding presence throughout the record also, a notable example of which can be found in his complex, yet beautiful percussive tom work on “A Secret AtlantisA constant in which fans can depend on throughout each and every Evergrey record is the dynamic and emotive vocal delivery from Englund, and here we find no exception. Englund’s ability to capture the heart of a song and translate it through his voice is one of the primary reasons that he was, and very much remains, integral to Evergrey. “All I Have” graces ‘The Atlantic’ with its presence on it. Its lengthy run time and technical proficiency are a treat in themselves for those more affiliated with that side of the band, but they are simply eclipsed by its chorus. From the moment it hits you can feel it bring Englund to his knees in honesty, mortality, and offering whatever left of himself that he has to give in a performance that encapsulates his talent as a sincere and moving vocalist. A heartwarming moment made heartbreakingly good by the level of investment Danhage gives to his solos on this piece.There is no such thing as a standard Evergrey record. Despite being part of a trilogy, even their more recent works have been as rich and as layered as those that came before them, never going stale. This collection of songs closes out that trilogy, which has been a deep and emotional journey for the band, and it does so with class. ‘The Atlantic’ displays intoxicating juxtapositions in true Evergrey fashion. Fierce yet soothing, with an underlying torment that feels almost melancholic, Evergrey have, once again, gone and outdone themselves." - Metal Wani
$15.00

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Evergrey
Escape Of The Phoenix (Digipak)

Progressive Metal

"Swedish dark melodic metal masters Evergrey return with their 12th Album - dark and heavy, the Phoenix is rising! Gearing up for the release of their highly anticipated 12th album, Swedish progressive metal band Evergrey is at a point in their career that many of their peers can only dream about. Since the release of "Hymns For The Broken" in 2014, Evergrey has enjoyed increased notoriety and success with "The Storm Within" (2016) and "The Atlantic" (2019) - ironically, a conceptual trilogy - which is highly unusual for a veteran act. They mean to continue this tradition on February 26th, 2021 with "Escape Of The Phoenix", another heavy, melancholic and thought-provoking journey as only Evergrey can create. The result is 11 songs that embody everything Evergrey fans have to expect, albeit "a more metal version of "The Atlantic", with songs that are more direct" according to Englund and producer Jacob Hansen."
$15.00

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Dream Theater
A View From The Top Of The World (Digipak)

Progressive Metal

"Two-time GRAMMY-nominated and millions-selling progressive music titans Dream Theater announce the forthcoming worldwide release of their 15th studio album, A View From The Top Of The World on October 22nd. A View From The Top OF The World is Dream Theater at its musical finest expanding on the sound they helped create while maintaining the elements that have garnered them devoted fans around the globe. The 7-song album also marks the second studio album with InsideOutMusic / Sony Music.The artwork was created by long-time cover collaborator Hugh Syme (Rush, Iron Maiden, Stone Sour). A View From The Top Of The World was produced by John Petrucci, engineered and additional production by James “Jimmy T” Meslin and mixed/mastered by Andy Sneap.Dream Theater – comprised of James LaBrie, John Petrucci, Jordan Rudess, John Myung and Mike Mangini – was in the middle of a sold-out world tour in support of their last release Distance Over Time and the 20th anniversary of Scenes From A Memory when a Global Pandemic brought the world to a stop. The musicians found themselves at home with LaBrie in Canada and the rest of the group in the States. As fate would have it, they’d just finished construction on DTHQ (Dream Theater Headquarters) —a combination live recording studio, rehearsal space, control room, equipment storage, and creative hive. With LaBrie in Canada, he initially wrote with the band via ZOOM on a monitor in DTHQ. In March 2021, he flew down to New York, quarantined, and recorded his vocals face-to-face with Petrucci. The album ultimately threaded together lean and uncompromising hooks with tried-and-true technical proficiency.“We just love to play our instruments,” observes Petrucci. “That never goes away. I love to be creative, write, and exercise that part of my mind. We’ve been able to do this for a long time, and we don’t take it for granted. Whenever we get together, we know we can’t disappoint ourselves or our fans, so we manage to try even harder.”“We approach every album like it’s our first,” adds LaBrie. “It’s been such a great ride, but we’re not going to stop.”"
$14.50

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Custodian, The
Necessary Wasted Time

Post Progressive

The Custodian is a new British post-progressive rock band formed by Richard Thomson, vocalist for cinematic death metal band Xerath. Unlike Xerath, The Custodian is an outlet for the more melodic, rock oriented writing from Thomson.While there are moments in the album that harken back to old school bands like Genesis and Yes, the music of The Custodian is contemporary in sound. Necessary Wasted Time is an album full of dynamics - light and dark shadings balancing acoustic vs electric, heavy vs pastoral. While atmospherics and tension are a strong component of the album, the band demonstrates their adept musicianship offering up long instrumental passages to complement the emotion filled vocals. When needed the band unleashes some complex electric runs.The Custodian's debut should deeply resonate with fans of Steven Wilson, Riverside, Pineapple Thief, and Anathema.Necessary Wasted Time was mixed by noted engineer Jacob Hansen and give the full audiophile mastering treatment from Bob Katz.
$5.00

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