Land Of The Freaks (Digipak)

The Laser’s Edge is pleased to announce a release campaign of the entire Freak Kitchen back catalog, beginning with 2009’s Land Of The Freaks. Although extremely popular around the world, access to Freak Kitchen’s music in North America has previously been limited to expensive imports through specialist dealers. Europe’s best kept musical secret is a secret no more!



Freak Kitchen is a progressive power trio consisting of three renowned virtuoso musicians: Mattias “IA” Eklundh (guitar/vocals), Christer Ortefors (bass), and Bjorn Fryklund (drums). The band was formed by IA in 1992 and since then they have conquered audiences around the world with their high energy performances. The members of the band are road dogs, performing constantly as Freak Kitchen and individually as clinicians.



Freak Kitchen’s music is an amalgam of styles – equal parts hard rock, heavy metal, and progressive rock blended together with a healthy dose of Zappa-esque humor. Land Of The Freaks finds the Indian influence of the Art Metal project crop up in a couple of tunes due to the participation of V. Selvaganesh and Neyveli S Radhakrishna. Strings also come into play at times just adding another dimension to the band's usual craziness. It goes without saying that you can expect stellar playing through out.



Land Of The Freaks is cerebral guitar driven progressive music that is essential for fans of Frank Zappa, Bumblefoot, and Steve Vai.

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    $18.00
  • With nearly forty-five minutes of brand new material, Turning Tides represents MALPRACTICE at their absolute best, combining intricate progressive metal with catchy melodies topped with excellent musicianship and brilliant vocal harmonies. Professionally recorded by the members of the band at various locations, Turning Tides was produced by the band’s Joonas Koto and Toni Paananen and engineered by Koto, then mixed and mastered by Anssi Kippo at Astra-Studio A and enshrouded by intriguing artwork and design work by Miikka Tikka.“The lyrical theme of the album is about a guy who is very well educated. In fact so educated and talented that he can't land a job for himself due to over education,” collectively issued the members of MALPRACTICE. “He kind of falls in-between things and ends up in the suburbs unemployed and frustrated. He is ‘the best kept secret’ since no one wants to hire him. His life and sanity starts to fall apart due to his frustration and depression. He tries to fight the system but always ends up deeper and deeper in apathy. The story can be somewhat related to MALPRACTICE's struggle to make it for two decades already. The question is: ‘Is the guy me? You? Or every one of us?’” 
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  • Second album from this exciting band from Tunisia. Myrath is heavily influenced by the progressive power metal style of Symphony X but on this album they have given us a swerve. Although he sings in English, the band's new vocalist sings in a traditional Arabic style. There is a more pronounced Middle Eastern flavor in the songwriting but there is still the neoclassical/prog element very much present. Its a unique sound - I wouldn't even compare them to Orphaned Land who take a different path. These guys clearly are not afraid to carve out their own path.
    $14.00
  • The band's fourth album but the first one to feature Al DiMeola on guitar (as the replacement for Bill Connors). A fusion classic featuring monumental tracks like "Vulcan Worlds" and "The Shadow Of Lo". Highly recommended.
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  • "Really superb debut album from this contemporary instrumental progressive rock band who sound completely contemporary but manage to do so while not using the metallic/crunchy overtones that so many contemporary progressive bands use. There's a certain dark, mysterious quality which is probably due to the strings, but it's not particularly avant-garde. It doesn't sound like anyone else and it doesn't sound old. Highly recommended." - Wayside Music Makajodama is the unusual name for this young instrumental quartet from Sweden. The band was formed by Mathias Danielsson, guitarist for the progressive rock band Gösta Berlings Saga. In the course of searching for another avenue to express his own musical ideas he met Mattias Ankarbrandt, the former drummer of The Carpet Knights. Their goal was to blend both written and improvised music. Through the walls of the cellar of Mathias' rehearsal studio, he could hear someone practice violin everyday, and since some of his new ideas included strings he decided to find out who the player was. After a month searching, they located their man Johan Klint who immediately joined Mattias and Mathias. As luck would have it Johan knew a cellist, Karin Larsdotter, who was also interested in improvisation as well and she came onboard, rounding out the quartet. The band invited Anekdoten’s guitarist, Nicklas Barker, to mix the album. Makajodama’s debut is a direct reflection of the quartet’s influences: Third Ear Band, Univers Zero, Swedish psych pioneers Älgarnas Trädgård, the kraut rock spirit of Can and Faust, and Swedish contemporary composers Karl-Birger Blomdahl and Allan Pettersson. The result is a unique collision of progressive and post rock that sounds like the musical offspring of early King Crimson and Godspeed You! Black Emperor. The artwork and design of the digipak was created by noted Swedish artist Johan Björkegren. Get a taste of Makajodama here: Makajodama's MySpace Page
    $14.00
  • I lost track of this band's work after their first release some years ago. This is actually their sixth album! Magnesis are a French symphonic rock band dedicated to creating progressive music in the classic dramatic style of bands like Ange and Atoll. L'Immortel Opera is a conceptual work that features dynamic compositions emphasizing the vocal talents of Eric Tillerot. At times the music is a bit precious reminding me of Japanese bands like Pagaent and Outer Limits but overall it is true to the spirit of 70s French prog.
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  • FINALLY AVAILABLE IN NTSC REGION O! Limited edition set includes the End Of An Era DVD along with the audio on a 2 CD set. Also has a Nightwish media player. This is Tarja's final gig with the band. Incredible quality. A must own.
    $22.00
  • "When Rush issued Vapor Trails in 2002, they revealed that -- even after Neil Peart's personal tragedies in the 1990s had cast the group's future in doubt -- they were back with a vengeance. The sound was hard-hitting, direct, and extremely focused. Lyrically, Peart went right after the subject matter he was dealing with -- and it was in the aftermath of 9/11 as well, which couldn't help but influence his lyric writing. In 2004 the band issued a covers EP that was in one way a toss-off, but in another a riotous act of freewheeling joy that offered a side of the band no one had heard for 30 years. There were a couple of live offerings and a 30th anniversary project as well that kept fans happy perhaps, but broke -- though Rush in Rio was the kind of live album every band hopes to record. Snakes & Arrows represents the band's 18th studio album. Produced by Nick Raskulinecz (Foo Fighters, Velvet Revolver, Superdrag), the record is another heavy guitar, bass, and drums...drums...and more drums record. The title came -- unconsciously according to Peart -- from a centuries-old Buddhist game of the same name about karma, and also from a play on the words of the children's game Chutes and Ladders. Its subject matter is heavy duty: faith and war. From the opening track (and first single), acoustic and electric guitars, bass hum, and Peart's crash-and-thrum urgency in the almighty riff are all present. When Geddy Lee opens his mouth, you know you are in for a ride: "Pariah dogs and wandering madmen/Barking at strangers and speaking in tongues/The ebb and flow of tidal fortune/Electrical charges are charging up the young/It's a far cry from the world we thought we'd inherit/It's a far cry from the way we thought we'd share it...." At the same time, inside the frame of the refrain, Lee refuses to be conquered in the face of chaos: "One day I feel like I'm ahead of the wheel/And the next it's rolling over me/I can get back on/I can get back on." Alex Lifeson's guitars swell and Peart's crash cymbals ride the riff and push Lee to sing above the wailing fray. Great beginning."Armor and Sword" contains an instrumental surprise. After an initial ride-cymbal clash, the guitar and bassline sound exactly like King Crimson playing something from Red or Larks' Tongues in Aspic. The theme is repeated on an acoustic guitar before Lee begins singing about the shadowy side of human nature brought on by the many times children are scarred in development. The boom and crackle of electric guitars and bass are all there, but so is that sense of melody that Rush have trademarked as Lee states, "...No one gets to their heaven without a fight/We hold beliefs as a consolation/A way to take us out of ourselves...." There is no screed for or against religion per se, but a stake in the claim of hope and faith as absolutely necessary to accomplish anything, hence the refrain. Peart beautifully articulates the dark side of life's undersurface; he has been writing the best lyrics of his entire career on the band's last two studio records -- only two in the last ten years. The dynamic works against the melody and Lifeson's brief but screaming solo is a fine cap on it. "Workin' Them Angels" blends the acoustic against the electrics gorgeously, and Lee sings counterpoint to the guitars. "The Larger Bowl" is one of those Rush tunes that builds and builds both lyrically and musically, beginning with only Lee's voice and Lifeson's acoustic guitar. Its shift-and-knot rhythms and spatial dynamics offer the impression -- as does the rest of the album -- that the bandmembers are playing in the same room at the same time (it happened to a lesser degree on Vapor Trails, but here the impression is constant). The sounds -- both hard and soft -- blend together wonderfully. The live feel of the record with its sonic washes and overdubbed guitars and vocals creates near chaos without loss of control. It's like teetering on the edge of an abyss with one eye on both sides of it. Song by song, the notions of tension build, taking the listener to a place where hope and faith are challenged continually, not only in the face of the entire world, but in one's personal relationships -- check "Spindrift." Echoes of T.S. Eliot's The Waste Land, Robert Frost, Matthew Arnold, and The Odyssey are glanced upon, as is The Dhammapada in the Buddhist scriptures -- with more of a thematic than referential purpose.Amid all this seriousness, there is a bit of humor. The instrumental track "Malignant Narcissism" references a line in the comedic film Team America: World Police from Matt Stone and Trey Parker of South Park fame. It comes from a line in the film that reveals how terrorists think. It's one of three absolutely stunning instrumentals; another is "The Main Monkey Business," which sounds like the closest Rush have gotten to jamming in the studio in over 20 years. Think of the intensity of 2112 with the musicianship of Vapor Trails, and you begin to get a picture: screaming guitars, deep bass thrum, soaring keyboards, and all those pop-and-boom drums from Peart's massive kit. "The Way the Wind Blows" is Rush taking on the blues in massive metallic style, and it feels more like Cream in the intro. Lee's vocal drives deep inside the lyric -- it's tense, paranoid, yet revelatory. It's about the perverse magnetism of religion and war, and how both are seemingly designed to be cause and effect: fanatical religiosity leads to war. There are different theories on this, but Peart distills them well, as if he's read (but not necessarily completely understood) René Girard's seminal work Violence and the Sacred. The album changes pace a bit with the instrumental "Hope," a largely 12-string acoustic guitar piece played off a medieval theme by Lifeson. "Faithless" is anything but. It's one of those Rush tracks where counterpoint vocals against the guitars and basslines create that unique welling of sound that occurs when the band is at its peak on-stage. The set ends with "We Hold On," a track that expresses the sum total of all the struggles life offers and holds. Here Eliot the poet is quoted directly at the end of the third verse. It's anthemic, with backmasked guitars, Peart playing actual breaks, and Lee's bass holding the chaos together with a constant pulsing throb, guiding the various knotty musical changes back to the center of the verse and refrain, which is the place where the cut just explodes in sonic fury. Snakes & Arrows is one of the tightest conceptual records the band has ever released. Musically, it is as strong as their very best material, without a lapse in texture, composition, production, musicianship, or sheer rock intensity. There are real heart and fire in this album. It was well worth waiting for." - Allmusic Guide
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  • Second album from this Belgian neoprog band.  Apparently the bandleader Hans Six grabbed some of his buddies from Quantum Fantay to round out the line up.  Music is classic Benelux "sympho" with perhaps a touch more heaviness from the guitars.  Trust me you won't mistake this for metal."Neo-Prophet is gone, long live Neo Prophet. If you read carefully you will see a real difference in the band's name. Precisely, the dash. It was probably intended to be funny of this prog rock band that is build with blocks of Rush, Asia and some Queensrÿche. After several line-up changes in this Belgian band, led by singer / founder Hans Six, they continued their existence and T.I.M.E. is the first fact of it. It sounds fresh and carries a clear sound, and the slight accent is Six forgiven. The charm of this issue was granted to the Italian colleagues of Kezia but Neo Prophet is a close second. Very well cared for release, both in sound and design. The addition of two Quantum Fantasy members on keyboards and guitar has paid off. Good to hear a song like 'The Pendulum Swing’ and the concluding triptych 'Orchestral Death' is impressive. On to the next one mannekes!" - Lords Of Metal
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  • The band's first album from 1974. At this point in time the music was this miasa of progressive rock and blues jams held together with pure emotion and raw energy. This one definitely needed to be cleaned up on CD since the original vinyl pressing was terrible.
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  • "With a mighty thunder and shout one of the most anticipated albums of 2011 is upon us, that would be Theocracy’s latest album entitled As the World Bleeds. Taking the seeds that were spread across the bands two previous albums As the World Bleeds is that previous work come to fruition.The song writing is world class through out with fabulous arrangements that bring subtlety to the forefront. Opening with an 11 minute track (I Am) isn’t always advised but Theocracy pulls it off building to a crashing crescendo. Epic choruses which have become their trademark are arranged with precision and executed flawlessly.What I love about Theocracy is that their arrangements are memorable and are a stark contrast to the extreme vocals heard in so many of today’s metal acts. Some reviewers have compared them to Dream Theater, but I find a comparison with Stratovarius is must more compelling.Even though the musical territory on As the World Bleeds is similar to their previous release Mirror of Souls, the band just feels must more comfortable. Safe in their own skin as it were, one of the elements this time that was not apparent in the prior releases is the quality of the guitar solos. Many of the tracks benefit from a scorching solo that wouldn’t have appeared before. Let it made clear that the solos don’t occur at the expense of the songs, there isn’t a sense of ridiculous noodling.Power house tracks like Nailed, The Master Story Teller and Altar to an Unknown God are all top drawer compositions which are indicative of the release as a whole. Lyrics, riffs, melodies, performances are world class and deserve the accolades they receive.The production elements are of the highest caliber as the sound of the instruments and vocals are clearly defined. Listening to the lush composition The Gift of Music is an epic arrangement that sounds fabulous. The package of songwriting, arrangements and performance is in the upper eschelon.Having said all this I simply don’t want to over hype this album. This is a top 10 album for this year, but having read some of the negative thoughts all I’m gonna say is if you don’t care European flavored Power Metal with touches of progressive whimsy, you might want to pass on this and grab Terraphobia’s latest (a great album in it’s own right!).However if you want soaring melodies with clean vocals, great guitar work, epic choruses and powerful heavy metal make sure you grab As the World Bleeds. A big thumbs up!!" - White Throne Metal Reviews
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  • "Code of Silence is the creation of Paul Logue, founder and bass player of Eden’s Curse, and friend James Murray. These two Scotsman had the idea to create a new melodic heavy metal band composed mostly of their country men. It almost worked out for them, three out of five ain't bad.Logue wrote the music and Murray contributed the lyrical themes (based upon history and legend of the Knights Templar), but also plays bass. They got Scots John Clelland and Scott McLean to play drums and keyboards, respectively. The two also pitched in on some songwriting. Logue and Murray turned to England for guitar, recruiting young prodigy Ben Randall, and to Brazil for the experience of vocalist Gus Monsanto (Revolution Renaissance, Takara, Adagio).The result is a rather stellar Dark Skies Over Babylon, 11 songs of classic melodic heavy/power metal. If you like the sound and direction of Eden's Curse, then Code of Silence will be right in your comfort zone. In other words, there's a perfect combination of heaviness, melody, hooks, and rock groove. Along side these things is very strong song composition, artfully merging the arrangement with every instrument. You'll hear these strengths the notable songs Dark Skies Over Babylon, Black Abyss, and Here to Heaven. For the some of that aforementioned hearty hooks and groove look to Sky Is Falling Down and Witches of November. Alternatively, Tame the Tempest may also have some slight prog metal nuances and Knights of the Crimson Cross delivers straight power metal. Fundamentally then, Dark Skies Over Babylon is a well-crafted and entertaining record of traditional melodic metal. Quite recommended." - Dangerdog.com
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  • "Danish legends PRETTY MAIDS never achieved the success they rightfully deserve. They have been releasing amazing material since their inception in 1981. Their catalog is incredibly consistent and jaw dropping. Their records “Red Hot and Heavy”, “Future World” and 2010s “Pandemonium” ranks up there with some of the best material of the last 30 years in Rock and Metal. Their latest record “Motherland”, released through Italy’s Frontiers Records is another heavy melodic masterpiece.2010s release “Pandemonium” was such an amazing record that the thought of following it up was a concern not only for the band but fans and critics alike. Everyone can breathe a sigh of relief as they have done it again as “Motherland” captures PRETTY MAIDS at their best. Like all PRETTY MAIDS releases the songwriting is outstanding and every song is remarkably strong.Ronnie Atkins is an amazing soulful singer who seems to get better with age. His unique blend of melody and raspiness is unmatched and his voice is one of a kind. Founding guitarist Ken Hammer blends acrobatic guitar playing with a sense of melody that fits his songs brilliantly and is another unsung hero that can play with precision and emotion.Jacob Hansen’s production is crisp and jumps off the speakers. Returning to work with the band after the success of 2010s “Pandemonium” shows the partnership still is the perfect pairing. The mix is layered, separated and Hansen is quickly becoming the go to producer in Rock and Metal.First single “Mother of All Lies”, “Why So Serious?” and the title track show the band perfecting their heavier side. The title track is an up-tempo pounder that grooves, crushes and the chorus is pure perfection. The keyboards incorporate a subtle arpeggio sequence that backs Atkins as he sings a melody that is infectious. “Why So Serious?” is a haunting captivating chugger that blends melody with syncopated riffing, the biggest headbanger on the record.While “Sad to See You Suffer”, “Bullet For You” and the excellent “Wasted” is the perfect counterbalance and shows off their melodic essence. “Bullet For You” showcases a tender Atkins at his best. The harmonies are luscious and fill out the vocals beautifully. “Wasted” closes the record and does an excellent job of blending Morten Sandager’s keyboard playing into the songwriting. Again, the melodies dominate and paint the perfect landscape. All of these songs have amazing choruses that will stick in your head long after the record is over. Ever since their cover of John Sykes “Please Don’t Leave Me”; Pretty Maids are destined to play the rock ballad. They nail it.30 years into their career, “Motherland” finds PRETTY MAIDS unbelievably at their creative peak. Not too many bands are writing some of their strongest material thirteen albums into their career. Surprisingly on par with the fantastic “Pandemonium”, it is time for PRETTY MAIDS to be catapulted into the spotlight and be rewarded for their remarkable career. Let's hope that they have another thirteen albums left in them to compose because they have found their creative groove. “Motherland” contains all of the attributes that make PRETTY MAIDS outstanding. I can only hope that now is the time for them to launch a proper North American tour." - Metal Temple
    $16.00