Legion

SKU: 191922
Label:
Roadrunner Records
Category:
Death Metal
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"This onslaught of ever-shifting double-bass and extreme guitar riffing is considered by many to be an essential (if not the premier) example of Deicide's world-class death metal. While bassist/vocalist and bandleader Glen Benton never accepted the categorization, his band helped define the early '90s death movement with their somewhat complicated, ultra-heavy music and low, growling vocals. Legion stands out as a musically complex but familiar offering from the band. Live favorite "Trifixion" is indeed one of the better cuts from the release, but it's easier to consider this disc (and most records like it) as a whole. Deicide's compositions and performances are solid and serious throughout, but Benton's outspoken anti-Christian beliefs and admitted Satanism are what first brought the group attention, and what ultimately separated them from secondary contributors to the genre. This radical philosophy is stated emphatically within the lyrics of Legion -- just in case fans weren't paying attention to interviews and onstage rants. Listeners who admire death and extreme metal in all its forms are generally aware of Deicide's abilities and outspoken antisocial beliefs, so newer death metal fans will do well to start off their collection with Legion." - Allmusic Guide

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  • Latest from this fine French band. Nemo is led by guitarist JP Louveton who is also the lead singer. Barbares features all long tracks including the 26 minute title piece. The music of Nemo is quite dynamic. Louveton is a fine player with has a bit of John Petrucci in him. His instrumental foil is keyboardist Guillaume Fontaine who takes a more symphonic approach to his playing. While there is more than enough flash he tends to emphasize textures over blazing fast solo runs. For some reason Louveton has a reluctance to sing in English. If could get over this the band might be able to expand their following on a much broader level. Highly recommended.
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  • 2LP vinyl edition arrives comes with a CD of the album as well. FOREIGN CUSTOMERS PLEASE NOTE THAT YOU WILL BE SUBJECT TO ADDITIONAL SHIPPING CHARGES DUE TO THE HEAVIER WEIGHT OF THE VINYL EDITION."‘Map of the Past‘, the fifth studio album from Cumbrian prog rockers It Bites, will most likely inhabit a strange, disturbing place in your heart. It’s a release that is obscurely beautiful and tender, but also one that can occasionally sound incongruous and lost in time. Very often, when it comes to progressive music, people will often justify anything odd by defending it with its genre. In the case of It Bites, there is a temptation to lean on a sound from their 80s heyday, which occasionally makes ‘Map of the Past’ seem staid and not just a little cheesy.In places this album is a wonderful, soaring retrospect vision of a forgotten generation, built around the ‘discovery of an old family photograph’. Although not a concept album per se, ‘Map of the Past’ explores the idea of lives captured within photographs, and reflects these contemplative visions with equally thoughtful music; album opener, ‘Man In the Photograph’ opens with the fuzz of radio static and soon leads into sound of organs and John Mitchell’s recollections borne from this one picture. The song blends into the more progressive sounding fare of ‘Wallflower‘ and its indulgent synth solo. The title track is more engaging, with soaring chorus vocals and disorientating time signatures, showcasing the tight musicianship and richly mature songwriting ability that has grown from their 30 years of existence.The strength of this album falters with ‘Flag’ and its irrepressibly outdated smattering of 80s memorabilia and Sting powered vocal lines, although the lyrics are undoubtedly more engaging than any Police offshoot. The album does have a tendency to wander into these unpalatable territories, but more than often than not redeems itself; as the grandiose, irresistible flounce of ‘Send No Flowers‘ resurrects its orchestral bombast and moves into ‘Meadow and the Stream’s artistically detailed backdrop, it’s clear that this album is more rollercoaster than record. The album finishes, as it started, relying on simply constructed songs and that radio static to bookmark the end; ‘The Last Escape’ is honestly beautiful, and seems even more so in contrast to the tumult of the remainder of the record.‘Map of the Past’ shifts between temporal paradigms rather than changing between tracks; it’s a scintillating album that is honest to itself, and stays true to It Bites’ form, even if it does rely on sounds from their back backcatalogue occasionally. Despite this, the depth of the album is phenomenal and is genuinely rich in its storyline, with music that peaks and troughs fittingly. Well worth a listen if you find yourself pointed at the progosphere." - Bring The Noise
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  • 2LP 180 gram vinyl in gatefold sleeve.  Magenta's latest finds them returning to an overtly progressive rock sound and the music is all the better for it.  The Twenty Seven Club is a concept album based around famous rock stars that died at the age of 27 (Janis Joplin, Jim Morrison, Jimi Hedrix, Kurt Cobain, ao).  The core lineup is Rob Reed, Christina Booth, and Chris Fry.  For this album the band is rounded out by guest drummer Andy Edwards of IQ.  Reed's keyboard work is back in the fore and Fry's Howe-isms on guitar always bring a polish to the music (and grin on the face).  Christina Booth's voice is a real gift and she shines as always.  Overall the music makes some overt references to Yes and Genesis so you get that old school flavor that the band hasn't offered in many years.
    $39.00
  • HDCD remastered digipak with 3 bonus tracks."As the second long-player by the Grateful Dead, Anthem of the Sun (1968) pushed the limits of both the music as well as the medium. General dissatisfaction with their self-titled debut necessitated the search for a methodology to seamlessly juxtapose the more inspired segments of their live performances with the necessary conventions of a single LP. Since issuing their first album, the Dead welcomed lyricist Robert Hunter into the fold -- freeing the performing members to focus on the execution and taking the music to the next level. Another addition was second percussionist Mickey Hart, whose methodical timekeeping would become a staple in the Dead's ability to stop on the proverbial rhythmic dime. Likewise, Tom Constanten (keyboards) added an avant-garde twist to the proceedings with various sonic enhancements that were more akin to John Cage and Karlheinz Stockhausen than anything else coming from the burgeoning Bay Area music scene. Their extended family also began to incorporate folks like Dan Healy -- whose non-musical contributions and innovations ranged from concert PA amplification to meeting the technical challenges that the band presented off the road as well. On this record Healy's involvement cannot be overstated, as the band were essentially given carte blanche and simultaneous on-the-job training with regards to the ins and outs of the still unfamiliar recording process. The idea to create an aural pastiche from numerous sources -- often running simultaneously -- was a radical concept that allowed consumers worldwide to experience a simulated Dead performance firsthand. One significant pattern which began developing saw the band continuing to refine the same material that they were concurrently playing live night after night prior to entering the studio. The extended "That's It for the Other One" suite is nothing short of a psychedelic roller coaster. The wild ride weaves what begins as a typical song into several divergent performances -- taken from tapes of live shows -- ultimately returning to the home base upon occasion, presumably as a built-in reality check. Lyrically, Bob Weir (guitar/vocals) includes references to their 1967 pot bust ("...the heat came 'round and busted me for smiling on a cloudy day") as well as the band's spiritual figurehead Neal Cassidy ("...there was Cowboy Neal at the wheel on a bus to never ever land"). Although this version smokes from tip to smouldering tail, the piece truly developed a persona all its own and became a rip-roaring monster in concert. The tracks "New Potato Caboose" and Weir's admittedly autobiographically titled "Born Cross-Eyed" are fascinatingly intricate side trips that had developed organically during the extended work's on-stage performance life. "Alligator" is a no-nonsense Ron "Pigpen" McKernan workout that motors the second extended sonic collage on Anthem of the Sun. His straight-ahead driving blues ethos careens headlong into the Dead's innate improvisational psychedelia. The results are uniformly brilliant as the band thrash and churn behind his rock-solid lead vocals. Musically, the Dead's instrumental excursions wind in and out of the primary theme, ultimately ending up in the equally frenetic "Caution (Do Not Stop on Tracks)." Although the uninitiated might find the album unnervingly difficult to follow, it obliterated the pretension of the post-Sgt. Pepper's "concept album" while reinventing the musical parameters of the 12" LP medium. [The expanded and remastered edition included in the Golden Road (1965-1973) (2001) box set contains a live performance from August 23, 1968, at the Shrine in Los Angeles. This miniset features an incendiary medley of "Alligator" and "Caution (Do Not Stop on Tracks)" concluding with over four minutes of electronic feedback.]" - Allmusic Guide
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  • Originally released in 1990, this is Realm's second album. Gold disc reissue feature 24 bit remastering, a bonus track - a cover of King Crimson's "One More Red Nightmare", as well as liner notes from Takis Kinis. This digipak reissue is a hand numbered edition of 2000 copies.
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  • "Since the early days of Sonic Pulsar, Portugal's Hugo Flores's output has been prolific and impressive - and Factory Of Dreams is his latest project.Designed to counterpoint the complexity of his Project Creation music, Factory Of Dreams is - by comparison - more straightforward and approachable, less creative and experimental, and it's song-oriented instead of a sweeping concept piece.Poles should find a wide audience as it slots neatly into the genre originally created by The Gathering, and since enriched by luminaries such as Within Temptation, Nightwish, Edenbridge, Lacuna Coil, After Forever, and Epica - et al. It is goth metal, though the 'metal' label is used lightly, fronted by the rich soprano of Sweden's Jessica Lehto. But unlike its genre-mates, Factory Of Dreams isn't a band - it's a 2-person project, an Internet collaboration, with vocals and many arrangements provided by Jessica while multi-instrumentalist Flores provides the rest. Consequently, there's a fair amount of variety from track to track, though the dynamics and the energy - and the synth percussion - are consistent, and some might accuse each song of sounding somewhat similar to the next.Although it isn't a concept piece in the sense of the complicated Project Creation story, Flores remains close to his sci-fi story roots with this one. The theme here revolves around a place on some distant planet comprising two lands called Poles, separated by a river, divided by good and evil - or "positiveness and negativeness". This world is ruled by a "Generator Of Illusions", hence the Factory of Dreams title. It gets more complex, and hints tenuously at modern society's inclination to ingest what we're told as the absolute truth. That may sound somewhat over the top, but the theme does add a layer of sophistication to the record."Electric Boom" is a guitar-led piece, and showcases Flores's virtuosity on his primary instrument - rich guitar work underscored by a fat fretless bass, and only a few brief lines sung by Jessica. "Air Powerplant" is a standout - one of the simpler tracks, yet the tempo changes from elegant piano work to a huge metallic wall of sound, and with Jessica slipping in and out of an operatic style, it has an appeal of its own. "The Piano In The Sea" is another soft ballad, with piano and electronica floating above that soothing songstress. Closing track "Crossing The Bridge To The Positive Pole" ends rather abruptly, leading you to check your CD player - because surely there ought to be another song?If you're a fan of the progressive goth format of a semi-operatic soprano contrasting dark atmospherics and power-chord driven bass-heavy hard-rock, Factory Of Dreams is not Poles apart from others in the genre - but it's a pleasing listen, and has a lot going for it." - Sea Of Tranquility
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  • "Gazpacho were formed in Oslo in 1996 by childhood friends Jon-Arne Vilbo and Thomas Andersen along with Jan-Henrik Ohme (later joined by Mikael Krømer, Lars Erik Asp and Kristian Torp) and released their debut album 'Bravo' in 2003. Signing to Kscope in 2010, the band released their sixth album Missa Atropos followed by the acclaimed March of Ghosts in 2012 and in 2014 the band released their album 'Demon' to worldwide critical acclaim. 'Night Of The Demon', is Gazpacho's first live CD and DVD release filmed when the band embarked upon the 'Demon' album tour in spring 2014. The band were aware that many countries were missing out on the tour and many fans across the world would be unable to attend so they brought in Dutch filmmaker Jon Vis to film their show in April at Boerderij in Zoetmeer in Holland. 'Night Of The Demon' captures the band as they are on stage and showcases band's raw and honest performance that will appeal to anyone with a taste for inventive and different music. The show saw Gazpacho playing songs from across their catalogue including track s from 'Tick Tock', 'Night', 'Missa Atropos', 2005's 'Firebird', 'March Of Ghosts' and the majority of the songs from their recent 2014 album 'Demon. The audio CD features 9 tracks coming in at an impressive 80 minutes whilst the DVD features the full performance of 14 tracks and will be packaged as a 2 disc CD/DVD digipack with 24 page colour booklet."
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  • Now I've heard everything....Grave Digger's first album in two years is a concept work inspired by Richard Wagner's The Ring Of The Nibelungs.
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  • First time officially released (and from master tapes to boot) for this rare British proto-prog album from 1969. Harsh Reality never hit the big time and as a result their one album for Phillips goes for mega-bucks these days. Musically its actually not bad at all. I'm reminded a bit of Procol Harum and maybe even a little bit of Salamander (OK maybe only a little bit). Some nice organ sounds but the real stand out is vocalist Alan Greed who really should have gone on to a much bigger career. Nicely done Esoteric job with hyper detailed liner notes and photos and 4 bonus tracks.
    $5.00
  • "1984 was a successful record not only because it contained solid, catchy hard rock, but also because it incorporated synthesizers into the mix, the first metal album to do so to any serious extent. Although the advances in electronic music make this material sound dated now, it's still a highlight of Van Halen's career. Songs like "Jump" contain a pop element that gave 1984 mainstream appeal, and David Lee Roth turned the frontman role into an art form on songs such as "Panama," "Hot for Teacher," "Drop Dead Legs," and "I'll Wait." To a large extent, it was 1984 that set the standard for '80s pop metal, and David Lee Roth who set the standard (or takes the blame, depending on your point of view) for the aggressively good-time attitude most pop-metal bands took for their own." --Genevieve WilliamsRemastered edition.
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  • Budget price but nicely slipcased 2CD set from this superb acoustic progressive band from Netherlands.  Set includes "Variaties Op Een Dame" and "Gevecht Meet De Engel""The Year 1978 , one of the most productive years of Progressive music in Europe . Specially in Italy , Netherlands , France , Germany ,Greece & Belgium . During my trips to these countries , i've discovered bands like Sensation's Fix , Machiavel , Parzival , Can , New Trolls , PFM , Banco , le Orme , PLJ band , and so many others . Surely i had also the first album released by Flairck in 1978 by hazard , from amsterdam airport , i really liked the sleeve cover first , THEN , back to Lebanon the same day , had a special flavour in my life . This album was & still the best progressive work i've ever heard in 40 years . I have no words to describe such beauty , except it was the first & the last interresting & excellent work by Flairck . Still i'm not disappointed by some of their works during 30 years . This instrumental album full of harmonies & new musical inspirations is a must for all proggers , it contains maybe the first trips in fusion between Classical / jazz / rock / blues & folk . Varieties is a real complete journey between these genres of music in a perfect globe . Tracks are all amazing , they have the same value , and i can't skip anyone . Erik Vesser was really accurate in selecting these songs , specially Variations on a lady (21 minutes) & Voorspel in Sofia , these two tracks are amazing & adorable , it's a progressive rock music played by essential classical equipments . this album took more than two years in the making , but got a perfect recognition all over Europe , specially in France / Belgium / Italy / , and went Platinium in Netherlands . So , if you haven't discover this magnificient Dutch band yet dear proggers , this is the right place to start with Flairck ( Variations on a lady ) 5 Stars for musicianship , 5 stars for all songs included , 5 stars for the technic used in combining Classical - Folk - blues - jazz & rock , and 5 stars for the sleeve cover . One of my best 10 albums ever , and a Masterpiece of progressive music , suit yourselves and Enjoy this wonderful piece of art . Highly Recommended " - ProgArchives"I'm not too much of a folk fan but this band from Holland has always been at the top of my folk charts. Their ambitious compositions and instrumental craftsmanship have a drive and timeless quality that could charm folkies, lovers of classical music and progrock fans alike. Next to the brothers Visser on acoustic guitars and Peter Weekers on flutes, the band is completed with Sylvia Houtzager on violin. Her name translates to 'Sawyer' in English so playing the violin must have been her born destination. The band would continue to perform in that line-up throughout the 80's.Gevecht Met De Engel is Flairck's strongest studio offering and can successfully claim not to have one wrong or misplaced note for its entire 44 minutes of dazzling virtuosity. Each part radiates with playing pleasure, regardless whether it's melancholic and quiet or fast and cheerful. One of the secrets is the perfect interplay between all members. The leading instrument is the acoustic guitar, complemented by dazzling bass guitar and an array of flutes and violin. The arrangements have plenty of breathing space though and never get overcrowded nor bombastic.While it's difficult to point out any particular standout piece, the main focus of the album is on its 3-part title track, a 23 minute tornado raging through European folk music, ranging from Spanish, Celtic and Eastern European traditions. It's particularly essential as it doesn't feature on any of the official Flairck live albums. If you want to hear it then it will have to be here.Gevecht Met De Engel is probably one of the best acoustic folk albums ever made. Given its impressive compositions it's nothing short of essential in any prog rock collection. So it's particularly distressing having only one other reviewer on this page joining me in my praise for this masterpiece." - ProgArchives[[{"type":"media","view_mode":"media_large","fid":"12269","attributes":{"alt":"","class":"media-image","height":"200","width":"200"}}]][[{"type":"media","view_mode":"media_large","fid":"12270","attributes":{"alt":"","class":"media-image","height":"202","width":"200"}}]]
    $14.00
  • "As suggested by its title, 'II' is the second album by multi-national band Corvus Stone. They continue with their merry blend of various musical influences, for an explosive cocktail of colours and sounds. Drummer Robert Wolff is now an official member of the band, while vocal duties were shared between several recording artists of Nick Katona's label, Melodic Revolution Records (later shortened in MRR). Sonia Mota, the biggest David Bowie fan on earth, was involved again for the artwork, as enchanting as on the first album.As announced in preamble of this review, this album is a festival of musical sounds, as diverse as the origin of the musicians involved. While music in general is in the field of progressive rock, it's easy to notice that the band doesn't care about labels. Progressive rock is a means to sublimate their influences rather than an end in itself. Therefore, you will hear pop (the baroque echoes of the harpsicord in the opener with beatlesque vocal harmonies, the pastoral accents of "Eternal universe"). Other popular forms of music are also represented. Let's start with blues-rock. First with the cover of Murky Red's "Boots for hire", where the virile voice is provided by none other than Murky Red's frontman, Stef Flaming, yet in a context slightly different from the original version, through its spacey keys and arabesques. Then, the blues influence is also obvious in the languid "Mystery man", with its eerie keys and reminiscences of The Beatles' "I want you (she's so heavy)" in the closing section. Rock'n'roll is there as well with the hellish "Purple stone" and a short wink to Deep Purple's "Highway star". Folk music, highlighted by the use of finnish in the lyrics ("Campfire"), has also its place in this monumental album. On the other hand, "Uncle Schunkle" with its groovy rhythms and its vintage hammond, recalls the golden age of jazz-funk. And obviously, since Corvus Stone are regarded as a progressive rock act, the instrumental "A stoned crow meets the rusty Wolff" is a piece that goes in this direction, with many rhythm changes and colourful keys. The title of the song is a pun on the drummer's name but might also be a reference to Happy The Man's humorous piece "Stumpy Meets the Firecracker in Stencil Forest". Besides those influences, some dances are honoured throughout the record: salsa ("Scandinavians in Mexico"), cha cha cha ("Mr Cha Cha"), waltz ("Early morning call" with echoes of Stranglers' "Golden Brown"), bolero ("Camelus bactrianus"), flamenco (Colin's guitar opening to some tracks). Moreover, some neo-classical interludes intersperse the album, be it in a mozartian way ("Lisa has a cigar"), or romantic fashion ("Dark Tower"). More surprising is the pastoral symphony in four movements "Moaning Lisa" (two movements in the tradition of british songs of the elisabethan era, separated by a mouth organ-lead boiling instrumental movement, and a final waltz closing the symphony).Besides the lack of interest for any specific label, the band deals with a lot of humour, never grotesque, always delivered with profesionalism. This is made possible thanks to a wide range of keyboard sounds and versatile guitar soloing, among other factors. In fact, keyboard sounds are very diverse, ubiquitous and tasty. While guitar gently weeps with touching short spastic licks, it can also turn aerial, fiery or even delve in a classical spanish realm as seen before. The presence of drummer Robert Wolff on all tracks is an improvement over the previous album. In fact, his play blends the elegance of Barriemore Barlow and the punch of John Bonham, and is instrumental in the support of the music's humorous and eclectic flavours. Vocals are diverse this time, as singers from several MRR acts were invited for the project. Blake Carpenter's high-pitch and sense of derision is tempered by more seriously delivered vocals from his mates of MRR, the whole adding to the versatility of the work.Corvus Stone are a band that don't take themselves seriously, and this aspect should be taken into account when reviewing their works. Thanks to their experience in music, a great musicianship and a sense of humour, they deliver a music that is heartfelt, not dictated by any trend of the moment, and that will put a smile on your face and certainly make your day." - ProgArchives
    $12.00