Mekanik Kommandoh

SKU: AKTX
Label:
Seventh
Category:
Progressive Rock
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Christian Vander has been opening up the tape vaults releasing some prime (and some not so prime) Magma material. Mekanik Kommandoh is the previously unreleased original version of Mekanik Destruktiw Kommandoh which was rejected by their record label.

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  • The second album to feature Al DiMeola and the forerunner to their ultimate masterpiece, Romantic Warrior. With DiMeola on board the music seemed to move slightly more into the rock world but it's core is pure fusion. Highest recommendation.
    $12.00
  • "Brilliant release confirming the 90's kings of Prog! "Flower Power" is a 2 CD set of epic proportions. CD1 basically runs as 1 long track which contains some of The FLOWER KINGS' most diverse and powerful pieces ever recorded! Epic track,"Garden Of Dreams" runs 59Mins in length and builds in emotion and intensity until the most beautiful, symphonic climax in unleashed upon the listener. The final 10 mins of the track contains in my opinion the FLOWER KINGS's highest moment ever recorded. This long track moves so cleverly in atmospheres, moods and emotions that the listener will not be tired throughout at all (a real trick to pull off for such a long track!). "Flower Power" contains the classic FLOWER KINGS lineup (Bodin, Stolt, Salazar...) who sound even better than ever!. There is no question about Roine's guitar talents and "Flower Power" gives him loads of room to play his guts-out which he does with that unmistakeable Stolt - emotion. CD2 builds nicely off the 1st CD in many ways and compliments the overall theme. "Flower Power" contains lots of real FLOWER KINGS classic progressive rock moments which will please all prog heads out there in prog land. Recommended with the highest regard!" - ProgArchives
    $12.00
  • Third album from this fine Polish prog band finds them stepping up their game even further. Believe is led by former Collage/Satellite guitarist Mirek Gil. Those bands had a decidedly symphonic sound, but with Believe a more modern sound is achieved, moving the band more in the direction of bands like Riverside. One of the key elements of the band is the use of violin and flute, adding a classical dimension and a nice counterpoint to Gil's Gilmour-esque guitar lines. Oh yeah - there is a new vocalist in place. His name is Karol Wróblewski and he's great. His expressiveness reminds me a bit of Mariusz Duda. This is the limited edition digipak that comes with one bonus track. How limited? I don't know but experience with Metal Mind tells me that eventually it will be gone....
    $15.00
  • "Formed in 2008 under the (thankfully dropped) name Rightdoor, Within silence are a melodic power metal band in the vein of Blind Guardian. As such you can expect huge swathes of guitar, souring vocals and banks of keyboards all vying for space amidst the pounding rhythms and heroic soloing. Growing steadily, the band have taken their time to draft their debut offering, the gleaming ‘gallery of life’, and it appears that it has been time well spent because the rehearsals, the time spent writing and then honing material on the road with the likes of Blaze Bayley has paid off with this confident and powerful album.Opening with a short, choral ‘intro’, ‘gallery of life’ immediately sets out its stall as an ambitious body of work designed to be heard as one contiguous piece. The intro builds nicely to the powerful guitars of ‘silent desire’. A perfect opening song, ‘silent desire’ immediately highlights the fact this is a production that oozes quality. The guitars are razor sharp, the choruses soar memorably and the playing is ultra-precise. It shows that Within Silence will settle for nothing less than perfection and there’s a sparkling ambition here that is impossible to ignore. ‘Emptiness of night’ is a fast-paced rocker with blazing guitars and a full-on vocal performance that is both powerful and brimming with confidence. There’s a strong Iron Maiden influence underpinning the cracking pace and guitar work, and it’s clear that the band have nothing less than world domination in their sights. Keeping the energy levels high, ‘Elegy of doom’ is another taut rocker with a rampaging riff and just the right amount of keyboard to add atmosphere without overpowering the song. It’s an early highlight of the record and make no mistake, within silence are a band who like to rock! It’s a trend that continues on the equally stunning, ‘The last drop of blood’, a full-on belter of a track that sounds like the band channelling Metallica, Maiden and Judas Priest all at once. It’s one of those adrenalin packed tracks that will get the blood pumping no matter what, and it must surely be a live favourite with its brutal riffs and memorable chorus. The track reaches its peak, however, with the excellent extended solo that runs wild over the second half of the song. Showing a lighter touch, ‘Love is blind’ keeps the energy levels maxed out but offers up a more pop-infused side of the band than found elsewhere, and whilst it still remains on the metallic side of the musical spectrum, it shows that Within silence have both the talent and confidence to fully explore their genre.The band briefly slow their pace for the more subtle opening strains of ‘anger and sorrow’, although the song does not take long to explode into a typically multi-stranded beast complete with extended solos and deft changes. Representing Within Silence at their most commercial sounding, ‘Judgement day’ is the sort of rollicking heavy metal ride that would have been all over the radio back in the eighties. Powerful and driven by a chorus that is only slightly less addictive than crack, ‘judgement day’ is a beast of a track. Next up, pounding drums lead us into ‘the world of slavery’, a song with a strong folk influence. Another track that benefits from some stunning guitar work, ‘the world of slavery’ is a metal epic that only gets better with repeated listens. The album concludes with ‘road to paradise’ which dips into ‘seventh son…’ era Maiden for inspiration. Another epic length track, it is a last chance for the musicians to spread their wings and soar, something which they duly do in impressive fashion. A short ‘outro’ sees the disc spin to a halt with choral voices echoing in the dark. It is a suitably dramatic ending for a CD that takes the listener on a wonderful journey from start to finish.Power metal can be, all too often, a genre where the keyboard elements overshadow the metallic elements. Thankfully, Within Silence, perhaps because of their lengthy time spent out on the road, keep their sound hard-edged throughout and the result is an album that packs a similar punch to the classic Maiden albums of the early eighties. There are crunchy riffs galore, endless solos and the sort of huge, soaring choruses that have made Blind Guardian such a powerful force. Talented, oozing confidence and with a wonderfully powerful set of songs, Within Silence have arrived and metal fans had best sit up and take notice, because these guys have the skill and the burning ambition to go far." - Sonic Abuse
    $14.00
  • A tightly woven matrix of extreme progressive metal underscores a desolate vision of a future gone awry...Zero Hour are the cutting edge of intricate progressive metal. Their influences range from the dark brooding power of Fates Warning to the technicality of Spiral Architect. The band features twin brothers Jasun and Troy Tipton on guitars and bass, drummer Mike Guy, and vocalist Erik Rosvold. A self-financed first release by the band was produced by Dino Alden (Marty Friedman, Mordred, Imagika). With limited distribution the band was able to sell over 2,000 copies on their own all based on word of mouth via the Internet as well as fantastic reviews in major metal magazines around the world.Returning to the studio with Alden the band has now produced "The Towers Of Avarice", a conceptual work that conjures a bleak vision of the future. The story tells the tale of two societies one above ground obsessed with consumption and the restless slaves living underground that are under their control. The band has intensified their already intricate sound by eschewing longwinded solos in exchange for complexity and power. Guitar and bass interlock seamlessly only to be interrupted by a staccato assault of crushing guitar riffs and soaring vocals. Rosvold is a truly gifted singer, often compared to Ronnie James Dio and John Arch. He grabs the spotlight with his angst ridden vocals, conveying all the drama that unfolds in the tale. This truly is a future classic of complex progressive metal.The album features surrealist artwork and graphic design by Travis Smith.
    $13.00
  • Beautiful second album from this Greek symphonic rock band fronted by the etherial vocals of Evangelia Kozoni.  Ciccada is a quartet but this time around they are augmented by a number of musicians including Johan Brand of Anglagard.  Mellotron not withstanding the music has a very strong folk component.  Given the lead instrumentation blend of flute, guitar, and keys I'm often reminded of the first White Willow album "Ignis Fatuus" but if you wanted to throw in a comparison to Tull's "Thick As A Brick" I guess I wouldn't argue. What the hell - let's throw in all those obscure British female fronte folk bands of the 70s.  You know who I'm talking about.    Heavyweight gatefold sleeve.  Highly recommended.
    $29.00
  • New 2CD edition includes both Home and NY Suite resequenced into their originally intended order. Comes with a slipcase.
    $18.00
  • "This album collects the trilogy of Concerto Grosso: the first known "Concert Grosso for New Trolls", first released in 1971, "Concerto Grosso No. 2", first released in 1976, and the recent "Concerto Grosso # 3", from 2013 - all composed by maestro Luis Enriquez Bacalov.The band is formed by the four historical elements of New Trolls (editor's note: who, apparently, are not allowed to actually CALL themselves New Trolls....): Gianni Belleno, Giorgio D'Adamo, Vittorio De Scalzi and Nico Di Palo.A more than 40 years since the first Concerto Grosso, this CD becomes a collector's item for all lovers of New Trolls music and a perfect gift for all lovers of Baroque music."
    $18.00
  • 6CD remastered box set containing the band's first six cassette releases.  This also comes with new liner notes, photos, and memorabilia in a 40 page book.
    $55.00
  • "A Hauntingly Beautiful and Dark Sophomore Effort. Get it before the darkness comes...Anais Nin said "we don't see things as they are, we see them as we are".That is the absolute truth - in life and in great art, literature, and music. It speaks to you in a deeply personal way. The artist's specific intent, the story behind the story, matters not. What does matter is that when you interact with what the artist has wrought, you feel something. You feel as if it was created especially for you, about you, your life, your life experience. It speaks to you. It makes you stop in your tracks and forces you pay attention. It touches something deep in your soul."The Final Breath Before November" is that album. Edison's Children is that artist. Artists is more accurate. This masterwork showcases vocalists and multi-instrumentalists and Eric Blackwood and Pete Trewavas, drummer Henry Rogers, and backing vocalist Wendy Farrell-Pastore, who also designed the release's haunting artwork. The album was mixed by a virtual Who's Who of Progressive Rock including King Crimson's Jakko Jakszyk, Marillion's Mike Hunter, It Bites' John Mitchell, Robin Boult, and Pete Trewavas.Yes. It is a ghost story. But, that is the most simplistic view of what it is.It is a love story. It illustrates the power of love. It drives us to do crazy things. It endures after death. It endures across time and space. It reminds us that people never really leave you. They linger in the ether, in your heart, in your mind. Their essence stays behind to watch over you.It is also a cautionary tale. It is a warning not to act harshly or rashly. Don't do things that you can not come back from. Don't make mistakes you can not fix. Once things have been done (or said), you can never take them back. You can never get back to the place where you once were. You can never go home again. No matter how much you want to. No matter how hard you try. You just can't.It is a reminder that we have to let go of the pain, hurt, anger, regret and whatever else we have pent up inside ourselves. If we don't let go of all those things, we become stuck and can't move on. We remain in the same place all of our lives. The same physical place. The same emotional place. The same spiritual place. Stuck. Never growing. Never changing. Never becoming who or what we were supposed to be. We remain a shadow of ourselves, forever trapped in a darkness of our own making.It is a reminder that we have to face our demons. They will come at us over and over again until we do. If we don't, they will be back and they will try to pull us down to even darker places. Over and over again. We will be stuck in the mire for our lifetime, for eternity if we don't.What this album says to me is that love is a powerful thing. The most powerful thing in the Universe. But, in the end, you have to let go of those you love. People change. People die. Relationships change. Relationships end. If you keep holding onto someone who is no longer with you, then you can't move on. Not until you let go. You can't be truly happy. You can't feel the sunshine. You can't walk into the light. You destined to live in a hell (or a purgatory) of your own creation. Unless you let go." - ProgArchives.com
    $12.00
  • "Fair to say their name is still as dislikeable as it was when we covered their excellent album Eight Pieces, One World album two years ago but musically the Belgian metallers still rock the juices out of us as proven by new encounter Odd Memories. Max Pie fills their third album with all the essences which made its predecessor a surprising and compelling proposition but it is with bigger and bolder imagination and creative energy. We are no major heavy/power metal fans here to be honest but once again Max Pie has given us one thumping and rousing time.The band was formed in 2005 by vocalist Tony Carlino taking inspirations from bands such as Symphony X, Van Halen, Toto, Queensrÿche, and Dream Theater into their emerging ideas. A slightly unstable time in personnel graced their early years before Max Pie released debut album Initial Process in 2012. Fan and critically acclaimed it was surpassed by Eight Pieces – One World a year later in presence, sound, and praise. Its release was followed by the band playing numerous festivals and undertaking tours with the likes of Symphony X, Evergrey, Fates Warning, Avantasia, and Queensrÿche. Now they return with, as the last album, the Simone Mularoni mixed and mastered Odd Memories and simply their finest, most inventive proposal yet.The album opens with its title track; an instrumental ripe with a foreboding atmosphere and epic textures all cinematically imposing on the imagination. This type of beginning is becoming a common practice across varied metal offerings but when done right, as here, it makes a potent invitation into any release. As the track slips into the following Age of Slavery, a sizzling electronic coaxing colludes with rampant riffs and a melodic embrace of keys. The thick commanding rhythms of drummer Sylvain Godenne shape and invigorate the track further, framing the growling vocals of Carlino perfectly. The frontman’s diverse delivery is as magnetic as ever, some elements more powerful and potent than others but like the music, a constant lure that likes to stretch and push both song and musician. As the guitar and keyboard craft of Damien Di Fresco builds and expands its enterprise, the track blossoms into a sturdy and fiery encounter to really kick things off.It is also, in many ways, a relatively straight forward and maybe expected proposal from the band, the new exploration showing itself more from Odd Future on. Keys breed the first mesmeric caress on the third track before guitars and the wonderfully dark throated bass of Lucas Boudina bring their hues to the emerging and stirring landscape of the encounter. Once vocals join, the song settles into a melodic roar and sonic flame of melodic and heavy rock ‘n’ roll, their union a heated and tenacious arousing of ears and thoughts veined by sparkling, and at times understated temptation from the keys. It is when things go off kilter with a glorious stretch of discord kissed invention and melodic bedlam that the song really comes alive and if there is any moan it does not play in this great moment long enough.Promised Land opens on a vivacious escapade of keys quickly encased in storming riffs and rhythms, it all quickly blooming into a virulently contagious slice of rock pop with classic metal and progressive rock hues. It has single running through its potent craft and lusty veins, every second of the track a bold and rousing incitement for body, voice, and emotions. Such its power and lure, it gives next up Love Hurts a hard time trying to follow it, and as mesmeric in melodic beauty within tempestuously emotional and physical terrain that it is, it never quite finds the same full-blooded personal reactions as its predecessor. It is undeniably superbly crafted and woven though and does leave only fully satisfied thoughts before the darker, ravenous excellence of Don’t Call My Name takes over. The guitars alone are predatory with their creative rummaging of the senses whilst the keys float with celestial temptation above them and the uncompromising rhythms spearing it all. Reaping the ripest elements of technical and progressive metal, band and track pulsate as they gnaw on ears, adding melodic and harmonic balm to the increasingly irresistible voracity on offer. With Carlino also on fine form, the track is the pinnacle of the album, reason alone to eagerly approach Odd Memories.The acoustically brewed Hold On slips in next to transfix and from a slow start to its persuasion grows into a big favourite. Whether by chance or intention, it has a Bowie-esque essence to it, a floating whisper in quieter moments which does it no harm. It is a scent soon out flamed by vocals and the sonic blaze giving the song rich crescendos and a breath-taking finale before Unchain Me takes the listener on another tumultuous ride of rugged metal and tantalising electronic adventure.No prizes in guessing some of the scenery within Cyber Junkie, its electronic and industrial endeavour a potent spicing to another song offering a compelling fusion of bestial metal and melodic flirtation, the former steering the ship with invigorating success. As Don’t Call My Name before it, the track is a masterful web of varied and diverse styles in one predacious provocateur, thoughts of bands from Anthrax to Armored Saint, Dream Theater to Skyharbor coming to mind across its exciting and again show stealing soundscape.The album is finished by The Fountain Of Youth, a song which either a raging storm of a canter or a gentle caress enthrals and sparks only the keenest attention and support from ears and emotions. Like a couple of other songs it takes longer to get all of its hooks inescapably entrenched but with its additional symphonic elegance and emotively hued strings, the song has seduced long before realisation notices.Wrapped in the excellent artwork of Didier Scohier, Odd Memories and indeed Max Pie have caught us again with a tempest of sound and invention driven by craft and passion. This time it is bigger, more adventurous, and confirming the band as one of progressive power metal’s finest." - The RingMaster Review
    $15.00
  • "With a shockingly tight performance and a handful of evil anthems, Glen Benton and company managed to craft a death metal classic with their eponymous debut. Taking their Satanism to a new level of seriousness, Benton was burning crosses into his forehead and desecrating churches to promote this album, something that didn't exactly endear them to the mainstream metal media. While similar (and even weaker) groups were getting hyped up as the leaders of the death metal underworld, this album struck a chord that would, for good or bad, instantly inspire legions of like-minded groups. The riffs are actually memorable, with insane blastbeat drums and an uncanny sense of timing guiding the songs as they charge through one by one. "Lunatic of God's Creation" may be one of the best death metal songs written in this period, taking all of these elements to their natural extreme and crafting an ugly Satanic epic. "Carnage in the Temple of the Damned" is a speed-happy chunk of blasphemy that borders on grindcore, while "Dead by Dawn" is another gem that survives on the creative riffing and horrible vocals. Benton's vocals are actually one of the main features, as his guttural growl is touched up by production tricks to sound absolutely hideous and tortured as he spews his Satanic nonsense. At the time it seemed quite evil, and the press surrounding him suggested that he was willingly possessed by demons that sang through him. On top of that, he also claimed that since he was the antithesis of Jesus Christ, that he would kill himself at the age of 32 to mimic Christ's death. Heady stuff for a death metal band, but even though the gimmick may have banished them from the cover of Hit Parader, it didn't take away from the effectiveness of the album. They would later go on to make questionable musical progress and strip away much of the brash suggestiveness of their image (for the record, Benton failed to commit suicide when he claimed he would), but before all of that they still managed to craft one truly great album in the death metal genre that will survive long after the gimmicks are gone." - Allmusic Guide
    $8.00
  • Masterfully played German fusion classic. Brilliant Moog-work and of course Mr. Doldinger. Essential.
    $13.00
  • "Swedish band, Brighteye Brison's roots date back to 2000. The band includes founding member, keyboardist, saxophonist, percussion and vocalist Linus Kåse and bassist, vocalist and fellow Stockholm Royal College of Music alum Kristofer Eng. Erik Hammarstrom provides drums. Guitarist Johan Öijen helped to complete the original band line-up. Following the release of their debut album, sound engineer, keyboardist and vocalist Per Hallman joined the band to add Hammond B3 and mellotron to the soundscape. Fioge Norling provides narration, and Daniel Kase adds marimba and tubular bells. In addition, the band's sound also includes the use of trumpet, mandolin, theremin, and xylophone to provide a rich and captivating soundscape which showcases their virtuoso talent.Brighteye Brison actually has a sound which originates more from a Flower Kings background, than any direct interpretation of Yes. Many fans of the TFK's have been yearning for a reunion and this album may provide some relief until that event culminates…if ever.I've added this band to my 'watch list'. Excellent music played by talented musicians with a sound that is full of orchestration and diverse instrumentation.1. The Rise of Brighteye Brison opens this spectacular symphonic, space, epic with full on keyboards that take me right back to a melody similar to the opening of Jethro Tull's "Black Sunday" on the "A" album. Then some cool mellotron accents coupled with drums adding to the advertised similarities to Yes' and other prog classics. A great foundation for a splendid twenty three minute epic. Harmony vocals are added to provide even more reminders of the Yes sound without sounding anything like a cover band. The vocals and keyboards are definitely the "bread and butter" for this band's sound and if you like both, this band will not disappoint. The guitar and bass work which enters later provides nuance and adds to the melody, but it's the keys that truly dazzle throughout. The drums are solid and the story and melody move along on a well-planned arc of consciousness. This twenty three minute journey of the mind is full of good lyrics and wonderful harmonies and music.The drum solo section provides a great showcase for Hammarstrom's talents. The sax solos teamed with mellotron add to the ambiance within this lush epic. The Conclusion section of the song brings back memories of the early "Phil Collins Era" of the band Genesis.Off to a fantastic start.2. The Magician's Cave opens with jazzy piano and drums accented with keyboard highlights, followed well with guitar, before lead vocals from the "Brave Knight", "Have you heard the tale of wonder? There's magic in the hills, that's why I'm going". The track then proceeds off on a "Middle Earth" – like journey, with narration, surrounded by piano that sounds inspired by some of the work on Genesis' famous "Lamb" album. The narration and musical theater which ensues is a great tip of the hat to the legendary writers of the past.The guitar solo which follows with bass support is one of the best guitar sections on the album. The addition of the percussion and sax provides mystery as this second, over twelve minute epic story weaves its tale.The choral singing and chanting surrounded by keys, mellotron, guitar and drums adds to the haunting sound that fills this track.3. Mind Fire Menace opens with keyboards, drums, bass and lead guitar before the singing begins. This is the shortest of the tracks but it is full of excellent keyboards, guitar, surrounding orchestration and drums." - Sea Of Tranquility
    $16.00