Mother's Ruin (2CD)

SKU: TRANS117
Label:
Transubstans Records
Category:
Hard Rock
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Mother's Ruin is the second album from the band formed from the ashes of Black Bonzo...and its a sprawling 2 disc set.  The agenda is the same - to recreate the sound of 70s hard rock.  The Swedes nail it in spades.  When the keys are out front you'll immediately think of Deep Purple and Uriah Heep.  The guitar driven songs are a bit more reminiscent of Humble Pie and Rolling Stones.  Vocalist Magnus Karnebro (ne Lindgren) is the perfect front man.  I'd love to hear from him more often.  If I didn't tell you otherwise I could easily convince you this album was recorded in 1974 (and I think that was the objective).

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  • "Chapter 1, the debut album from Level 10 is the first collaboration between vocal powerhouse Russell Allen (Symphony X, Adrenaline Mob) and bassist/producer/writer Mat Sinner (Primal Fear, Voodoo Circle) Frontiers President, Serafino Perugino initiated the duo to team up for the creation of a new Metal project which could melt the more contemporary sound of Adrenaline Mob with the more traditional European Power Metal melody and aggression.Sinner enlisted his Primal Fear/Voodoo Circle bandmates Randy Black (on drums) and Alex Beyrodt (on guitar) and Roland Grapow (ex Helloween, MasterPlan, Serious Black) and Alessandro Del Vecchio (Hardline, Voodoo Circle) to complete the lineup on lead guitar and keyboards respectively. On the songwriting side – besides the band members – the album features the songwriting talents of Magnus Karlsson, Carsten Schulz, Ralf Scheepers, Johann Fiegl, Sander Gommans and Amanda Somerville.For those fans of Russell Allen who were expecting Symphony X, you will be slightly disappointed, aside from Allen’s trademark pipes, there is not much here resemble Symphony X’s brand of neo-classical prog metal. By the same token, those fans of Allen who fear the agro-vocals and Godsmack-esque brand of “modern heavy rock”, can breathe easy, as the music on Chapter One leans closer to Euro power metal than mainstream hard rock.The album opener, Cry No More kicks off with a vengeance, with a guitar riff that would sound at home on one of Voodoo Circle albums. Allen’s vocals are powerful during the verses and soar on the multi-harmony chorus. Del Vecchio adds a 70’s moog synth sound on the keys and Black pounds the drums mercilessly. There is a crunchy, heavy groove on the mid-tempo Soul of the Warrior, featuring stellar vocal work on the chorus and a catchy as hell chorus. The tempo picks up with an 80’s sounding rocker with a driving beat, heavy chugging guitar rhythms, and Allen sounding aggressive while still maintaining his trademark melodic voice. The chorus features another killer multi-harmony vocal and Beyrodt and Grapow get to flex their muscles during the harmony guitar solo.The album takes a more AOR tone on the heavy rock anthem One Way Street, which has a 70’s Bad Company meets Motley Crue’s Dr. Feelgood feel to it. Randy Black’s percussion skills are on center stage, showing why Black is one of the most versatile drummers in power metal today. The albums first single titled Blasphemy has the symphonic bombast of European power metal and Allen’s voice is at it’s most evil sounding during the vocals and shows off his upper register during the chorus.Last Man On Earth is another hard rock song with a great hook and sing-a-long chorus, which does get a little repetitive after a few listens but I guess that’s what why they call it a hook! Scream And Shout is another old school power mental anthem straight out of the 80’s with it’s, for lack of a better word, *shout* a-long chorus. The guitar harmonies and shredding solo section blend in perfectly and Black’s double bass drumming drives the song once again.Allen flexes his vocal muscles on the mid-tempo rock of Into The Wilderness, using his upper register as only he can. The song itself isn’t as memorable as some of the other material on the album save for the chorus, which has some fine harmony vocal work. The requisite piano power ballad All Is Gone is a fitting showcase for Russell Allen’s amazing vocal prowess, even though the song itself sounds like a combination of Symphony X’s When All Hope Is Lost and something off of one of the Allen/Lande albums, which is not surprising since Magnus Karlsson is one of the credited songwriters here.The crushing riff of Demonized brings the heavy power metal with Russell at his most sinister sounding. For those fans wanting to hear something heavy, this one is for you. Chugging guitar rhythms, aggressive vocals, pounding drums, and shredding solos, this one has it all, a headbangers delight! The groove-heavy Soul Is Enternal has a mid-tempo fist pumping rhythm with Allen using a more soulful vocal approach during the verses and letting loose during the chorus.The album closer Forevermore is a power metal classic filled with melody, a HUGE multi-vocal harmony chorus and superb vocals from Allen and guest Ralf Scheepers vocals are quite noticeable in the mix. This song is probably the closest to the sound of Primal Fear and tied with Cry No More for my favorite song on the album. In an age where so-called supergroups are becoming more prevalent, Level 10’s debut album finds itself in the upper echelon, even if its destiny is to be a one off studio project, only time will tell." - Lady Obscure
    $14.00
  • Remastered edition of the fifth album. Classic.
    $13.00
  • To celebrate the band's 20th anniversary, Royal Hunt has put together this 3CD/DVD set.  Quite a bit of the early Royal Hunt catalog is out of print.  This set functions as a best of, culling tracks from 11 albums, a new song, and newly recorded acoustic versions of 3 songs.  The DVD compiles the band's promotional video clips.
    $21.00
  • "The Elements Of King Crimson is a special limited edition 'tour box' created exclusively for sale at King Crimson's concerts and via the band's official online outlets.The set contains a 24 page tour booklet and two CDs containing extracts, elements from studio recordings, alternate takes, live tracks, rehearsals and finished recordings from 1969 - 2014 (much of it previously unreleased on CD)."CD I:1) Wind Extract (1969, London) (From ITCOCK recording sessions).2) I Talk To The Wind (23/07/1969, London) From ITCOCK recording sessions.3) Cadence and Cascade (03/02/1970, London, Greg Lake Vocals) From Poseidon recording sessions.4) Cirkus (guitar extract) (11/09/1970, London) From Lizard recording sessions. Previously unreleased on CD.5) Cirkus (10/08/1971, Live at the Marquee) From forthcoming release, Collectable KC Vol. 7.6) Hoodoo (extract) (May, 2014, Elstree band rehearsals) - Previously unreleased.7) Sailor's Tale (08/09/1971, London) From Islands recording sessions. Previously unreleased on CD.8) The Talking Drum (October, 1973, London) From LTIA recording sessions. SW alt mix.9) LTIA (extract) (May, 2014, Elstree band rehearsals) - Previously unreleased.10) LTIA (extract) [David/Jamie] (16/01/1973, London). From LTIA recording sessions.11) Fracture (23/11/1973, Amsterdam). SW 2014 mix.12) Fallen Angel (extract) [RF harmonics] (08/07/1974, London). From Red studio sessions - Previously unreleased on CD.13) Fallen Angel (July, 1974, London). From Red studio sessions.14) 21 Century Schizoid Man (30/06/1974, Providence). From USA live recordings.15) Starless (extract) [Mark] (08/07/1974, London). From Red studio sessions. Previously unreleased on CDCD 2:1) Discipline (1981, London). From Discipline recording sessions. Alt take.2) Three Headed Doom (part 1) (May, 2014, Elstree band rehearsals) - Previously unreleased.3) Manhattan (Neurotica) (23/11/1981, Live at The Roxy, LA). From forthcoming release, Beat 40th anniversary CD/DVD-A.4) Neal and Jack and Me (extract) (17/03/1982, London). From Beat recording sessions. Previously unreleased on CD.5) Sleepless (Bearsville) From TOAPP recording sessions (Steven Wilson mix). From forthcoming release, Three Of A Perfect Pair 40th anniversary CD/DVD-A.6) Sex, Sleep, Eat, Drink, Dream (rec session) (27/01/1994, Bath) - From THRAK recording sessions and on forthcoming release, THRAKBOXX.7) THRAK (30/06/1996, Live at Shepherd's Bush) - Previously unreleased on CD.8) Venturing Into Joy (edit) (May, 2014, Elstree band rehearsals) - Previously unreleased.9) The Deception Of The Thrush (1998, USA) From West Coast Live, The ProjeKcts box.10) Heaven & Earth (early edit) (14/05/2000, Nashville). ProjeKct X, TCOL recording sessions - Previously unreleased on CD.11) Level Five (07/08/2008, Chicago, Live at Park West) - Previously unreleased on CD.12) The Hell-Hounds of Krim (May, 2014, Elstree band rehearsals) - Previously unreleased.13) Separation (edit) (2010, Berkhamsted) Jakszyk, Fripp, Collins sessions - Previously unreleased.14) A Scarcity Of Miracles (2010, Berkhamsted) Jakszyk, Fripp, Collins sessions. Alt take.
    $27.00
  • Three Winters in the electronic music trio of Kim Solve, Anders B., and Lars Fredrik Froislie.  The first two musicians may be unknown to you but Lars is of course well known in the prog community from his work with Wobbler and White Willow.  This is rhythmic, darkwave music that has a soundtrack feel.  If you are a fan of Goblin, Zombi, and John Carpenter you'll love this."Last year we published the review of the previous work of Three Winters; “Atrocities” and I gladly received this electro-atmospheric sound of theirs, because it is very interesting and entrancing. Back then I described their sound as: Retro-futuristic, Cinematic Synth-Wave. I have to say that “retro” is because this music made me think about the 80’s, “futuristic” and “cinematic” is because their music could be the perfect score for sci-fi flicks and some Italian horror movies of that era. Three Winters are: Kim Sølve, Anders B., and Lars Fredrik Frøislie; and they are from Oslo, Norway; they have the skills to hook you with these instrumental and well-crafted tunes, and not everybody can do this because a special talent is needed in order to produce melodies outside of the traditional song structures. Their music has atmosphere, and and it can create images in your mind, and at the same time it’s very catchy and dynamic.The first two tracks were featured in the “Atrocities“ EP; they are “Atrocities” and “At The Center Of Dystopia” and I’m glad that they have featured here these tracks because not everybody could own the atrocities EP on tape (at least you still can find it on digital format, and it’s really worth because it features some really interesting and exclusive mixes) “Atrocities” is the perfect music score to hit the highway at night, it could be like the dark side of Kraftwerk’s autobahn or something. “At The Center of Dystopia” has a very detailed musical arrangement, and it was constructed around some industrialized basis created by those non-stop synth chords in the background. “Daybreak Monuments” is eerie and solemn; and “Animism” is so 80’s and cinematic. “A Thousand Piercing Lights” could be a really perfect addition for the soundtrack of some upcoming Silent Hill game, this song is very in the vibe of the work made by Akira Yamaoka; it’s really tasty and dark stuff.“Aeon Surveillance” is very catchy Synth Wave sound. “Harzard” comes with those ominous synth chords over the non-stop (but subtle) machine drum beat; this song has very interesting musical progressions. “Rapture” could be the first single of the album, and they have created a videoclip for it. The ominous synth cords are here again, but this time they are accompanied with robotic voices, and great rhythm, this track is very energetic and powerful; synth Wave sound at its best! “Amnesia” serves the good old sound of those late 70’s-early 80’s Italian horror movies. “Lieke” is majestic keyboards sound at the beginning, the tension is constructed by heavy synth chords, and progressively they lead us to this very fluent and solid Synth Wave sound. “Channel 0” begins with some interference sound, and maybe it could be inspired in the mysterious UV-76 radio signal; and it turns into some meditative and trance inducing tune. It’s the perfect outro for this record.With influences of the progressive-electronic music created by visionaries such as Klaus Shulze, Tangerine Dream, or Goblin, and the early 80’s sounds from Kraftwerk (of course) and Gary Numan; Three Winters have created a stunning debut album with impeccable production. This will expand your musical horizon, leading you to new sounds and new (and very pleasant) musical experiences. This record is highly recommended for those who are interested in the new outbreak of Minimal Wave, and Minimal Synth music." - Gothic Rock
    $16.00
  • "Following the success of their debut ‘Vitriol’, Symphonic metallers Evenoire have announced the release of their sophomore album ‘Herons’. The band combines Gothic and Symphonic Metal with a very distinctive Medieval/Folk approach, with a special mention to extraordinary lead vocalist Lisy Stefanoni, whose ethereal and powerful voice and evocative flute add an extra dimension to the melodies and make her one of the most promising female singers around. And if ‘Vitriol’ was centered on “water” themes, this new album focuses on “fire” and all those mythological creatures that represent it. The music is heavier than ever before although the lyrical side of the band is still prominent. ‘Herons’ was recorded at Dreamsound Studios in Munich, Germany, with Mario Lochert, Dejan Djukovic and Daniel Rehbein (Emergency Gate, Graveworm, Visions of Atlantis) behind the consolle. Mastering and Mixing duties were handled by Jan Vacik (Dreamscape). The band has also announced the collaboration with keyboardist/producer Riccardo Studer (Stormlord, Hour Of Penance). A very special guest appearance by singer Linnéa Vikström (Therion) is also confirmed."
    $15.00
  • "Unbelievably, it’s almost 50 years since Fairport Convention and their followers – Steeleye Span, Trees, Dando Shaft, Mellow Candle and others – fashioned British folk-rock. Kent-based sextet Galley Beggar – who take their name from a mischievous spirit in English folklore – describe their mission as ‘to imagine the next phase of English folk-rock’ on their third album, Silence & Tears. “We’ve always loved English folk, but when we formed in 2009 it felt like nothing much was happening to carry the style forward,” says guitarist Mat Fowler, “so we thought, we love listening to folk-rock and we love playing it – why not try to write something in that vein?”The results can be heard on their earlier albums, Reformation House and Galley Beggar, and now onSilence & Tears. “Our first record was very folky,” reflects Mat, “but since then we’ve moved towards a more electric rock feel.” Indeed, the eight tracks on the new album span traditional song, Gothic balladry and peculiarly British acid rock, the mood alternately fragile and robust, with sweet vocal harmonies (led by Maria O’Donnell), lyrical guitar playing from Mat and his cohort David Ellis, and added texture from the violin of Celine Marshall (calling to mind Mr. Fox’s Carolanne Pegg), all anchored by Bill Lynn’s steady bass and Paul Dadswell’s deft drumming. The material spans reworkings of the ancient classics Geordie and Jack Orion, brooding ballads like Adam & Eve and the otherworldy Empty Sky, and the intense 9-minute epic Pay My Body Home, which triumphantly recalls folk-rock’s early 70s glory days.Silence & Tears may echo centuries of folk tradition, but its crisp, punchy sound is resolutely modern, despite calling on retro flourishes such as phasing, wah-wah and backwards guitar. Much of that is down to the fact that it was recorded at the profoundly analogue Toe Rag studios, where White Stripes, Tame Impala, the Zutons and many others have also worked with renowned producer-engineer Liam Watson. “We made our first two albums ourselves,” says Mat, “so this was the first time someone else has produced us. Recording at Toe Rag was just wonderful – to see all that incredible gear at work, and to have a tangible recording experience rather than staring at a screen, was amazing. And watching Liam at work is mesmerising – the sounds he gets onto tape are better than they are in real life!”In an era when bands such as Trembling Bells, Circulus and Wolf People have brought folk-rock to the fore again, the hypnotic interplay and inspired jamming on Silence & Tears is sure to find an enthusiastic audience. “We’ve already got a few festivals lined up this summer, including Leigh Folk Festival and Wessex Festival, and several other shows are still being arranged,” says Mat. “It’s an honour to be compared to other folk-rock bands – but we like to think we’ve got something of our own to offer too.”" 
    $15.00
  • "It's the spring of Iron Savior. At least looking on the amount of releases within a few months could give you this impresssion. Next to the first live album of the band ("Live at the final frontier") the guys from Hamburg also re-released their "Megatropolis" longplayer under the banner of "Megatroplois 2.0". The original version was released in 2007 and eight year later Piet Sielck had the wish of re-releasing the power metal classic since he wasn't satisfied with the original album. Secondly "Metropolis" wasn't officially available anymore.The longplayer is remixed and remastered; some of the tunes are also re-recorded. There arent' that much differences between the original version and the 2.0 release, even though I have to say that I personally prefer the sound of the reworked album a bit more. It's a more diverse one than the "1.0".The songs are, doubtless, really good ones, which isn't a surprise for each metal fan that knows Iron Savior. German metal somewhere between bombastic power metal ("Cybernatic queen 2.0"), heavy pounding tunes ("Still I believe 2.0") and faster Judas Priest influenced ones like "Megatropolis 2.0" is what you get.With "Hammerdown" and "Iron watcher" the re-release has two bonus song, both with all the typical trademarks on board. Mighty riffs, crunchy guitars and a forcefull rhythm section are the main characteristics of those numbers that fit perfectly into the overall context. A nice add-on.All in all, a good metal album from one of the Germanys leading power metal bands that became even a bit better with '2.0'. If this, including the two bonus songs, is enough for speniding your money for is up to you." - Markus' Heavy Music Blog
    $14.00
  • In Crescendo is the fourth studio album from this Italian progressive band.  While originally working in a purely metal direction, the band has expanded the scope of their sound to encompass elements of progressive rock as well.  There is a very strong atmospheric component similar to Riverside, Porcupine Tree, and Pink Floyd but the heavier, metallic side of Opeth and Dream Theater is clearly present as well.Over the past two years Kingcrow has expanded their fan base with a European tour in support of Redemption and Jon Oliva as well as appearances at ProgPower Europe and ProgPower USA.  An announcement about 2013 US tour dates is imminent. 
    $13.00
  • "Dark Sarah is a concept project from Finland, led by singer/songwriter Heidi Parviainen (former lead singer of the Symphonic Metal act Amberian Dawn). Financed by successful indiegogo campaigns, Dark Sarah’s Behind The Black Veil brings together a number of veteran musicians and singers and the act has released a strong and theatrical debut.Although not 100% new material (separate funding campaigns had allowed the first eight tracks to be released as two individual EPs), Behind The Black Veil consists of 12 main songs along with two bonus tracks – a substantial amount of theatrical goodness. Heidi Parviainen’s strong voice is the centerpiece of the release, and it remains as powerful and clear as ever. She shares the microphone with guests Manuela Kraller (Xandria), Inga Scharf (Van Canto), and Tony Kakko (Sonata Arctica). The band behind Heidi is technically excellent, consisting of guitarists Kasperi Heikkinen (U.D.O, Merging Flare) and Erkka Korhonen, bassists Jukka Koskinen (Wintersun) and Rude Rothstén, and drummers Teemu Laitinen and Lauri Kuussalo.“Save Me”‘ opens the album, and is the epitome of “cinematic” metal. A sad and melancholy track introduces the character of Dark Sarah and sets the standard for the tracks that follow. Dramatic orchestral musical passages and near operatic vocals are carried by well done keyboards and strong lyrics that lay the groundwork for the rest of the album. “Poison Apple” starts with moody keys but it quickly becomes a heavy rocker with intense bass and drums. On the whole this song is nicely balanced between metal and orchestral instruments. “Hide And Seek” is a stirring keyboard driven ballad that brings out the true beauty and power of Heidi’s voice. “Memories Fall” is a well done, energetic duet with Xandria’s Manuela Kraller, and their two voices complement each other well while riding over a crunching guitar line.“Evil Roots” kicks off the second quartet of songs. Inga Scharf (Van Canto) lends her voice to this well done Power Metal track, and the lead and backing vocal work on this track is truly outstanding. Broadway theatrics make an appearance on the unusual “Violent Roses” – a Tim Burton-esque cinematic track that starts slow and low and ramps up the intensity as it progresses. “Hunting The Dreamer” is a rousing rocker with a kicky rhythm line and driving bass. The interplay of full metal (great guitar solo!) and orchestra gives this one a unique personality. “Fortress” starts as a soft, moody and introspective piece with some nicely done vocals and textures, and then gets kicked up in power and speed as guitars, bass and drums join the keys.“Silver Tree” is a wonderfully done up-tempo piece with plenty of keyboards and lush orchestration, highlighted by a slightly manic drum line. Soft keys and peaceful vocals start off the power ballad “Sun, Moon, And Stars” – a song with a very simple arrangement in comparison to the rest of the release. “Light In You” is a superb Broadway showstopper – quite probably the most powerful song of the album – and features the wonderful voice of Tony Kakko (Sonata Arctica) playing The Moon, deep in conversation with Sarah. The official story closes on a high with the peaceful piano-driven “Sarah’s Theme”. Bonus tracks fill the balance of the run time – an orchestral version of “Memories Fall,” and very quirky, bloody, and somewhat amusing “A Grim Christmas Story” – very Tim Burton!Despite being produced at different times and with different performers, Behind The Black Veil has a consistent, solid sound. There is a good deal of warmth in the orchestral pieces, yet they are crystal clear. Heidi’s voice is crisp and accessible, and the musical delivery by the entire Dark Sarah ensemble is technically excellent. The music is powerful, the performances tight, and the story is one just waiting to be brought to life on file or stage. While the dark material and heavy orchestral overtones won’t appeal to everyone, fans of symphonic, Gothic, or female fronted metal will find a lot to enjoy.Dark Sarah’s Behind The Black Veil is highly recommended for fans of the darker, Symphonic genres." - Hard Rock Haven 
    $14.00
  • Latest solo album from the quite prolific keyboardist associated with Zombi and Titan.  This is heavily sequenced Berlin School electronics that owes a huge debt to 1980s Tangerine Dream.  There are some ocassional rhythmic beats that turn up but nothing too out of the realm of the genre.  Late night space music.  Bliss out!
    $17.00
  • Latest studio album that was previously only available as an expensive Japanese import. Tuscany reunites Annie Haslam with Michael Dunford and Terence Sullivan. Ex-Camel keyboardist Mickey Simmons fills in for John Tout (who does appear as a guest). Ok...ok...Jon Camp isn't here and did you really expect it to sound like Novella??? Frankly it's far better than it has any right to be - Annie still sounds wonderful. Hey - Roy Wood is on here also!
    $13.00
  • Third album from this progressive metal band based out of Sweden.  The band is fronted by former Seventh Wonder/current Aeon Zen vocalist Andy Kravlijaca who frankly is very underrated.  Silent Call touches on a variety of genres while firmly rooted in the metal realm.  You'll hear some fluffy AOR bits and some prog rock at times.  Very much a band that is strong on melody.  Highly recommended."I’m torn. Torn between championing the cause of a massively underrated and under-exposed Metal band, and the pride I feel when chatting about Progressive Metal to like minded people and playing them Silent Call – who invariably they have never heard of, and can’t believe they have passed them by! The secret will be out of the bag y’see. No more gloating for yours truly, no more “Surely. You’ve heard of Silent Call”, complete with knowing smile. Nope, people can just read this review and know all about them – which is the least the band deserve! Decision made then. Ladies and Gentlemen, fans of Melodic Progressive Metal, I give you Silent Call…unless, of course, you’ve already heard them and it’s just here in the windswept hills of deepest Yorkshire where they are unknown…a bit like super fast reliable broadband…This is Silent Call’s 3rd album – I got their debut way back in 2008 because it was on Escape Records (home of all things light and fluffy) and someone sold it to me after being horrified that Silent Call weren’t in the least bit light OR fluffy! He even wrinkled his nose (the nerve!) when he described the heaviness of the guitars and drums. This was the same day I informed him that one of his favourite Melodic bands of the 80’s – Fate – were in fact previously called Mercyful Fate (omitting the fact it was only Hank Shermann in Fate), so he rushed off to buy their back catalogue, Harrgh Harrgh, Harrgh…I don’t think he’s ever forgiven me… But I digress – Silent Call are way too heavy for a Melodic Rock label, and hopefully now they have found a worthy home on DOTT.For existing fans (because I’m sure there are many fans outside the UK), “Truth’s Redemption” is just as good as their previous two – The production is a little bit heavier and fuller which just enhances things more and allows the songs to have even more impact. You will not be disappointed! For the uninitiated, Silent Call have their sound rooted in the best of the Progressive Metal bands around the turn of the Millennium. Blending aspects of Angra, Lion’s Share, Eldritch, Stratovarius, Labyrinth – even early Kamelot and Sonata Arctica to name but a few. Their technicality is more subtle, crafted, and less showy than Dream Theater and their ilk, leaning more towards a sound centred around melody and memorability than individual musicians egos. And this is what really works for Silent Call and widens their appeal. The vocals are an expertly delivered mid-to-high range, somewhere around an amalgam of Carsten Schulz, Apollo Papathanasio, David Readman and maybe Tobias Sammet…but then, it isn’t really, as his tone – his ‘timbre’ if you pretentiously prefer – is quite unique to Andi Kravljaca. The Drums, Bass, Keys and Guitar are all executed with precision and flare, always complementing each other yet shining when it is their moment or when specifically listened out for. Musically, I’ve covered some of their bases, but their attention to detail, delivery and arrangements open the band up to fans from Pink Cream 69 through to Evergrey.The predictable thing to do here is to try and sum up the album with one or two songs – well I’m not going to make it that easy for you. Mainly because I can’t pick out a favourite OR a track that if you randomly chose it, then it wouldn’t convince you to hear the rest of the album. Every band member’s performance on every well-crafted track is first rate, there are no fillers – just top quality Melodic Progressive Metal from start to finish. If you’ve got this far through the review then surely you have thought this album is worth checking out? So one of my best kept band secrets is now out there – the cat is out of the bag as it were, so run Kitty run, run and be free…LOOK OUT FOR THAT TRUCK…!!!" - Ave Noctem
    $5.00
  • "Volume 2 of the Bavarian broadcast series present further recordings of Area, for once from the period 1977-1979.Five live tracks from 2 concerts and four tracks recorded in Bavarian Broadcast Corporation owned studio "Franken" "at Nuremberg". Aera played a lively jazz-rock dominated by soloist and sax and flute player Klaus Kreuzeder, based on powerful and clever keyboard playing all held together by amazing bass player Matz Steinke and drummer Lutz Oldemeier (of Missus Beastly-fame) and lots of percussions. Aera were in a very good shape and gave their best. Highlights are the 17 minutes long version of "Draculas Fruhstuck' and nearly 10 minutes version of "You need some speed". All titles were digitally remastered from the original tapes. Booklets contains the history of the recordings and rare photos."
    $16.00