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Plagues Of Babylon

SKU: 9062-2
Label:
Century Media
Category:
Power Metal
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"Iced Earth are going through a bit of a renaissance period at the moment. While they do have many hardcore fans who would defend their back catalogue to the end, honestly the heavy metal titans haven’t made a truly exciting album in about twenty years; that is, they hadn’t, until the release of 2011’s Dystopia. After two decades of putting out stale and generally uninteresting meat and potatoes heavy metal, finally they had an album that managed to match up to their first few records, one with the power and energy to justify their continued status as metal heroes. Plagues of Babylon is its follow-up, and thankfully they have managed to take this momentum forward and release another great album.

Opening with the title track’s marching drum beat (strangely similar to Dystopia in that regard) and ominous harmonized leads, as soon as the heavy, chugging main riff kicks in it’s clear that this album is going to be a worthy successor. Noticeably, the production is very good, giving the guitars a sharp razor edge that albums like the totally flat The Glorious Burden lacked. Mainman Jon Schaffer churns out some of the best riffs in his career on this album, especially on the raging and thrashy Democide. Some new blood is brought in with an all new rhythm section, bassist Luke Appleton helping give the album its low-end crunch while drummer Raphael Saini (who was sadly since left) punctuates the songs with intricate tom patterns and ride cymbal work while maintaining a constant driving power. Stu Block meanwhile, who debuted as vocalist on Dystopia, continues to make sure that fan favourite Matt Barlow is not missed too much, his gruff voice helping give the songs a darker edge while his highs are utilised when appropriate, never being over-used.

This is hardly perfect though. Plagues is a bit front-loaded, the second half never quite managing to match up to the first, especially considering it contains two somewhat unnecessary covers. The first is Spirit of the Times by Sons of Liberty, a Jon Schaffer side project, and you can’t help but question the logic in covering your own material, especially as aside from the darker and heavier overtones it’s not massively different from the original. The second, Highwayman by Jimmy Webb, is hardly electrifying either.

That said, many of the problems that plagued previous Iced Earth efforts no longer show up. The obligatory cheesy metal ballad only appears once in If I Could See You, which is one of the better ones they’ve done, and only a couple of songs have a clean guitar intro, unlike on The Dark Saga where they appear on nearly every song. Iced Earth are a band who are at their best when they’re firing on all cylinders, and that is largely what they stick to here. With it’s almost death metal cover art, Plagues is for the most part a balls-out thrill ride, and honestly might be Iced Earth’s most complete work to date." - Sound And Motion Magazine

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  • "Some four years ago Borealis released their Fall From Grace, and my conclusion was simple. They presented adequate, yet typical, melodic European power metal just misplaced in Canada. To the present, it seems things may have changed, even improved, for the band for their third album, Purgatory.Yet, I'm not sure I want to get ahead of myself here. One spin and you hear echoes of previous material: riff heavy and intense, speedy power metal. As Mets manager Yogi Berra once said, "It's deja vu all over again." Actually, for my money, you could boil this album down to two things: blistering power metal and lots of epic guitar solos. Now, you say: "Dude, I love that shit!" Okay. Stop reading and go buy the album.But there's more. The keyboards seem more present, even adding a large portion symphonic orchestration to add to Borealis' naturally bombastic sound. Take note of My Peace, for example. Also, and not knowing who the principal guitarist is, Matt Marinelli or Mike Briguglio, the guitar lines are phenomenal. Forget the twin bombastic riffs, the leads are killer: soaring to the wow factor. Additionally, the arrangements are more dynamic; the progressive metal has gotten a bump here over the last album. Yet, this is not a hyper-technical leap. It's more changes in tempo and breakdowns. You'll catch some of this within Place Of Darkness or Welcome To Eternity. The latter also a good example, in the second half, of Borealis adding some thrash metal to overwhelm you.The wild card in this mixture is vocalist Matt Marinelli. I would like to say he can sing, and I think he can. But he's so often totally overwhelmed by the music to be nearly underwater. He's seems always striving and straining to stay ahead or, to continue the metaphor, stay above the music. Then you find out he has a generally pleasing voice and presence when you listen to Darkest Sin or Rest My Child, the two quietest songs here. I would imagine when you hear Borealis live, you'll have a Pink Floyd moment, from The Wall, when observing Marinelli: "Your lips move but I can't hear what you're saying." Nevertheless, Purgatory is definitely an advancement for Borealis, a fine album of more ambitious progressive power metal than past efforts. Recommended." - Dangerdog.com
    $9.00
  • "With their timeline stretching back to 1997, and now 8 releases under their belt, our Celtic brothers have stood the test of time in the ugly realm known as the Music Business. It is a harsh mistress, but lo, Peter Scheu and his fellow mates have persevered and ridden out the storms, with good reason. "The Call" is their latest release, combining some interesting aspects of metal, Celtic, and Folk themes to bring forth a rugged, almost rustic sounding album. This proved to be an interesting journey for yours truly.I am quite fond of the Pagan / Folk / Viking bands, and relish the opportunity to review such music, with this being no exception. As a whole, I found "The Call" to have some bright moments of metal mixed with a few not so shining moments. The vocals are very traditional, with a few songs such as "Princess Of Destruction" having a few screams to rile the listener. The backing vocals weren’t always on the mark, and at times, a wee bit painful, especially on "Varus Battle". The guitar work is pretty good, driving and free spirited, with at times, a Power Metal feel to it such as on "Love Song". "Chains Of Captivity" has some great solos on it. The keyboards are almost non-existent, which is unfortunate since they can lend so much to a song. Drum work is good but standard, which the same for the bass. Not bad by any means, but throughout most of the songs they are just, there. The production quality isn’t the best with the album sounding very bottom heavy. Again, not bad but not stellar either.  For a rating, I would say a 6 out of 10. Until next time, stay well, and live free! " - Metal Temple
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  • Third album from this Dutch progressive band is a conceptual work.  This one has strong political leanings so it might bother some of you out there.  It basically deals with changes in the geopolitcal climate since the late 90s.  While the band's first album was squarely in the metal camp, the subsequent albums find them moving more and more into the prog rock arena but maintaining an underlying heaviness.  Plenty of keyboards featured throughout the mix in a way that complements the guitar driven heaviness.  For me the stand out is vocalist Dennis Binnekade.  He has a stunning voice and I noticed that this time around someone coached him on his pronuciation. Rock solid contemporary prog. Highly recommended.
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  • Lance King is out...replaced by Iced Earth's Matt Barlow."Formed in 2001, Danish power metal band Pyramaze has managed to maintain a fairly steady line up. However, there have been several recent changes to the vocalist position. After releasing two albums with Pyramaze, 2004's "Melancholy Beast" and 2006's "Legend of the Bone Carver," vocalist Lance King decided to step down. Pyramaze would find a surprising replacement in Matt Barlow, who stepped down from American power metal giant Iced Earth in 2001 to pursue a career in law enforcement. However, Barlow's stay in Pyramaze would be brief, as he was only used to record vocals on "Immortal" before reuniting with Iced Earth. Urban Breed is now the current vocalist for Pyramaze."Immortal" has a predictable, but interesting theme. Each song depicts a different form of immortality. Including the recount of the 300 Spartans gaining immortality both historically and mythologically during their legendary last stand at the battle of Thermopolea, to the horror of not being able to escape from a nightmare and a ghost that wanders for eternity. The theme also covers emotional subjects such as finding peace via suicide to suffering in hell and the never ending battle against the demons that plague us everyday. Though immortality has become a cliche in the power metal subgenre, Pyramaze has shown how diverse the theme of immortality can be.Stylistically, "Immortal" is intended to be a power metal epic, and it delivers. The main influences seem to be Iron Maiden and Iced Earth's "Horror Show" and are dominating throughout. Other influences that appear are the Kamelot inspired piano ballad "Legacy in Rhyme," the Children of Bodom keyboard tone and riff in "Ghost Light" and the King Diamond influenced "Touched by the Mara." Symphonic elements give the album a very epic sense. The opening track "Arise" and the closing track "March through an Endless Rain" sound like they could have come from the "Gladiator" or "300" movie soundtracks.The music on "Immortal" is quality symphonic power metal. Guitarist and mastermind Michael Kammeyer puts in an excellent performance with Matt Barlow showing that he hasn't lost a step and delivering a stand out performance. However, the use of some cheesy Dragonforce-esque guitar effects for a few solos along with some cheesy vocal melodies and overly simplistic riffs are my biggest criticism of the album. However, these complaints are nothing new, as every Pyramaze album to date has incorporated those elements. Even so, the cheesy elements are only a small portion of the album and don't take away from the overall epic feel. Overall, "Immortal" is a positive step for Pyramaze." - Metal Underground
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  • "The Scottish heavy metal scene is well known for being heavy as hell – bringing the world some of the finest death metal and grindcore bands around. From Cerebral Bore to Achren the musical calibre from Scottish musicians is superb, and it only seems fitting to introduce who break free of this typical scene and go for a more traditional approach to metal. Presenting Ascension, a melodic power metal band from Aberdeen who has so much flare and style in their music, they give the likes of Power Quest, Freedom Call and Blind Guardian a run for their money. By combining lightning fast guitar riffs, powerful melodies and superb, sing along chorus’s, Ascension have created one of the finest power metal albums of the past ten years with Far Beyond the Stars, and hopefully we will see the eventual rise to power of this Scottish five piece within the next few years!Ascension are a band who are putting the British heavy metal scene on the map, and it’s songs such as ‘Blackthorn’, ‘Moongate’ and ‘Orb of the Moons’ that really show just how amazing British musicians are. From the moment the album kicks in, every instrument has it’s time to shown, and whether it be the powerful dual guitar lines, or Ricki Carnies’ phenomenal falsetto voice. Ascension flies the flag, not only for power metal musicians. But all metal musicians, showing that if you have a pure talent for something, you should go out and use it, and that’s what Far Beyond the Stars is jammed full of, brilliant musical talent.Every track on Far Beyond the Stars is a potential single, purely because each song has the wow factor needed to hook a listener. Every song has an extremely catchy chorus that will have you singing along like the characters of Brave Heart on a monster energy drink in no time. Songs like ‘Somewhere Back In Time’, ‘Reflected Life’ and ‘Heavenly’ will sound heavenly when played live and as soon as they come pouring out of the PA – one thing is for sure, the crowd is going to go mental!There are some absolutely mind blowing progressive and acoustic elements on this album too, giving Far Beyond the Stars an extra dimension to this already mind blowing album. Not only showing the bands diversity, but also the bands song writing skills, Ascension have thought outside the box with this release, and through tracks like the beautiful power ballad that is ‘The Silver Tides’ and the 10 minute epic ‘The Avatar’, show just why they are one of the best UK based metal bands….. Hell to that in fact, one of the world’s best metal bands.If you are a fan of power metal, you will absolutely be blown away by Far Beyond the Stars. If you call yourself a metal fan, you will also be blown away by Far Beyond the Stars. It’s an album that appeals to everyone. People say that European power metal rocks…… The fact is that Scottish power metal doesn’t just rock…….. It kills! " - Planet Mosh
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  • Double CD set contains the two great - but recently out of print - albums from the Seattle thrash band that morphed into Nevermore. Warrel Dane at his finest!
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  • "While Ki was a rambling, spacious and highly melodic trip through a futuristic world of transcendental art rock and Addicted was a sparkling, sugar-drenched turbo-riff glitter bomb, the final two parts of Townsend’s latest masterwork take both him and his legion of listeners on a far less expected and disorientating journey. Part three, Deconstruction, is arguably the most deranged, complex and extreme record that Devin has ever made. Fans of Strapping Young Lad will almost certainly feel at home with its bug-eyed maze of riffs and breathtaking dynamics. Fans of Devin’s more mellow work will have to grit their teeth and hold on for dear life."
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  • Digipak edition with one bonus track."Tasting The Tears in the ninth studio offering from Italian prog metal masters Eldritch. For those who are unfamiliar with the band, that is what we here at Lady Obscure are here to do! We shine the spotlight on bands that may have flown under the music fans radar. Eldritch perform a technical form of melodic progressive metal with elements of thrash metal thrown in to create a style that is instantly recognizable as Eldritch. Following up on the success of the bands previous album Gaia’s Legacy (which included an invitation to perform a powerful set at the famous ProgPower USA festival in 2011) is no easy task, but after several listens of Tasting The Tears, I can safely say that Eldritch are up for the challenge. After the global warming concept of Gaia’s Legacy, the band turns to more personal subject matter. The lyrics on Tasting The Tears share a common theme: love in all its different forms. Not exactly progressive metal forte but Eldritch pull it off thanks to vocalist Terence Holler’s emotive delivery and some excellent songwriting.Tasting the Tears was produced by Eugene Simone at ES Studios in Livorno, Italy. and mixing and mastering duties have been handled by Simone Mularoni (DGM) at Domination Studios in San Marino, Italy. The album combines melody, complexity, and dark compositions to create a cohesive album. The production is crisp and all the individual instruments are given a clear representation in the mix. The album kicks off with Inside You, a moody and catchy headbanger with a soaring melodic chorus, and lots of tasty riffs courtesy of the guitar duo of Eugene Simone and Rudj Ginanneschi. The title track features the keyboard wizardy of Gabriele Caselli overlapping the thrash metal machine gun drumming of Rafahell Dridge with melody. The mood takes on a melancholy and darker tone with Alone Again. The band combines the clean guitar tones with keyboards and Holler’s melodic voice combined with superb vocal harmonies. Based on the lyrical content, Waiting For Someone is a song about loneliness and the search for love. The music is heavy and progressive with plenty of melody and guitar crunch. Seeds of Love has a driving intense drums and chugging guitar rhythms. A piano intro starts of The Trade, a song of betrayal and the tone relects the seriously dark subject matter. The thrashing mad Something Strong is filled with brutal riffs, technical drumwork, and impassioned vocals. Don’t Listen the trash influence is apparent but Caselis keyboards and Hollers vocals add the perfect melodic touch. The band shows their diversity and takes a chance with the moody piano ballad Iris. The song is well done although personally I would rather hear the band rock hard. Luckily the next song Love From A Stone shows the band doing what they do best and that is playing intense and melodic prog metal.The energy is ramped up on Clouds, an intense heavy progressive song with some fantastic keyboard work and a fantastic memorable chorus. As with Gaia’s Legacy, the albums closing song is a cover song, this time of the Queensrÿche classic I Will Remember from Rage for Order. The song is given the Eldritch treatment with added piano and Holler’s voice which is drastically different from vintage Geoff Tate, but he adds his own unique spin to the song and make it his own. Is it better than the original? Of course not, but it is a faithful rendition and tribute to one of the bands influences and I commend the band for taking a chance on recording a song of this stature in the metal world.Although it is not a perfect album, s a fan of Eldritch, I can highly recommend Tasting the Tears. It’s not as heavy and lively as Gaia’s legacy or Blackenday, but being one of the lucky fans to catch their last U.S. performance, I can say that the band puts on a highly energetic show and one can only hope that they return to U.S. shores soon. Fans of melodic progressive metal with a touch of thrash will appreciate the latest Eldritch offering." - Lady Obscure
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  • "When they first emerged in 1994, San Francisco metalheads Machine Head appeared poised (along with the then-unstoppable Pantera) to lead the cause of American metal, proudly and purposefully, through the second half of that grim, grim, alternative rock-dominated decade. But, much to their fans' dismay, the band's masterful debut would soon give way to undercooked repetition on their sophomore effort and then, horror of horrors, a grueling descent into nu-metal sellout with their third, before finally crash landing to an uninspired nadir with their fourth. Within the span of seven short years, Machine Head's proverbial cup had gone from brimming to empty, their few remaining believers understandably holding out little hope for any sort of redemption. But against all odds, just when the jig seemed to be most certainly up, all of these missteps were summarily erased by the group's stunning fifth album, Through the Ashes of Empires, which saw them rediscovering their roots while reuniting bandleader Robb Flynn with his original Vio-Lence six-string partner in crime, Phil Demmel. Coincidentally or not, the results marked a return to form in no uncertain terms, with colossal first track "Imperium" single-handedly eclipsing the previous two and a half albums, while simultaneously recapturing the dark majesty and crushing authority of early Machine Head triumphs like "Davidian" and "Ten Ton Hammer." The same was true, to a slightly lesser extent, about ensuing headbangers "Bite the Bullet," "Left Unfinished," and the epic "In the Presence of My Enemies," which collectively showed what could happen when a great band actually follows its instincts instead of half-heartedly following trends. Not that Machine Head came back from their "lost weekend" completely empty-handed, as incrementally melodic and emotive material such as "Elegy" and "Days Turn Blue to Gray" successfully reenvisioned (and authenticated) a few elements of those failed experiments through the prism of the band's own sensibilities -- not Korn's or Limp Bizkit's. (In fact, only the rhythmically chugging "All Falls Down" was guilty of a complete and sorry relapse into nu-metal's intolerable whining.) And with the rousing final number, "Descend the Shades of Night," Machine Head delivered yet another monolithic highlight, as steeped in their glorious past as it was promising of the future." - Allmusic Guide
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