The Point Of You

SKU: SR3068
Label:
Sensory Records
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Withem is an up and coming Norwegian progressive metal band, inspired by the likes of Symphony X, Pagan’s Mind, Dream Theater and Circus Maximus.

The band started to take shape in 2011 when Øyvind Voldmo Larsen (guitars) and Ketil Ronold (keyboards) met the gifted drummer Frank Nordeng Røe. Soon they were joined by the vocal talents of Ole Aleksander Wagenius and bass duties were taken care of by the special guest Andreas Blomqvist from Seventh Wonder.

Withem’s debut offers varied sonic landscapes for the listener to explore, ranging from guilty-pleasure choruses permeated with memorable vocal hooks, to symphonic epic themes.  The unique vocal range of Ole Aleksander Wagenius gives the band a distinctive touch to tackle the overcrowded progressive metal scene.

The passion and dedication put into the album is emphasized by the countless hours spent in studio perfecting each individual performance and making sure that the end result is a world class blend of progressive, symphonic and power metal.

The Point Of You was mastered by Markus Teske (Vanden Plas, Saga, Spock's Beard)

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  • "The Aristocrats by any measure the hottest new band in instrumental rock/fusion today rewrote their own rules for their third studio album, Tres Caballeros. After two fairly raw trio albums, guitarist Guthrie Govan (Steven Wilson, Asia/GPS), bassist Bryan Beller (Joe Satriani, Dethklok) and drummer Marco Minnemann (Steven Wilson, Joe Satriani) set up camp at legendary Sunset Sound studios in Hollywood, CA, where Led Zeppelin, The Rolling Stones and Van Halen all recorded landmark albums. The result: Nine new compositions of greater sonic depth and breadth than ever before, with unique textures and lush layering augmenting the band s preternatural ability to improvise at the highest levels possible. But it s all still tempered with a steadfast refusal to take themselves too seriously, and The Aristocrats are still having more fun than a fusion band has any right to have. We ve learned a lot since we started this band four years, three studio albums, two live DVDs and about a billion notes ago! and I think our latest offering reflects this in all kinds of ways, says guitarist Guthrie Govan. The decision to road-test our new material in front of a live audience before commencing the recording process; the choice to record in a studio which had some thoroughly inspiring rock'n'roll "mojo"; our sudden urge to become more bold and experimental with overdubs rather than feeling any pressure to record exclusively in a strict trio format... all of this has had some kind of positive effect on the way the new record came out. Plus, I think the material on this album is some of the most interesting stuff we ve ever written for each other, so... here s hoping our noble listeners will like the finished product as much as we do!"
    $13.00
  • "The partnership between Magnum guitarist and songwriter Tony Clarkin and vocalist Bob Catley is now well into its fourth decade and yet like a fine vintage wine it grows ever more appealing with age. More than thirty years since their debut Kingdom of Madness was given a rave review by Sounds Geoff Barton who compared them at the time to Starcastle, Yes, Kansas and Queen, Magnum remain a band to be cherished. Whilst those comparisons were justified in the beginning, across albums such as The Eleventh Hour, On A Storytellers Night and Wings of Heaven Magnum developed a style that was uniquely their own as they became one of the UK's most enduring bands with stirring anthems, melodic rockers and power ballads in abundance. After a hiatus during the latter half of the 90's that saw Clarkin and Catley diversify with Hard Rain (or Magnum-lite as it could have been described) the pair brought Magnum out of hibernation with the uncertain Breath of Life in 2002 that was followed by the much improved Brand New Morning two years later. But even this paled when compared with the majestic return that was 2007's Princess Alice and The Broken Arrow and this rich vein of form is carried through into this relatively brisk follow-up, the wonderfully titled Into The Valley Of The Moonking. Ever since the Jeff Glixman - produced Chase The Dragon in 1982 Magnum's artwork has been an important element of the overall package and Moonking is no exception, once again provided by the exquisite touch of fantasy artist Rodney Matthews who has been so effective over the years in bringing Clarkin's initial ideas to life. With Matthews involvement it simply feels like a Magnum album before you have even taken the CD out of the box.The opening 'Intro' is precisely that; Mark Stanway's keyboards conjuring up a windswept landscape that sets the scene for what is to come and segues into the mid tempo 'Cry To Yourself' and whilst it lacks the immediate impact of some of the later tracks it proves to be a solid enough opener. Tony Clarkin's songwriting is nothing short of amazing as he once again delivers lyrics that are truly inspirational, the careworn ballad 'A Face In The Crowd' being a perfect example. Clarkin's lyrics have often dealt with self-belief and perseverance in the face of struggle and adversity ('The Spirit', 'When The World Comes Down', 'Desperate Times') and 'A Face In The Crowd' is another worthy addition to the list. Another theme often revisited has been the futility of conflict and the dramatic 'No-one Knows His Name' joins a canon that includes 'Les Morts Dansent', 'Don't Wake The Lion' and 'The Flood' in remembering those who have been lost on the battlefield. Catley's voice aches with emotion on the stirring 'If I Ever Lose My Mind' although this is hardly a surprise as he never sounds anything less than immaculate.Away from the anthems, 'Take Me To The Edge' and the urgent 'Feels Like Treason' find the band cranking it up a gear and varying the pace with two quality hard rockers. The (near) title track is where Clarkin brings out his blues guitar and combines it with Magnum's grandiose style to blow away the cobwebs whilst the fantasy imagery of the lyric perfectly complements the cover art. Magnum's albums have often closed with sweeping epics and this proves no exception with 'Blood On Your Barbed Wire Thorns' starting like a gritty, up-tempo rocker (with some delicate piano embellishments from Stanway) before taking an altogether different direction around the four minute mark with an instrumental passage that becomes a showcase for an evocative Clarkin solo before Stanway plays the song out. The songwriting and musicianship are exceptional throughout and I don't expect to hear a better album this year so a five star rating is more than justified.Out of the valley of the Moonking Magnum have emerged triumphant. Long may they continue." - Sea Of TranquilityThis is the deluxe edition that comes with a bonus DVD featuring an interview as well as live footage of performances from '92 and '85.
    $18.00
  • First time on CD for the complete two part debut from this German acid psych trio.  The band is lead by guitarist Sula Bassana who you may know for his incredible solo albums.  The rhythm section is held down by Komet Lulu on bass and Pablo Carneval on drums.  Long psychedelic guitar driven space explorations that goes down the same road as the first Ash Ra Tempel and early Pink Floyd masterpieces.  The CD seet was mastered by Eroc of Grobschnitt fame so you know he gets it.  I'm getting high just typing this description!  Highly recommended.
    $21.00
  • "There have been those times in man’s life where he tells himself that he had enough with everything that had been going on surrounding his ordinary environment. Aside from the warmth of family life or even by choosing, the soothing loneliness, there are the proceedings of the society such as the corrupt politics and fragmentary feast for power that seemed to be endless without a care for future consequences. So how one can escape such a world where everything seemed to be blackened, not like a starless night, but by mankind itself that commences various of actions without thinking first? The answer might be running away but to where? The only answer is to the far reaches of space by cunningly stealing a spaceship. Though it sounds like a story from the far future when space travel is available, but it has a sense it in and can also be inferred to the spiritual form of the works of the mind and how it can escape reality while submerging into an altered universe of hopes and dreams about better life. Well, I will stop here with the philosophical debate with myself, though it is rather intriguing. The purpose of my gibbering your thinking patterns is because it highly relates to the new concept album by the Italian Power Metal band, VISION DIVINE. “Destination Set To Nowhere”, released via earMUSIC / Armoury Records, is the Metal journey and your new Star Trek across the vast space in finding new fortunes and ideologies without forgetting where the warmth of home lies.I have to tell you that it has been really difficult to not keep on discussing VISION DIVINE’s ideas regarding this fascinating story that though sounds pretty simple it harbours so many standpoints that a whole article can be written on top of their basis. However, there is also the Metal behind the philosophical mind that created this story. Nearly like every Power Metal band coming from Europe, VISION DIVINE has been storming in high speeds without letting of the so important melodic touch, an element that has been chief for the large majority of European Metal bands of the kind. Olaf Thorsen(nickname of Carlo Andrea Magnani), guitarist of the veteran Power Metal band LABYRINTH, created this beast as a side project but it got into something more. While along the years massing some of the greatest talents of the Italian scene, including the special recruitment of RHAPSODY OF FIRE’s top notch frontman, Fabio Lione, VISION DIVINE, the way I see it, has been able to assert itself as the Italian STRATOVARIOUS, but in a much higher level, while when it came down to musical quality and tenacity topping their own local mother bands as RHAPSODY OF FIRE and LABYRINTH. Right from its foundation, while perfecting their style year after year, including this here release, that for me is the band’s greatest achievement, VISION DIVINE spread their high regard for melodic Power Metal but with such musical sophistication that took them into towering altitudes and even into the world of Progressive Metal with slight similarities to DREAM THEATER and ANUBIS GATE.As far as the diverse course of “Destination Set To Nowhere”, I believe that VISION DIVINE were able to entice with such profound technical abilities and incredible skills to create wonderful tracks that seem to be endless. Throughout the entire release I was trying to relive the lives of that men and women on that spaceship running away from the frustrations of Earth. The intense and clever riffing, rhythms, great keyboards layers and miscellaneous drumming, like fast paced heart beats of hundreds of people, aided on understanding what went on through the stages of the story, where is the next destination in the land of nowhere. On top of those all there is the magnificent vocal line by a voice that is so smooth and clear but also has its own deadly Hyde creeping from its cage from time to time. I can’t really break this tracklist into lone tracks because I believe that this entire release is something that you ought to experience in full. Of course that I have my personal choices regarding preferred tracks, and I am used to provide clear cuts, yet for the sake of the story and the effort that was spent on the material, I will leave you to decide which part of this journey suits you more. Generally, VISION DIVINE is offering you an accessible showcase of musical prowess and utter creativity to step into what could be in the not so far future, and maybe help you to think to who or what idea do you mark your ballot for. “Destination Set To Nowhere” certainly became one of my candidates for the album of year for 2012." - METAL TEMPLE
    $13.00
  • Arjen Lucassen's long awaited Ayreon project is a total blast.  Like some of the earlier Ayreon albums, it owes as much to prog rock as it does metal.  All the old school heroes like Emerson, Wakeman, Wetton get to strut their stuff showing a young stud like Rudess a thing or two.  As always Lucassen latches on to some of the best vocalists around and this one is no exception.  Highly recommended.PLEASE NOTE THERE WILL BE A VERY EXPENSIVE IMPORT "ART BOOK" EDITION FORTHCOMING."You know what the metal world needs more of? Musicals. I'm not saying that ironically either. Sure, we have plenty of prog bands putting out concept albums, but cool as these records many be, the story themselves are not the focus of the album. Ayreon mastermind Arjen Anthony Lucassen has resurrected his grandest of all projects to continue showing these folks how to tell an epic story the right way.With 01011001 the Ayreon story came to an end, or so we thought. Arjen instead decided to focus on projects like Star One, Guilt Machine, and his solo album Lost in the New Real. When he revealed not too long ago that he was working on a new project, it wasn't a surprise to discover it was new Ayreon, but I was still plenty excited.Lucassen said of the newest record, "It's not science fiction, but a human story set in a science context." So no aliens or battling emotions or any of that. So, in an attempt to better understand the story, I contacting him for the lyrics and much to my surprise, he sent them to me saying, "Oh yes, you need the lyrics, definitely." Holy hell, was he right. The story is indeed more grounded than previous records, but there are still layers to this beast.Fans of Ayreon should know what to expect here. The Theory of Everything has seven guest singers and each singer plays a part in the story. They are JB (Grand Magus) as the Teacher, Christina Scabbia (Lacuna Coil) as the Mother, Michael Mills (Toehider) as the Father, Tommy Karevik (Kamelot) as the Prodigy, Marco Hietala (Nightwish) as the Rival, John Wetton (Asia/ex-King Crimson) as the Psychiatrist, and Sara Squadrani (Ancient Bards) as the Girl.Of these singers, the most impressive is the relatively unknown Sara Squadrani. She performs on a large portion of the story and shines every time, especially on "Love and Envy". I was also surprised to be so enamored with the performance of Christina Scabbia. She's always had  a wonderful voice, but her performance in this record might be her finest. Her harmonies with Squadrani stand out particularly on "Mirror of Dreams". This isn't to say only the performances by the female singers are worth mentioning. Tommy Karevik's introduction in "The Prodigy's World" is one of the strongest moments on the album.Press_Photo_01Every Ayreon album comes an eclectic group of guest musicians. This round primarily consisted of guest keyboardists. Rick Wakeman (ex-Yes) handles a good portion of the record, while Keith Emerson (Emerson, Lake & Palmer) and Jordan Rudess (Dream Theater) both make excellent solo appearances on "Progressive Waves".Having listened to all of Lucassen's albums at least once, I can say The Theory of Everything is the most musically diverse offering he's had a hand in, perhaps with the exception of his solo record. This isn't as heavy as previous Ayreon titles, but it has its driving moments like "Collision" and the Dream Theather-esque "Frequency Modulation." The aforementioned "Love and Envy" is a slower introspective song, while "Diagnosis" is massive and a little cheesy, but so awesome. "Transformation" has a Middle Eastern feel to it, and  "The Eleventh Dimension" sounds like intergalactic renaissance faire music.Often times there are jumps in mood, genre, etc in the middle of a song. This is fairly typical for an Ayreon release; what isn't typical is that technically this record consists of only four songs. These four songs are each at least twenty-one minutes, but they are cut up into forty-two pieces (yes, that's a Hitchhiker's Guide to the Galaxy reference) .This is a fun record. It's a record that does require a time commitment. I'd say listeners should treat it as a proper musical or film in a theater. Try to experience it all in one sitting for the full effect. It's absolutely worth it." - Metal Injection
    $17.00
  • "Progressive Power Metal was a genre popularized by titans such as ICED EARTH and NEVERMORE, combining the technicality, speed and fantastical lyrics of power, and the complexity and maturity of Prog. TRAGODIA, a Progressive Power Metal band from Italy, have proved once again why the genre is in such a strong position in the metal world, and why it is nigh-faultless. Writing music that exudes heavy influence from the aforementioned bands, TRAGODIA add their own brand of catchiness and groove to make it their own. After all, the whole point of a progressive band is to be progressive and push genre boundaries.Their new album, "Mythmaker", contains almost all of the great qualities of such an album: it's heavy, it's melodic, it's progressive, it's catchy, it's heavy, it's groovy, it's…  Heavy. It is by no means calm and jazzy, such as some of the work from the penultimate DREAM THEATER. In the mixing, the heavily over-driven guitars, and the drums, are at the forefront, adding vertebrae to the heavyweight backbone that drives this album. "A Cry Among the Stars", the opening, and one of my favorite song on the album, begins with an epic buildup reminiscent of SERENITY, cuts in with riffage worthy of neck snapping headbanging which paves the way for verses that contain an obvious DREAM THEATER note of trippy syncopation. Lucas Meloni, proves to have some vocal versatility, often switching between majestic, powerful notes, and Thrash-like yells. The twin guitarists have already proven, in the song's solo, that they are capable of an incredible dual-axe attack. "The Oracle" is one of the heaviest tracks on the album with crushing riffage all around, supplemented by guitar harmony that is on a Scandinavian level; best solo on the album, and there are many to choose from. "A Temple in Time" is a relatively chilled-out track in comparison, with an incredibly catchy guitar / keyboard harmony. I am hearing a lot of old FIREWIND in this track. The next track, "Wisdom in the Meadows of Sorrow" comes across as a highly versatile track, combining riffage reminiscent of AMON AMARTH, and the wails of JUDAS PRIEST; overall, this creates an incredibly driving track. "Tidal Waves of Greatness" is exactly that; smooth, yet anxious transitions between acoustic passages and grandiose and dramatic choruses. "Once In Arcadia" is another dominating heavyweight with riffage that is not only devastating, but also extremely catchy; very reminiscent of IN FLAMES; another standout track for me. "The Stone and the Idol" is the longest track on the record, though only capping out at 6:21. It starts with an allusion to yet even more epicenes with a tasteful symphonic intro, and leads into extremely groovy riffage, and ends with the best outro riff on the entire record."Born Under Niobe" may be constituted as the heaviest track, which is definitely saying something. The song begins with a downright battery and harsh, thrashy vocals, and riffage so heavy that leaves your brain pulsing with the force of the kicks. The chorus' vocal melody is extremely catchy, and Meloni proves his excellent vocal capabilities. It leaves you completely unprepared for a repeat of the previous bombard, and soon we hear a classic gallop passage that leaves one with the urge to windmill the beards off that the song has just made us grow. "Mythmaker" is an interesting track, opening with an unexpected tapping bass solo that paves the way for some pounding, driving groove riffage that constitutes the majority of the song, and leads seamlessly into the fantastic instrumental, "The Weeping Rock Of Seriphus". Arguably, this song doubles as both an outro and an extension of "Mythmaker", concluding the album in a dramatic, lengthy fashion. Finally, the bonus track, "Downfall Of The Ancients"; I struggle to see why this song was left out as a bonus track, for it most definitely deserves to be on the record. The atmospheric keyboard tracking is absolutely gorgeous, and complements the song very fittingly; with the rugged vocal work, combines to make a highly engaging track.To sum up this work of metal mastery, TRAGODIA are simply one of the reasons Progressive and Power Metal are my two favorite genres of Metal, and do their home country of Italy proud; absolutely deserving of more publicity, and I believe would make an unforgettable live performance." - Metal Temple
    $14.00
  • Hard rock rarity from the German underground getting an official vinyl reissue.  Dull Knife recorded this one album for Philips in 1971.  It gets overlooked a bit by prog collectors because of the harder edged aspects of the music.  While there are some prog moves in the same way that Deep Purple and Uriah Heep made some, these guys were a product of their times.  Killer grinding organ and slashing guitar leads abound.  Highly recommended.
    $27.00
  • Best of release that gives you a good taste of the band's output.
    $15.00
  • "Unwritten Pages’ Noah is an album born out of a passion for progressive, driving music, concept albums and 80’s science-fiction film. It combines the broad musical taste of its creator Frederic Epe and the stylistic and unique musical backgrounds of each project member, reaching from rock and metal to Latin influences and more classical/score-oriented arrangements.The album features soaring guitars, fat organs and bone-breaking drums, as well as a healthy dose of retro. But most of all, it never loses its focus on unique and melody-driven song-writing. And it comes in the form of an ambitious story, told through the eyes of the vocalists and musicians.Noah tells the story of a boy born in the ruins of the futuristic Utopia City, and Maria, the daughter of a ruthless politician who has – literally – split Utopia City in half and driven the poor to a district known as LS01X. As the political climate escalates, a few hundred people from both sides of the city are forced to leave their home world and start a new life on Mars. Here, both Maria and the boy grow up in the middle of a rising conflict between two factions that are unwilling to ignore their grudge-ridden past. Noah features the talents of Damian Wilson (Threshold, Ayreon, Les Misérables), Karl Groom (Threshold, Shadowland), Davy Mickers (Stream of Passion, Ayreon), Alejandro Millán (Hello Madness, Stream of Passion) and many others."
    $3.00
  • Digipak edition with one bonus track"Fans of gothic metal, rejoice! Tristania, one of the genre’s true pioneering bands, has just released their seventh studio album entitled Darkest White. The Norwegian powerhouse act has a storied fourteen year history stretching back to their 1998 debut – and they haven’t lost a step thanks to some much needed lineup stability. Darkest White contains all the near-theatrical arrangements, darker moods, and diverse tones that fans of the band would expect – delivered with a solid three-singer attack and technically tight musicianship. After numerous line-up shuffles, the now stable group has really hit their stride again, producing an album that clearly outshines their previous effort (2010’s middling Rubicon).Tristania has always focused on delivering solid vocal performances, and continue on with the duet of the angelic Mariangela Demurtas and the theatrical Kjetil Nordhus. Demurtas has a silky, clear voice and she remains her own singer rather than pushing towards the operatic stylings of other Gothic bands. Nordhus delivers with great emotion and depth, whether singing softly and clearly or doing some Broadway-style emoting. Guitarist Anders Høyvik Hidle now contributes a good amount of growled / death metal vocals, giving the band a bit of “beauty and the beast” sound at times. Overall, Tristania continues to deliver the clear and precise metal that has won them a worldwide following. Excellent musicianship backs up the great vocal harmonies, delivered by guitarists Hidle and Gyri Losnegaard, keyboard player Einar Moen, and bottom end Ole Vistnes (bass / backing vocals) and Tarald Lie (drums).“Number” opens the release with growled vocals and a kicky drum line, intense bass and great guitar hooks. Demurtas and Nordhus also contribute well done duet vocals making this track the quintessential example of the rebuilt Tristania. The heavy and intense “Darkest White” showcases the male vocalists. This track has a more conventional heavy metal feel to it, with strong contributions from guitars, bass and drums. “Himmelfall” is a slower, darker rock tune with hooky guitars and a great rolling rhythm line, and theatrical vocals by all. “Requiem” is a sweeping, epic soft track – very different from the previous songs. Demurtas’ voice is at its best here, and the softer keys and guitars combined with multi-layered vocal harmonies make it arguably the best track on the album. The languorous vocal lines of “Diagnosis” contrast nicely with the high speed rhythm lines, and both carry emotional intensity.“Scarling” starts off as almost an old school rocker, but becomes a moody progressive / Gothic track driven by vocals and drums. The vocal chorus, and interplay amongst the three leads is quite impressive. “Night on Earth” features great growl vocals over a simple but effective guitar riff and a real head banging rhythm line. The haunting “Lavender” is a major contrast, filled with soft guitars and mellow, soft vocals – the epitome of dramatic rock. “Cypher” is a somewhat gloomy sounding rocker with very well done male vocals and a brooding rhythm line. “Arteries” wraps up the CD, and features great back and forth between growl and clean voices along with top notch drum and bass.Darkest White is a very good release from a veteran band. The returning lineup now has a good deal more experience working as a team and has gelled into something special. Although the band’s technical abilities were never in doubt, they have addressed the weaknesses apparent in their last album – the song structure is better, the lyrics and themes more consistent, and the members of Tristania now seem more comfortable working together. They are tight and confident, once again pushing musical boundaries. Diversity in song style, tempo, and tone highlight the band’s superb use of multiple singers, and keeps the album interesting throughout. The excellent production values and strong engineering allow the many subtleties and great depths of the music to flow without seeming forced or unnatural.Highly recommended for fans of the genre." - Hard Rock Haven
    $13.00
  • "Houston, Texas is the place that the group who go by the name of Six Minute Century call home. Six Minute Century have a new album Wasting Time and it's one that comes with some serious hooks courtesy of guitarist Don LaFon. This melodic power/progressive group's well received debut Time Capsule introduced us to Six Minute Century in 2008 so it has been quite a long period between albums for fans of that release, but now the wait for their sophomore release is over.The first thing that I noticed about this group was the soaring vocals of Chuck Williams that is in a John Arch kind of way and fans of the heavier side of Fates Warning should give Six Minute Century a go. His approach totally suits the intriguing metal of Wasting Time, Six Minute Century is also group with very competent musicians the bass and drums really give Six Minute Century a hard driving sound not to mention some dynamic performances of their own along the way.Six Minute Century aren't afraid to put their bass player Michael "Dr. Froth" Millsap in the spotlight like on the instrumental "Czardas" and you can soon tell why as this guy is impressive, he also puts in a very nice introduction to "Last Days in Paradise". Two mid tempo songs that easily won me over thanks in a large part to guitarist Don LaFon are "Just Remains" and "The Killing Fields" these aren't the only memorable songs Six Minute Century have on Wasting Time but they certainly do reel you in promptly. Six Minute Century have a real knack at writing songs that entice you back again and again.Six Minute Century are onto something very agreeable here, and yes while their debut Time Capsule was quite good this new album Wasting Time shows a band that have lifted their game and the results are much more impressive." - Sea Of Tranquility
    $14.00
  • New CD/DVD digibook edition."Bloodbath is an all-star old school death metal band fronted by Opeth's Mikael Akerfeldt. He left the band after their first album to concentrate on Opeth, but returned for 2008's The Fathomless Mastery. They released a live album in 2008 as well, but Bloodbath Over Bloodstock is the band's first DVD, filmed at the 2010 British festival.In addition to Akerfeldt, Bloodbath's lineup includes guitarists Anders Nystrom and Per “Sodomizer” Eriksson and bassist Jonas Renske from Katatonia (Eriksson has been a touring guitarist for them) along with Opeth drummer Martin “Axe” Axenrot. Their approach is direct, brutal and to-the-point. It's an interesting contrast to Opeth and Katatonia's progressive and melodic tendencies, although you'll hear brief flourishes that give an inkling of Bloodbath's pedigree.Three of the 12 songs on Bloodbath Over Bloodstock are from The Fathomless Mastery, three are from their 2002 debut Resurrection Through Carnage, and they even play “Breeding Death” from the 2000 EP of the same name. Interestingly enough, the album most represented in this set is 2004's Nightmares Made Flesh, which Akerfeldt did not appear on.My review copy just has the concert, but the press materials say there is bonus material on the DVD including band interviews and some songs from 2008's Party San Festival. The audio and video quality on Bloodbath Over Bloodstock is good. The band is tight, and having a giant festival crowd always seems to add energy to a band. Because of their primary band duties, Bloodbath doesn't play a lot of live shows, so this DVD may be your best opportunity to see them in action." - About.com 
    $15.00
  • 130 minute DVD packed with great live set as well as all kinds of bonus material. 5.1 Dolby Digital sound is reported to be awesome (I don't have a surround setup so I can't confirm).
    $16.00
  • "Panic Room had something of a troubled 2013. Several years hard work paid off with a growing reputation and audience for their powerful and sophisticated mix of rock, folk, jazz and metal. Then their year began with the departure of the lead guitarist, founder member Paul Davies. While Morpheus Rising’s Pete Harwood did a sterling job standing in on their already-booked tour, his commitments to his own band ruled out any longer-term involvement. So they initially announced that they’d be writing their fourth album as a four-piece. Then around the time the band were ready to enter the studio they announced the recruitment of Adam O’Sullivan, bringing the band back up to full strength.In a rock band the lead guitarist can often be as important as the singer, so how would the new-look Panic Room sound?Hard rocking opener “Velocity” with its spiralling guitar riff is close to the feel of their last album, but with the next few numbers a rather different sound emerges. It’s a step away from the rich wall of sound that characterised the last couple of Panic Room albums, with a lighter, more pared-back feel that has as much in common with Panic Room’s acoustic side-project Luna Rossa than it does with 2012′s “Skin”. In places there are echoes of the début “Visionary Position” and the singer-songwriter feel of Anne-Marie Helder’s 2006 solo record “The Contact”, and it’s notable that Anne-Marie has sole songwriting credit for half of the ten songs.There are plenty of moments where the space in the mix gives individual members the chance to shine. There’s some inventive drumming from Gavin Griffiths, and some great understated Fender Rhodes from Jon Edwards across much of the album. Adam O’Sullivan’s guitar isn’t always prominent, though he does have his spotlight moments. Much of his playing has a strong jazz flavour, with some great bluesy rippling flourishes. A good example is on “Nothing New” where his guitar work duels with some equally jazzy piano runs from Jon Edwards. The one moment towards the end of the album where he cuts loose with a rock-style solo, it’s superb. Yet again Anne-Marie’s vocals are everything you’d expect from someone voted Best Female Singer by readers of Prog magazine, hitting the sweet spot between melody and expressiveness.Much of the strongest material comes in the second half of the album. The atmospheric “Into Temptation” with its eastern-sounding vibe is reminiscent of parts of “Endgame” from the band’s début. The following three numbers “All The We Are”, “Searching”, and the soaring “Close The Door” all demonstrate Anne-Marie’s talents as a singer-songwriter.The album closes with the dark and brooding “Dust”, an ambitiously progressive piece sounding like Massive Attack crossed with late-period Led Zeppelin, building on a repeated motif keeps going round and round in your head even after the album has finished playing.At this stage in their career, Panic Room could easily have attempted a retread of the well-regarded “Skin”. But that would have been a mistake, and they should be applauded for not simply repeating a successful formula. It’s not quite perfect; the album might have benefited from one or two out-and-out rockers in the vein of Skin’s “Hiding the World” or Satellite’s “Dark Star” to add variety and raise the energy level. But it does feel like the beginning of a new chapter for the band. This is album by a band not afraid to try something slightly different, and there is much to like about it, especially after repeated listens. It’s still unmistakably Panic Room, but with their sophisticated sound it’s a record with a wider crossover potential too." - Where Worlds Collide
    $18.00