Rise Of The Animal

SKU: AFM524-2
Label:
AFM Records
Category:
Melodic Metal
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"Wolfpakk's 'Rise Of The Animal' is a most curious and enjoyable slice of classic Metal. Alpha wolves Michael Voss and Mark Sweeney have again partnered up to bring more Metal mayhem to the masses via their third chapter of their all star project.

Where else can you find Don Dokken, Michael Kiske, David Reese, Joe Lynn Turner and Marc Storace all singing on the same album? Where else can one hope to find Jeff Watson, Bernie Tormé, John Norum, Doug Aldrich and Axel Rudi Pell throwing down guitar tracks on the same disc?

Not to mention stickmen the quality of Simon Phillips, Mike Terrana, Chris Slade, and Mark Schulman - yeah, this record is packed from beginning to end with talent and Voss and Sweeney have written a fun filled bunch of heavy hitting tracks on which their guests can perform.

The fireworks commence on 'Rider Of The Storm', being driven down the slalom by Mike Terrana's ferocious drums, and guitarist Jeff Watson (Night Ranger) and vocalist Andi Deris (Halloween) take this tune straight to the stratosphere. When Watson rips into his solo, you'd better hold on to your seat - damn, I wish this guy would put out more of his great playing.

Marc Storace of Krokus is up next, and 'Sock It To Me' is one of those silly and fun romps that can make hard rock so much fun when properly done. Michael Voss handles the six string duties and he righteously tears it up. The rock onslaught continues with 'Monkey On Your Back', and Danger Danger's Ted Poley takes over the microphone and what separates this from most all star projects is first, that the songs all hold up, and the performances are all passionate and on the mark. Ryan Roxie of Alice Cooper's band handles the sizzling six string duties and Mark Schulman (Foreigner, Billy Idol) plays some killer, killer drums.

Things slow down for the intro of 'Highlands' and then the rock kicks back in with Joe Lynn Turner and Bernie Tormé's turn - Pablo Allen (Skiltron) supplies the bagpipes, and when Tormé uncorks his solo you'll be smiling ear to ear, it brings an Irish tear of joy to my eye. Another winner. 'Black Wolf' is a hard charging thumper that serves as a mission statement of sorts. Rick Altzi of Masterplan takes the mic, and Voss contributes the classic Metal licks. The only thing that gives me pause with this record is the fact that I won't be seeing it on the stage, but hey, I'll take a coalesced rock record just the same.

The combination of ex-Accept man David Reese and the King of Europe himself, John Norum delivers just what you'd expect and 'Somewhere Beyond' is the album's best anthem - this is some majestic magic. This track is worth the price of the album - one of my favorite tracks of 2015. Norum's solo is very Schenker-iffic!

Talk about combinations, how about Don Dokken and Doug Aldrich? Aldrich scorches the earth with his screaming Les Paul and Dokken Don contributes a very appropriately poppishly melodic chorus. 'Running Out Of Time' would have sounded right at home on the Sunset Strip in the mid 80s.

Things get back to harder fare with the thunderous 'Grizzly Man' - you've got veteran vocalist Charlie Huhn helping out on this one, and this is a fine example of teutonic rock. Can you beat the rhythm section of Bob Daisley and Simon Phillips? No, you can't, they are the bomb. Bob - goddamnit, join a rock band, my friend.

'High Roller' features the distinctive tub work of Chris Slade, and you can hear why he got the call once again from the AC/DC camp for their huge summer tour. The quality stays high with super singer Michael Kiske (Solo, Unisonic, Halloween) and axe slinger Axel Rudi Pell - when Kiske takes over on the chorus you'll hear why he may be my favorite vocalist in Metal today. Flipping brilliant.

What you don't expect to find on the common project album is an epic track, but 'Rise Of The Animal' is just that. Kiosk's roof raising vocals, and Chris Ivo's soaring keyboard work take this to a very special place, and Pell's axe work is equally incendiary. Even at almost nine minutes long this one ends too soon.

'Universe' wraps things up with a slow march down melodic metal avenue - Michaela Schober is not a voice I'm familiar with, but I am instantly in love the minute I hear it. A great way to end a very surprisingly pleasant trip through the world of Metal as seen through the eyes of Sweeney and Voss - they've truly outdone themselves with this one." - Metaltalk.net

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    $9.00
  • "Stagnation, formula, expectations – these words have long been banned from the lexicon of LONG DISTANCE CALLING. It is this irreverent attitude that has fueled them to record three albums, play several tours throughout Europe, garner slots on renowned festivals such as Rock am Ring, Summer Breeze, Wave-Gotik-Treffen or Roadburn and even secured them an impressive #36 in the German Media Control Charts. But if you thought these successes would convince LONG DISTANCE CALLING to settle into form with their fourth album, “The Flood Inside”, the band instead attempted an even bolder metamorphosis.Flashback: In early April 2012, LONG DISTANCE CALLING amicably parted ways with founding member and electronic wizard, Reimut von Bonn. Von Bonn’s departure however opened up new possibilities for the remaining members. The band had previously worked with guest-singers such as John Bush (Armored Saint, Anthrax) or Jonas Renkse (Katatonia) and they felt the new material was shaping up differently and gravitating away from purely instrumental rock. “We just noticed that adding a voice simply made sense. Stagnation and special formulas are not our thing, so making the step was easy.” Since all members in LONG DISTANCE CALLING have diverse tastes in music it was easy for them to decide what they were NOT looking for: no screamers or a whiny shoegazers. Instead, a timeless rocking voice in the vein of Faith No More or Soundgarden: a role perfectly suited for Martin “Marsen” Fischer (Pigeon Toe, ex-Fear My Thoughts). “We met Marsen on tours we did together. Hence, we knew each other on a personal level and we were certain that we would match perfectly when it comes to the music. The fact that he is playing keyboards is a nice add-on, as he is also in charge of them live.”Despite the changes, “The Flood Inside” remains intrinsically LONG DISTANCE CALLING. “We questioned a lot and did a whole lot of fine tuning this time. A part is as long as it needs to be, but we took our time to discuss and revise every single one of them. Many ideas make many parts, but a good song always needs a certain flow. That was the overall aim.” The plan came together and resulted in countless parts that should cause the Serotonin to flow. The band further explains: “What really characterizes our sound is the combination of cool and heavy riffs with melodies that come without any kitsch.” The band had guest vocalists before, however this time you don’t just get one track with vocals, but three with the same vocalist.“It is always exciting to see what other people can do with your songs. We as artists as well as our music can only gain from the input. It is all about adding talent and an extra level. The genre is secondary. The range of the album should speak for itself.” Indeed, “The Flood Inside” features collaborations will names as varied as Vincent Cavanagh (Anathema), blues talent Henrik Freischlader and Jahcoozi-mastermind Robot Koch (known from his work with Casper, Max Mutzke or Marteria). Additionally, there is the Norwegian singer/songwriter Petter Carlsen, Tuneverse co-founder Alex Komlew and Mario Cullmann (formerly known as DJ Coolman for Fünf Sterne Deluxe). “We have never bowed down to any rules for what you may or may not do as an instrumental band. It is only us making the rules.”In art, rules exist to be broken. Atmosphere and diversity don’t always conform to the parameters of the 3:30 song structure. Yet “The Flood Inside” [produced by Martin Meinschäfer at Megaphon Tonstudios in Arnsberg, Germany] is a lot more focused and compact than any of its predecessors. “The past 12 months were emotionally draining: charts, splitting with a member, new album and new singer… The Flood Inside is a summary of everything and all the emotions around and within us. That is the not so simple idea behind the title. It shows the entire spectrum of life: joy, grief, euphoria, anger and everything in between. How to deal with emotions is a huge part of everyday life. Nevertheless a lot of things are happening in the grey areas – and we are trying to show those in our music.” "
    $12.00
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    $14.00
  • Xandria have been around for quite some time and for whatever reason they seem to churn through vocalists - perhaps each one better than the previous.  Their new vocalist is Dianne van Giersbergen, formerly with the Dutch band Ex Libris.  She's a great one for sure.  Luckily the overall band sound hasn't changed very much.  This is pure bombastic symphonic metal that follows the Tarja-era Nightwish template very closely.  You may have to play this one in secret or the originality police may come after you but if you do play it loud!This is the deluxe mediabook edition.  It comes with a bonus CD that features an exclusive studio track as well as an instrumental mix of the album so you can karaoke to your hearts content.  
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  • Special edition of the 18th studio album from these British melodic hard rock stalwarts.  Comes with a bonus disc with unreleased acoustic and live tracks from the band's vault. "There are some bands who just seem incapable of making bad albums, the odd inconsistent one maybe, the odd ill advised departure, but never bad. Well step up with pride those Brummie boys Magnum, who over the last 34 years (admittedly with a 5 or 6 year break) have regaled us with some of the best British pomp you could ever care to hear. Which judging by studio album number 17, is something that isn't liable to stop anytime soon!To be fair, On The Thirteenth Day isn't the sort of album that is going to change any minds, I doubt very much that was intention. Instead it builds and ever so slightly expands upon the impressive catalogue Magnum have amassed over the decades and stands tall and proud alongside their most revered releases. Only nostalgia will stop long term fans of the band proclaiming that this release is as good as On A Storyteller's Night, or Wings Of Heaven (or whichever is their fave reminisce), but it is. Yes the formula runs pretty close to the last three Magnum offerings, Princess Alice And The Broken Arrow, Into The Valley Of The Moonking and The Visitation, but considering how pleasing on the ear they all were, the fact that On The Thirteenth Day betters them is recommendation enough.Ease into the uplifting "Shadow Town", the ever building and instantly memorable "So Let It Rain" (the stick in your head song of the album), the wonderfully titled and welcomingly familiar "Blood Red Laughter", or stomping, melancholy intent of "From Within" for confirmation that this is a vintage motor still running at full tilt. Pleasingly there are a couple of curve-balls, with "Dance Of The Black Tattoo" having a chunkier riff than this band are known for, while "Broken Promises" follows a similar path, but with a bluesier edge.The voice of the band, Bob Catley, maybe sounds a little lived in these days, but few frontmen can offer up the warmth and emotion of his delivery, while long standing (someone get him a seat please!) keyboard player Mark Stanway adds the layers of atmosphere that mark out the Magnum signature sound. The new (a decade of service still denotes newbies in this band!) lads also stack up well, with Harry James on drums and bassist Al Barrow proving once again that having the most solid of rhythm sections is priceless in any band of any genre. However without guitar player and songwriter Tony Clarkin, this band simply wouldn't be, so let's all doff our caps to "The Hat" and pay reverence to yet another cracking set of songs and another stunning six string performance.On The Thirteenth Day is a fantastic blend of all of the elements with which Magnum have impressed, seduced and won our affection for almost as long as we can remember now and is an impressive statement from a band that would have every right to be sitting with their feet up and living off past glories at this stage of their careers. The fact that they are not is a reason to rejoice and so is On The Thirteenth Day!" - Sea Of Tranquility
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  • "Three years after Ai, Taiwanese symphonic power metal band Seraphim is back in strength with the well-titled Chinese language record Rising, which was also released with English lyrics to the international market one year later. A lot of things have changed between the third and the fourth (and up to now, last) records from the band. Guitarist Lucas Huang, drummer Simon Lin, bassist Jax Yeh and even singer Pay Lee left the band for numerous reasons. Band leader Kessier Hsu was responsible for guitar and bass duties on this release. The new singer Quinn Weng had joined the band back in 2004, and new drummer Van Shaw completed the trio in 2005. Bassist Mars Liu only joined the band shortly after the recordings in 2007, while second guitarist Thiago Trinsi from Brazil came to the band in 2010.Despite all these changes, the fourth record is typically Seraphim, with all the trademarks that distinguished the first three records, and only a few minor differences. The clean male vocals and death growls are less present on this release, and the music focuses on the vocal duties of new singer Quinn Weng. She had quite a difficult task in replacing the unique and powerful voice of Pay Lee, but does a very solid job. Her vocals are very grounded, but nevertheless variable. They are less operatic and spiritual than those of her predecessor, but I think she appeals to a wider audience, as her vocals rock more and fit more neatly into the power metal genre. This being said, the new record has less symphonic elements and focuses on more power metal sounds. The songs have become faster and heavier than ever before, and the drumming in particular is a killer on this release. Just listen to an energizing song like “Spring Wind” and you will understand what I mean. The music makes me think of the Liechtenstein gothic metal outfit Elis or Germany’s Xandria at times.The softer tracks are much less prominent on this album, but once they finally appear they are very strong. “No More” is a dreamy and transcending rock ballad with some commercial potential (and I mean this in the most positive way). The track has an amazing guitar solo, but it’s the calm parts that make me think of a symphonic new age epic. Let me add that Quinn Weng gives her best performance of the record on this track, truly equaling Peggy Lee. She sounds almost as heavenly as her predecessor did, but adds her very own touch upon this track that sends shivers down my spine. This song is definitely one of two highlights of this release, and also one of the strongest tracks in the band’s entire discography, as far as I’m concerned.My personal highlight of the record is nevertheless an epic symphonic piece that goes back to the style of the previous records and takes it to a new level of greatness. The stunning title track “Rising” is easily among the best of Seraphim’s catalog. In almost ten minutes, the song never gets boring, and features very elaborate song writing with catchy parts and diversified changes, as well as folky passages and heavier instrumental parts with tight riffs. This track is a firework of diversity and an absolute must-hear anthem for fans of gothic, power, and symphonic metal alike.In the end, this record is generally much heavier and obviously power metal-oriented than previous releases. Gone are most of the heavenly symphonic elements, but Rising is a lot faster and really rocks. Despite this new direction, old and new fans alike should be kept happy, and funnily enough, the two most outstanding songs are the ballad and the self-titled epic. The new line-up sounds fresh and promising, and I still hope for a new fifth release that might arrive in coming years. The band members are now living all around the world in Canada, Iceland, and Taiwan, but they are bound to meet again this year, and will hopefully work on new compositions. I will certainly keep in touch with Seraphim, and suggest that you do so as well, as well as (re)discover their back catalog while we wait for new things to come!" - Black Wind Metal
    $13.00
  • "LANCER is a power/speed metal band based out of Arvika, Sweden. Following the release of a Demo and an EP, they present their second full-length released entitled “Second Storm,” containing nine tracks. “Running from the Tyrant” is the opening track. Right out of the gate there is a contagious energy imbedded in the swift pace of the song, and a big, full chorus. Isak’s vocal range is impressive, in the tradition of the bands that precede them in this genre.“Iwo Jima” is a nice war anthem, full of pleasing harmonies and big melodies, really drawing out the sound in grand fashion. Favoring the keep the guitar solo as an accent to the main melody, they do a good job of keeping that memorable long after the track ends. “Masters and Crowns” features that two guitar opening that is so common in the NWOBHM movement of the late 1970’s and early 1980’s. The sound here in this track really soars, shooting high into the sky. When Isak lets loose, he can really negotiate his voice in the upper ranges with ease, as in the opening scream of “Behind the Walls.” The hastened pace careens straight at you, with the double bass thundering forward like well-oiled machine. The fifth track “Aton” clocks in just under ten minutes. It has a slower and more deliberate rhythm, like any epic story. There is definitely a mystical quality to this piece and some noted influence from IRON MAIDEN in the guitar harmonies, particularly after the second chorus. There are really three distinct movements in the song if you will, and they connect very memorably. I really like the way the song ends in this massive crescendo of beauty and light. Returning to the swift rocking pace, “Children of the Storm” lays down a super melodic chorus and a thick bridge section chocked full of guitar harmonies. Key changes provide a nice element of surprise. “Eyes of the Liar” is another song where that mysterious, almost supernatural quality permeates the track, but does not overtake the main melody. “Fools Marches On” is the closing song and the second longest on the album. They close in grand fashion here, with a track that seems to encompass nearly every element that we have heard to date. LANCER’S power metal is all about feeling and emotion. It just makes you feel good, like you want to take up a quest to a distant land and leave everything behind. The musicianship and songwriting is strong and fresh, and the band’s synergy is driven by the very impressive vocals of Isak Stenvall." - Metal Temple
    $13.00
  • ""Unm” is a concept album, on which singer Dario Vallesi holds the sceptre as main character. He is supported in his singing role by internationally known vocalists Hansi Kürsch of BLIND GUARDIAN, Chris Bay (FREEDOM CALL), Maxi Nil (JADED STAR, ex-VISIONS OF ATLANTIS) as well as Mark Boals (MALMSTEEN, IRON MASK, RING OF FIRE), who sing the parts of other characters in the story. The songs, all highly melodic, do not sound overly polished, but the punchy sound blows your socks off. “Unum” stands for a strong mixture of Power and Folk, marked by superfast guitars, great choruses, bagpipes and lots of small finesses, which the listener will notice and register. All this makes VEXILLUM one of the top bands of the Italian scene, with an unmistakeable style of great power metal and folk elements.""
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  • Epic, bombastic, crazy over the top, power metal from Italay a la Rhapsody Of Fire."Somewhere in Italy there lies a well. In that well, there exists a special water that most Italian musicians drink from to obtain the gifts that few possess in the music world. After hearing Luca Turilli’s Rhapsody reach the sky with “Ascending to Infinity,” I thought it was nearly unattainable for any band to come close to it ever, let alone within months after its release. In fact, I thought the only band with a shot to match it would be Rhapsody of Fire....until now. Suddenly up from the fires of Hades...er, the former Olympic city of Turin, rumbles Sound Storm with its sophomore effort, “Immortalia.” Rather than presenting its form of symphonic power as “Rhapsody straight up,” Sound Storm serves it up as “Rhapsody and Wuthering Heights with a twist of jalapeño.” With its own modus operandi, Sound Storm expands the sound by adding a touch of extreme, which to me spells pure excitement.Like Parmigianino painting a beautiful landscape in the 1500's, Sound Storm paints its own masterpiece with each band member adding broad strokes to the soundscape of "Immortalia." Melody upon melody, the album is relentless in its ability to wrangle the imagination of the listener. The mesh of masterful guitar work from Valerio Sbriglione and the perfect atmosphere cast by keyboardist Alessandro Muscio, amid the thundering rapid fire drumming of Federico Brignolo and bass work of Massimiliano Flak, set up the devastating vocals of Phillippe D’Orange (a/k/a Filippo Arancio). The huge standout is the band’s use of harsh vocals a la Sbriglione, which accent D’Orange’s soaring “Fabo Lione meets Nils Patrik Johansson” range in a way that surpasses the male/female “beauty and beast” style.With Sound Storm’s unique approach, there is something for everyone within this 58 minute opus. Here the band covers an element sorely missing on many European power metal releases - a nod to the extreme. After witnessing Fabio Lione screeching near black metal on Rhapsody of Fire’s dazzling “Reign of Terror,” it hit me that symphonic power acts could add this little touch and change the very complexion of an album. It certainly doesn’t need to be overpowering or draw any attention away from the pageantry. On “Immortalia,” Sound Storm employs this tool as a secret weapon on songs like “Call Me Devil,” “The Curse of the Moon,” and “Faraway,” the latter of which is one of the finest on the album. It took some time to pick the winner when every song shines, but the rapid fire riff reminiscent of Rock N Rolf on “Wrath of the Storm” completely satisfied an undying hunger for speed.One of the things I really appreciate about this album is meticulous attention to the smallest of details. Sure, it’s easy to get caught up in the sweeping majestic symphony of the album, but there are tons of little sounds, time changes, and little inflections that come out from nowhere to grasp the listener. Few albums gave me so much enjoyment from start to finish because of this. Right then, you want examples: how about the stunning duet of D’Orange and guest vocalist Ilaria Lucille on both “Blood of Maiden” and “Call Me Devil” with Sbriglione’s evil grunts circling them both like a serpent. Or perhaps the “modern day Beethoven” composition in the middle of “The Curse of the Moon,” or the little psychotic guitar whips on the main verses of “Promises.” Add to those the beautiful piano interlude at the start of “Faraway,” and the heavily Middle Eastern influenced “Seven Veils.”“Immortalia” quite simply puts the band’s debut “Twilight Opera” to shame. The song writing and compositions are truly remarkable. There is no doubt “Immortalia” will top my list for 2012, as it has already crept into the same company as some of my all time favorite releases...just like that.Highs: Some of the most breathtaking compositions in symphonic power metal.Lows: Fans who desire less orchestration will find this gaudy.Bottom line: Sound Storm's sophomore effort is undoubtedly "Immortalia."" - Metal Underground
    $15.00
  • "Have we reached the verdict regarding our future? Was George Orwell right? Has the big brother been watching over without us know, as if we were citizens in a global silent dictatorship? And what about the social networks, are those enough to be considered as the beginning of a certain end to our healthy minds? Too many questions and plenty of answers, maybe some would be left in the air for sure. Possibly the only thing left is tell about it, warn the commonwealth of probably future's dangers and hazards. Under the veil of melodic Metal, the Bavarian POWERWORLD created various perceptions of the future to come. Several views have been seen in movies over the years, others have been preserved for impending use, maybe to write songs about. POWERWORLD created the next revolutionary hysteria of the cyber world with their brand new album, "Cybersteria", via SPV / Steamhammer Records. Nothing too innovative musically, but this album, as the previous before it, is enough to encourage the listener to appreciate the band's profound talents for their version of Heavy Metal."Cybersteria", as the band's new album, served also a cornerstone for the change the engulfed the group. In 2011, after suffering from a continuous illness and bad health, the band's previous vocalist, Andrew McDermott, died. David Reece, known from his single work with ACCEPT and a constant member of BANGALORE CHOIR, stepped in as a replacement. Yet for the reason of musical differences, the ex-JADED HEART Bluesy voice of Michael Bormann, took charge of the vocal recordings. Furthermore, Guitarists, Andreas Rippelmeier (HEAVENWARD) substituting for Barish Kepic, and Keyboards players, Marco Grasshoff coming in for Nils Neumann, were replaced for the recording, possibly as new band members under the leadership of bassist, Ilker Ersin. In comparison to the previous "Human Parasite", this has been quite an uplifting experience, as this unified group generated a decisive, partly intricate and complex, concoction of Euro melodic, but heavy duty, Heavy Metal in range of ACCEPT or VICTORY, Bluesy furbished Hard Rock of whether 70s DEEP PURPLE and 80s WHITESNAKE, aside to a variety of Power Metal attributes of STRATOVARIUS and darkened features of EVERGREY. Not what I would call an explicit musical skirmish, but surly this particular one is a fresh air in a cool summer night."Cybersteria" enabled smooth catchiness just as the previous release, yet the dimmer veil that hovered above of the Blues created an atmosphere of something that might resemble sorrowfulness and emotional distress. One might also notice fear, especially within the theme of the lyrics, and Bormann's raspy tone of Jorn meets Coverdale tone of voice seemed to be the right choice to go along with. The album's rising star, "Coast Of Tears", is an aching, hooking, slow to mid tempo rumpus of emotional distress, a slight murky, powerful riffing and impressive vocals, reminded me a bit of EVERGREY but with a bleak PURPLE aloofness. "Back On Me" seemed endless at first, but ended up being highly articulate and melodic. Similar to "Human Parasite", POWERWORLD remained modernly produced in terms of sound, but for songs such as this one, nothing sounded as better. "Not Bound To The Evil" and "Like A Shadow" drenched in 80s Metal boundaries. Andreas Rippelmeier seemed quite capable of writing past oriented riffing. There have been several signatures of the 80s throughout the album, but these songs took me back to the hey days more than the others. The latter being a catchy speedster with an amazing main riff, a mere classic with an incredible lead guitar line, but with an even better was the vocal line. There you have it, dripping with the right volume of Blues, along with an expressional version of melodic Heavy and Power Metal, the pristine hysteria is delivered and here for your receiving and understanding. " - Metal Temple
    $15.00
  • Devin Townsend continues to be a true cutting edge progressive artist. Synchestra straddles the prog rock world as well as that of his agressive metal band Strapping Young Lad. The music stops and turns on a dime going from quiet acoustic interludes to a firestorm of shred, acidic vocals and blast beat rhythms. Long time buddy Steve Vai appears, contributing a solo on one track. This one is a challenging listen which is what progressive music is supposed to be about.
    $13.00
  • Excellent debut from this Venezuelan band. Echoes skirts the edge between progressive rock and metal. Clearly Dream Theater (and Rush to some degree) are an influence but the music isn't as heavy as most progressive metal bands. There are some great atmospheric parts that have more of a prog rock vibe. There are a number of guest vocalists that contribute to the album and they are all quite good. I'm surprised there isn't more of a latin influence going on - these guys could pass for a US band. I can see this easily appealing to fans of both prog rock and prog metal. Highly recommended.
    $3.00
  • Digipak with one bonus track."The symphonic metal outfit from Germany, Voices of Destiny returns with a new singer Ada Flechtner (ex-Coronatus) and their 3rd album “Crisis Cult”; since changing vocalists is often one of the biggest decisions a band can make, you had better make sure that you have found the right one. Well, in listening to “Crisis Cult”, I couldn’t help but think to myself that Ada is the perfect choice to be the bands new female voice.“Crisis Cult” is basically a concept record. Lyrically it is perhaps the bands best and musically they straddle the line between head banging metal and a more melodic tone, but all of the songs have a bombastic element. The majority of the vocals are handled by Ada, but keyboardist Lukas Palme also contributes with his grunting vocals. The opening “Intro” seamlessly segues into the track “Wolfpack”. This is a heavy yet melodic track with the two differing vocal styles on full display. Songs like “The Easy Prey”, “To the Slaughter” and “21 Heroes” are all solid. The track “At The Edge” is a great big powerful ballad which features a duet between Ada and Manuela Kraller (ex-Xandria). The band returns to their bombastic best with the heavy melodicism of “Stormcrow”.With “Crisis Cult”  Voices of Destiny turn in a cool album featuring excellent performances from all of the members; if you are already a fan of the band, “Crisis Cult” will not disappoint." - Femme Metal Webzine
    $16.00
  • With new kid on the block, Mike Mangini, fully assimilated into the group, Dream Theater has come up with a stunning new album.  Expect nothing less than full on prog (with a nice tip of the cap to Rush in spots). Enigma Machine may be the best instrumental piece they've cooked up yet.  Highly recommended.
    $16.00