Target Earth (Ltd Mediabook)

"Voivod is timeless. That doesn’t mean that the Quebec progressive thrash metal band is frozen in stasis. Rather, it’s a testament to their uncompromising insistence on ever-changing, experimental futurism, with every album existing outside of contemporary style in some alternate universe where guitar pickups are wormholes and drumbeats ripple gravity wells." - Montreal Gazette

Limited edition mediabook includes 2 extra live songs, an expanded booklets and 2 stickers.

 

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  • "Don’t let the Appearance Of Nothing distract you from hearing A New Beginning, because, despite such deception, there’s a lot to be enjoyed from one of Switzerland’s few progressive metal bands. I’ve decided to adopt a policy of responding to stupid band names with stupid puns, and I won’t stop until they do. Appearance Of Nothing plays straightforward melodic progressive metal that’s heavy on the melodic. The band has been around for about ten years, and this is their third album. For fans of their first two albums, as well as fans of the more accessible forms of progressive metal, this is a very strong release.Expect synth and guitar heavy music. Every song is carried by crunchy rhythm guitars, and I’m happy to report that the recording and production is spot on to allow them to really shine. As far as distinct strengths of the album: look no further the choruses. Every single one, particularly on the daunting 14 minute title track, is remarkably catchy. This memorability, along with the consistently driving pace of the album, makes it a very easy and enjoyable listen. The lead vocal performance is also pretty great, and the songwriting even manages to accommodate interspersed harsh vocals. Usually throwing harsh vocals into melodic prog is a quick turn-off for me, but I applaud Appearance Of Nothing for pulling it off.Where drawbacks are concerned, I can’t point to any specific “problems”, but there are a few minor disappointments. For a pretty heavy synth presence, strong vocals, and ample songwriting diversity, I was disappointed with the overall atmosphere of the album. While the songs were certainly strong, they lacked a unique identity. This isn’t so much a drawback as it is lost potential for a band that’s got everything else they need to be really, really good.Certainly check out the single “Chains Of History”, as well as the title track. As common to great progressive music, it’s often that the longest song ought to be the best, and that’s certainly true here with the title track. I again applaud solid work from the studio to draw out a powerful performance so that it actually sounds powerful. Where technically proficient progressive metal meets great melodies and an excellent performance, you can’t go wrong." - Black Wind Metal
    $15.00
  • "1981's Mob Rules was the second Black Sabbath album to feature vertically challenged singer Ronnie James Dio, whose powerful pipes and Dungeons and Dragons lyrics initially seemed like the perfect replacement for the recently departed and wildly popular Ozzy Osbourne. In fact, all the ingredients which had made their first outing, Heaven and Hell, so successful are re-utilized on this album, including legendary metal producer Martin Birch (Deep Purple, Whitesnake, etc.) and supporting keyboard player Geoff Nichols. And while it lacks some of its predecessor's inspired songwriting, Mob Rules was given a much punchier, in-your-face mix by Birch, who seemed re-energized after his work on New Wave of British Heavy Metal upstarts Iron Maiden's Killers album. Essentially, Mob Rules is a magnificent record, with the only serious problem being the sequencing of the material, which mirrors Heaven and Hell's almost to a tee. In that light, one can't help but compare otherwise compelling tracks like "Turn Up the Night" and "Voodoo" to their more impressive Heaven and Hell counterparts, "Neon Knights" and "Children of the Sea." That streak is soon snapped, first by the unbelievably heavy seven-minute epic "The Sign of the Southern Cross," which delivers one of the album's best moments, then its segue into an unconventional synthesizer-driven instrumental ("E5150") and the appearance of the roaring title track. Side two is less consistent, hiding the awesome "Falling off the Edge of the World" (perhaps the most overlooked secret gem to come from the Dio lineup) amongst rather average tracks like "Slipping Away" and "Over and Over." Over the next year, the wheels fell off for Black Sabbath, and Dio's exit marked Mob Rules as the last widely respected studio release of the band's storied career." - Allmusic Guide
    $6.00
  • "Last year's "Where Business Meets Fashion" caught my ear with its unusual ability to mix instantly hummable pop melodies, darkly sardonic, observational lyrics and time signatures that seem almost impossible to dance to, but entice the feet to try anyway.Esoteric Records were paying attention too, and they've signed the Bristol based quartet for the release of follow-up album "Protein For Everyone", which continues to hone their strengths, and sounds like it's had a bunch of money thrown at it by the label (although I gather that the album had already been recorded prior to signing with Esoteric?). Anyway, what I'm trying to say is that it sounds very nice indeed, crisp and LARGE.Schnauser founder Alan Strawbridge has always had a way with a winning tune as those who have followed him from his early days in the Lucky Bishops will know, but with Duncan Gammon, Holly McIntosh and Jasper Williams, he's found a group of co-conspirators who bring so much to the table that it would be unsporting, and inaccurate to think of them as a supporting cast."Protein For Everyone" continues on in much the same vein as "Where Business Meets Fashion" - it's pop music for smart people basically - with a perfect combination of quirky, harmony-laden vocal structure, and 'should be, but aren't' self-indulgent detours, that are as grin inducing as the unfailingly huge choruses are.You can look at early Soft Machine and Caravan for precedents of this sound, but Schnauser are much more knowingly contemporary, and shun the more recent "advances" in progressive rock (palm-muted guitars are refreshingly absent), in favour of something which has more in common with adventurous indie practitioners like White Denim.Even epic seventeen minute closer "Disposable Outcomes" avoids the po-faced nature of what we've come to expect from long, progressive suites. Its a perfect distillation of Schnauser's ability to hit the listener with the unexpected, and turn perceptions and expectations upside down. And more importantly, it's a whole lot of fun." - The Active Listener
    $15.00
  • CD version of the live show from Katowice, Poland in 2005. Basically the audio soundtrack of the DVD previously available. Digipak - supposedly a limited edition.
    $9.00
  • Third album from this Finnish power metal band finds them on a new label - Spinefarm Records. The sound hasn't changed at all. This is operatic female fronted power metal exactly in the same direction of Tarja era Nightwish.
    $15.00
  • I'm going to get straight to the point.  If you are a fan of female fronted metal you must own this album.  The Human Contradiction is a complete triumph.  It finds the band returning a bit to their roots.  There are still poppy elements - that's part of their core sound - but there is a heaviness that will remind you of Lucidity.  Nightwish's Marco Hietala returns contributing on clean vocals. Also back is Orphanage vocalist George Oosthoek who is one of the best growlers in the metal scene.  Arch Enemy vocalist Alissa White-Gluz makes a guest appearance.Timo Somers' guitar riffs are chunkier, Charlotte's voice is impeccable as always, and Martijn's keyboards are simply epic.  The album was recorded at Studio Fredman and sounds massive.  Weaving the whole album together is a sci-fi theme borrowed from the writings of Octavia Butler.This is an album filled with a enough earworm hooks to drive you crazy but at the same time its heavy!  For my taste its a top 10 album for 2014.  BUY OR DIE!
    $12.00
  • Utterly insane avant garde metal from The Netherlands.  A not so simple guidepost would be to think of Leprous meets Queen meets Mr. Bungle.  That's really just the starting point.  This one will keep you off balance and scratching your head in wonderment.  Brilliant and totally mesmerizing.  BUY OR DIE!!"You probably haven’t heard of Dutch Avante-garde prog metal band Schizoid Lloyd, which is a shame, as their two previously released EPs, Virus in 2009 and Circus in 2010, were incredible slices of metallic weirdness that blended the humorous stylings of Queen, Mr. Bungle and Frank Zappa, as well as a long and diverse list of more subtle influences (their Facebook page’s influences section is extensive and covers everything from Gorguts to Kanye West), resulting in something as unique as it is strange. This past year, the band finished work on their debut album and announced their signing to Finnish label Blood Music.The band’s debut, appropriately titled The Last Note in God’s Magnum Opus, is a monstrous slab of progressive metal that’s not afraid to go some very strange places, and while it can be cacophonous at times, the songwriting is good enough to hold together tunes that wouldn’t work if written and played by less skilled musicians. Songs like “Suicide Penguin” and “Avalanche Riders” careen from riff to riff while the rest of the band rides alongside. It’s all incredibly breathless and odd, but not without subtlety and emotional depth. The most surprising part of this record, in fact, is it’s ability to be catchy and emotional without losing an ounce of technical or compositional depth.That’s not to say that this is an album for casual listening or the uninitiated. The sheer amount of musical “stuff” going on at once can make your head spin if you’re not used to bands like Mr. Bungle or Diablo Swing Orchestra and their propensity for offbeat histrionics. Even so, going in with an open mind and no expectations beyond “Things are going to get weird” should allow almost anyone to appreciate the virtuosity on display. The multiple vocal stylings from three of the musicians are almost akin to Mastodon, if they spent way too much time listening to Queen and doing cocaine. Even at it’s most blisteringly odd, however, the compositions are rock solid and so tightly played it’s enjoyable to listen to even if you can’t get a handle on what’s going on, in much the same way riding a rollercoaster blazed out of your mind is enjoyable.Schizoid Lloyd wear their influences on their sleeves. Queen is evident in the vocal melodies and harmonies, Frank Zappa in the guitar compositions and Mr. Bungle in the song titles and bizarre atmosphere, but the band manages to take all these disparate pieces and craft an album that not only feels cohesive, but is both fun to listen to and possessive of a character all it’s own. These six Dutchmen are certainly no amateurs on their instruments or newcomers to the genre, and they manage to check all the boxes as well as go above and beyond and deliver something that feels fresh in a genre that can often feel burdened by it’s own strangeness and need to stay one step ahead of everything else. The Last Note in God’s Magnum Opus is fantastic, and it would be a shame if this was the last note from this band." - Heavy Blog Is Heavy
    $16.00
  • Liquorish Allsorts is the first solo album from Robert Webb, keyboardist for the legendary Britsh band England.  The set collects a variety of material from different era, dating all the way back to the early 70s and runs up to the present day.  Much of the material fits firmly in the prog category and some of it...not so much.  There are an endless number of musicians that contribute to the set including his former England bandmates.  Even Nicko McBrain is here!  Current musicians participating are drawn from Kenso and Resistor.
    $8.00
  • "Esoteric Recordings are pleased to announce the release of the first ever boxed set celebrating the solo work of Genesis founding member Tony Banks. A CHORD TOO FAR is a deluxe 4 CD set comprising 48 songs and pieces, all personally selected by Tony. Many tracks have been remixed exclusively for this collection and have been drawn from his seven solo and two orchestral albums; A CURIOUS FEELING, THE FUGITIVE, THE WICKED LADY (film score), SOUNDTRACKS , BANKSTATEMENT, STILL, STRICTLY INC. and his orchestral albums SEVEN – A SUITE FOR ORCHESTRA and SIX PIECES FOR ORCHESTRA.A CHORD TOO FAR also includes four previously unreleased tracks, three of which are keyboard demos of his orchestral suites. The fourth is a piece originally written for the album STILL. Inducted into the Rock and Roll Hall of Fame in 2010 as a member of Genesis, Tony is one of the most respected songwriters and keyboardists in the world. His career spans almost 50 years and has seen him sell in excess of 130 million albums . His body of work is as innovative as it is eclectic. Genesis’ avant-garde style made them one of progressive rock’s founding fathers in the 1970s, creating an experimental style of rock music never before seen. They went on to produce music with a greater pop sensibility in the 1980s that saw them become one of the biggest selling bands of the decade, and play stadiums throughout the world.Tony Banks’ solo work has continued in the same vein. His rock albums have included collaborations with some of the world’s most respected musicians including singers Toyah Wilcox, Fish and Nick Kershaw , bassist Pino Pallodino , and drummers Steve Gadd and Vinnie Colaiuta , as well as long time Genesis collaborators Daryl Stuermer and Chester Thompson . He has composed original scores for four films The Shout (1978), The Wicked Lady (1983), Starship (1985) and Quicksilver (1986) and most recently his orchestral albums, Seven: A Suite for Orchestra and Six Pieces for Orchestra, that were performed by the London Philharmonic Orchestra and City of Prague Philharmonic Orchestra."
    $55.00
  • Long out of print 2nd album from this Los Angeles based thrash band featuring Gene Hoglan on drums.  2008 versions with 8(!) live bonus tracks.
    $8.00
  • "I was first exposed to Cardiacs’ oddly compelling world when the video to ‘Tarred And Feathered’ aired on The Tube on April 17 1987. Six musicians wearing old-fashioned vaguely military-style uniforms, covered in badly applied make-up and cranking out the most eccentric music I had ever heard broadcast on TV, against a backdrop that looked as though it had been stolen from a 70s children’s show. I had no idea what to make of it but it certainly made an impression. A friend of mine said he liked it, until he realised that the seemingly chaotic nature of the tune was in fact scripted mayhem, written down as notes and not improvised at all. This had the opposite effect on me. I wondered how someone could write such music and what on earth their influences could be.When I briefly moved to Cambridge aged 18, my best friend there was a Cardiacs obsessive who used to terrorise his poor live-in-landlord by constantly screening their Seaside Treats video at full-throttle volume. There was something about those films - the childish petulance of the musician’s behaviour, the industrial surrealism of Eraserhead transposed instead to the garish English seaside - that I found irritating. But after a few listens, splinters of melodies had embedded themselves in my brain (abetted no doubt by the eruption of electronic mayhem that follows the command "take it Sarah" on ‘To Go Off And Things’) and resistance was no longer an option. I went out into the city centre and bought my first Cardiacs album, A Little Man And A House And The Whole World Window. Although subsequent releases by the band would mean I was forever revising which was my favourite, it was to mark the beginning of a lifelong love of their music.Perhaps their best known recording, ALM&AH&TWWW was Cardiacs’ fourth album and the first to be recorded in a proper studio - The Workhouse in the Old Kent Road in London, which was gutted by a fire soon after. Three cassette only albums, The Obvious Identity, Toy World and The Seaside, had preceded it, along with the Big Ship mini-LP. The classic line up of brothers Tim and Jim Smith on lead vocals/guitar and bass/vocals respectively, Sarah Smith on saxophones and clarinet, William D. Drake on keyboards and vocals, Tim Quay on marimba and percussion, and Dominic Luckman on drums, was expanded to include strings and a brass section. Ashley Slater added tenor and bass trombone, Phil Cesar brought trumpet and flugelhorn, while Elaine Herman completed the picture on violin. The band’s main creative force Tim Smith produced the album, which contained the nearest thing they ever had to a hit single, ‘Is This The Life?’ Tim once told me that demand for the single far outstripped stock from the initial pressing and although he tried to get more pressed up as quickly as possible, the plant where they were being made was also pressing copies of Kylie Minogue’s ‘I Should Be So Lucky,’ and was already at maximum capacity cranking out copies of her massive breakthrough hit. A quick look at the timeframe suggests the story could have been true, but as this was exactly the kind of self-penned apocryphal tale that Tim could never resist indulging in, I’m still unsure as to whether I believe it or not." - The Quietus
    $18.00
  • OK WE GOT A HOT ONE HERE!  Latest album from keyboard maestro Lalle Larsson is full-on balls to the wall fusion.  He's hooked up again with Richard Hallebeek, who is one of the great Holdsworth clones out there.  The rest of the band is Stefan Rosqvist (rhythm guitar), Jonas Reingold (bass), and Walle Wahlgren (drums).  Larsson lays down lethal synth leads and swaps back and forth with Hallebeek who matches him with dexterous legato runs.    Time will tell but I think this may be Lalle Larsson's best solo album yet!  Highly recommended.
    $16.00
  • THE BAR HAS JUST BEEN RAISED!Symphony X's fifth effort is an over the top epic conceptual work that finds the band exploring the more progressive territories of The Divine Wings Of Tragedy and then some. Guitar virtuoso Michael Romeo once again reaffirms why he is one of the best guitarists in metal today. Russel Allen's vocals have never sounded better or bigger. The input of keyboardist Mike Pinella is not to be overlooked. In fact I think it is his symphonic interludes that make this Symphony X's supreme musical statement.Easily in my top 2 or 3 albums of the year.
    $15.00
  • Modern British progressive rock cut from similar cloth to Radiohead and Muse.
    $12.00