We Are The Others (Special Edition)

Fronted by the fiery-tressed Charlotte Wessels, Delain is the brainchild of ex-Within Temptation keyboardist, Martijn Westerholt. Originally conceived by Westerholt as an all-star studio project, the success of the debut album Lucidity tipped his hand and Delain evolved into a full blown band. The immediate impact of their debut “Lucidity”, put Delain on tour. An instant live hit, the band’s popularity continued to grow with the release of their 2nd album “April Rain”. The band found themselves on tour through out Europe, USA, Mexico, and Brazil. Highlights of the tour included festival performances at Wacken Open Air, Sonisphere, Lowlands, ProgPower USA, and Hellfest. As the band’s popularity grew they evolved from a support act for Kamelot and Epica into full fledged headliners across Europe.

“We Are The Others” is the band’s third album. It was produced by the team of Jacob Hellner (Rammstein, Apocalyptica), Fredrik Thomander and Anders Wikstrom (Scorpions, Backyard Babies). At first glance some song titles on “We Are The Others” may sound mysterious and conspiratorial, but there is a very serious background: The lyrics to the title-track were inspired by the hate-crime against a British girl named Sophie Lancaster in 2007. She and her boyfriend were beaten comatose by a gang of youths, because of their goth looks. Sophie died from her injuries. This tragedy sent shock waves throughout the world. Delain’s response to this tragic case is expressed through the song We Are The Others.

The band met Fear Factory’s Burton C. Bell at Wacken Open Air. As a result he guests on the track “Where Is The Blood”. The Sensory special digipak edition features four bonus tracks. The steampunk influenced cover art was created by noted pop surrealist Glenn Arthur.

Product Review

Wed, 2012-06-27 15:42
Rate: 
0
“We Are The Others” is the long-anticipated new album from Dutch symphonic metal band Delain. Originally slated for release last spring, a shake up at the band’s label, Roadrunner Records, caused the album to be delayed with no information on when it would be released. Through the power of social media, Delain’s hardcore fans created a Facebook petition page for Roadrunner to release the album. Eventually, the label relented and ‘We Are The Others” has been released (it will be available through Sensory in the U.S. on July 3rd). Well after several spins, I can tell you that WATO was worth the wait! The trademark Delain melodic metal sound is still there although the symphonic elements have diminished slightly and new influences have been added to the mix. Lead vocalist Charlotte Wessels sounds more confident and is in fine voice on the albums twelve tracks. The guitars have been downtuned and have more of an “Evergrey” crunch to them. The first song “Mother Machine” has an industrial/steampunk intro and a heavy guitar riff kicks in. Charlotte’s sultry vocal sings about living in a cold and heartless world with the anology of a steelworker factory. The lyrics fit the song perfectly and the breakdown at the end of the song is arguably the heaviest thing that Delain has ever recorded. “Electricity” has a great mid-tempo trademark Delain chorus and keyboardist Martijn Westerholt’s trademark ivory tinkling adds the melody. The lyrics to the title track were inspired by the brutal death of British teen Sophie Lancaster, who was beaten to death simply for having a “goth” look. Knowing the meaning behind the lyrics makes the song all the more powerful when Wessels sings the first line; “I’m walking with Sophie tonight. She lives in the air that I breathe. I can’t get it out of my mind, how you were left to bleed.” It’s a great outsiders anthem and the lyrics gave me goosebumps. “Milk and Honey” has a sexy sensual vibe with industrial overtones but still maintains the Delain sound. On “Hit Me With Your Best Shot” (no, not the Pat Benatar song), Charlotte’s pop sensibilities take the center stage as she further distances herself from her symphonic metal peers. The album slows down with “I Want You”, a dark and twisted tale of love and obsession. For fans of the symphonic style it’s the closest Delain come to the genre that they get placed into. Fear Factory main man Burton C. Bell adds his distinctive vocals to the rockin’ “Where’s The Blood?” While not having the same effect as past collaborations with Tarot/Nightwish’s Marco Hietala, Bell and Wessels voices blend well together. Delan take on the subject of today’s “Twitter/Facebook” obsessed society on “ the up-tempo Generation Me”. “Babylon” is an epic metal song in the Delain tradition. The pop sound returns on “Are You Done With Me?”, which has a catchy sing-a-long refrain. The beginning notes of “Get The Devil Out of Me” bring to mind the title track to Delain’s last album “April Rain”, but soon enough it distinguishes itself with an infectious chorus. Otto Schimmelpenninck van der Oije makes his presence known with a thumping bass line on album closer “Not Enough” which is an appropriately titled way to end the album. The special edition digipak contains four live tracks including “The Gathering” and “Control the Storm” featuring Marco Hietala. Having been lucky enough to see these duets performed live at ProgPower XI in Atlanta in 2010, I can say they have more of a powerful punch in a live setting. Also included is the live show staples ‘Shattered” and “Sleepwalkers Dream”. With “We Are The Others” Delain has created their finest achievement. It’s high time that the band gets recognized as a major force in melodic metal and Charlotte Wessels proves she belongs at the top of her class of vocalist peers. Perhaps it’s time for Delain to finally return to this side of the pond to conquer the U.S. concert stages. Rating: 10 “We Are The Others” is the long-anticipated new album from Dutch symphonic metal band Delain. Originally slated for release last spring, a shake up at the band’s label, Roadrunner Records, caused the album to be delayed with no information on when it would be released. Through the power of social media, Delain’s hardcore fans created a Facebook petition page for Roadrunner to release the album. Eventually, the label relented and ‘We Are The Others” has been released (it will be available through Sensory in the U.S. on July 3rd). Well after several spins, I can tell you that WATO was worth the wait! The trademark Delain melodic metal sound is still there although the symphonic elements have diminished slightly and new influences have been added to the mix. Lead vocalist Charlotte Wessels sounds more confident and is in fine voice on the albums twelve tracks. The guitars have been downtuned and have more of an “Evergrey” crunch to them. The first song “Mother Machine” has an industrial/steampunk intro and a heavy guitar riff kicks in. Charlotte’s sultry vocal sings about living in a cold and heartless world with the anology of a steelworker factory. The lyrics fit the song perfectly and the breakdown at the end of the song is arguably the heaviest thing that Delain has ever recorded. “Electricity” has a great mid-tempo trademark Delain chorus and keyboardist Martijn Westerholt’s trademark ivory tinkling adds the melody. The lyrics to the title track were inspired by the brutal death of British teen Sophie Lancaster, who was beaten to death simply for having a “goth” look. Knowing the meaning behind the lyrics makes the song all the more powerful when Wessels sings the first line; “I’m walking with Sophie tonight. She lives in the air that I breathe. I can’t get it out of my mind, how you were left to bleed.” It’s a great outsiders anthem and the lyrics gave me goosebumps. “Milk and Honey” has a sexy sensual vibe with industrial overtones but still maintains the Delain sound. On “Hit Me With Your Best Shot” (no, not the Pat Benatar song), Charlotte’s pop sensibilities take the center stage as she further distances herself from her symphonic metal peers. The album slows down with “I Want You”, a dark and twisted tale of love and obsession. For fans of the symphonic style it’s the closest Delain come to the genre that they get placed into. Fear Factory main man Burton C. Bell adds his distinctive vocals to the rockin’ “Where’s The Blood?” While not having the same effect as past collaborations with Tarot/Nightwish’s Marco Hietala, Bell and Wessels voices blend well together. Delan take on the subject of today’s “Twitter/Facebook” obsessed society on “ the up-tempo Generation Me”. “Babylon” is an epic metal song in the Delain tradition. The pop sound returns on “Are You Done With Me?”, which has a catchy sing-a-long refrain. The beginning notes of “Get The Devil Out of Me” bring to mind the title track to Delain’s last album “April Rain”, but soon enough it distinguishes itself with an infectious chorus. Otto Schimmelpenninck van der Oije makes his presence known with a thumping bass line on album closer “Not Enough” which is an appropriately titled way to end the album. The special edition digipak contains four live tracks including “The Gathering” and “Control the Storm” featuring Marco Hietala. Having been lucky enough to see these duets performed live at ProgPower XI in Atlanta in 2010, I can say they have more of a powerful punch in a live setting. Also included is the live show staples ‘Shattered” and “Sleepwalkers Dream”. With “We Are The Others” Delain has created their finest achievement. It’s high time that the band gets recognized as a major force in melodic metal and Charlotte Wessels proves she belongs at the top of her class of vocalist peers. Perhaps it’s time for Delain to finally return to this side of the pond to conquer the U.S. concert stages.
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Product Review

Wed, 2012-06-27 15:42
Rate: 
0
“We Are The Others” is the long-anticipated new album from Dutch symphonic metal band Delain. Originally slated for release last spring, a shake up at the band’s label, Roadrunner Records, caused the album to be delayed with no information on when it would be released. Through the power of social media, Delain’s hardcore fans created a Facebook petition page for Roadrunner to release the album. Eventually, the label relented and ‘We Are The Others” has been released (it will be available through Sensory in the U.S. on July 3rd). Well after several spins, I can tell you that WATO was worth the wait! The trademark Delain melodic metal sound is still there although the symphonic elements have diminished slightly and new influences have been added to the mix. Lead vocalist Charlotte Wessels sounds more confident and is in fine voice on the albums twelve tracks. The guitars have been downtuned and have more of an “Evergrey” crunch to them. The first song “Mother Machine” has an industrial/steampunk intro and a heavy guitar riff kicks in. Charlotte’s sultry vocal sings about living in a cold and heartless world with the anology of a steelworker factory. The lyrics fit the song perfectly and the breakdown at the end of the song is arguably the heaviest thing that Delain has ever recorded. “Electricity” has a great mid-tempo trademark Delain chorus and keyboardist Martijn Westerholt’s trademark ivory tinkling adds the melody. The lyrics to the title track were inspired by the brutal death of British teen Sophie Lancaster, who was beaten to death simply for having a “goth” look. Knowing the meaning behind the lyrics makes the song all the more powerful when Wessels sings the first line; “I’m walking with Sophie tonight. She lives in the air that I breathe. I can’t get it out of my mind, how you were left to bleed.” It’s a great outsiders anthem and the lyrics gave me goosebumps. “Milk and Honey” has a sexy sensual vibe with industrial overtones but still maintains the Delain sound. On “Hit Me With Your Best Shot” (no, not the Pat Benatar song), Charlotte’s pop sensibilities take the center stage as she further distances herself from her symphonic metal peers. The album slows down with “I Want You”, a dark and twisted tale of love and obsession. For fans of the symphonic style it’s the closest Delain come to the genre that they get placed into. Fear Factory main man Burton C. Bell adds his distinctive vocals to the rockin’ “Where’s The Blood?” While not having the same effect as past collaborations with Tarot/Nightwish’s Marco Hietala, Bell and Wessels voices blend well together. Delan take on the subject of today’s “Twitter/Facebook” obsessed society on “ the up-tempo Generation Me”. “Babylon” is an epic metal song in the Delain tradition. The pop sound returns on “Are You Done With Me?”, which has a catchy sing-a-long refrain. The beginning notes of “Get The Devil Out of Me” bring to mind the title track to Delain’s last album “April Rain”, but soon enough it distinguishes itself with an infectious chorus. Otto Schimmelpenninck van der Oije makes his presence known with a thumping bass line on album closer “Not Enough” which is an appropriately titled way to end the album. The special edition digipak contains four live tracks including “The Gathering” and “Control the Storm” featuring Marco Hietala. Having been lucky enough to see these duets performed live at ProgPower XI in Atlanta in 2010, I can say they have more of a powerful punch in a live setting. Also included is the live show staples ‘Shattered” and “Sleepwalkers Dream”. With “We Are The Others” Delain has created their finest achievement. It’s high time that the band gets recognized as a major force in melodic metal and Charlotte Wessels proves she belongs at the top of her class of vocalist peers. Perhaps it’s time for Delain to finally return to this side of the pond to conquer the U.S. concert stages. Rating: 10 “We Are The Others” is the long-anticipated new album from Dutch symphonic metal band Delain. Originally slated for release last spring, a shake up at the band’s label, Roadrunner Records, caused the album to be delayed with no information on when it would be released. Through the power of social media, Delain’s hardcore fans created a Facebook petition page for Roadrunner to release the album. Eventually, the label relented and ‘We Are The Others” has been released (it will be available through Sensory in the U.S. on July 3rd). Well after several spins, I can tell you that WATO was worth the wait! The trademark Delain melodic metal sound is still there although the symphonic elements have diminished slightly and new influences have been added to the mix. Lead vocalist Charlotte Wessels sounds more confident and is in fine voice on the albums twelve tracks. The guitars have been downtuned and have more of an “Evergrey” crunch to them. The first song “Mother Machine” has an industrial/steampunk intro and a heavy guitar riff kicks in. Charlotte’s sultry vocal sings about living in a cold and heartless world with the anology of a steelworker factory. The lyrics fit the song perfectly and the breakdown at the end of the song is arguably the heaviest thing that Delain has ever recorded. “Electricity” has a great mid-tempo trademark Delain chorus and keyboardist Martijn Westerholt’s trademark ivory tinkling adds the melody. The lyrics to the title track were inspired by the brutal death of British teen Sophie Lancaster, who was beaten to death simply for having a “goth” look. Knowing the meaning behind the lyrics makes the song all the more powerful when Wessels sings the first line; “I’m walking with Sophie tonight. She lives in the air that I breathe. I can’t get it out of my mind, how you were left to bleed.” It’s a great outsiders anthem and the lyrics gave me goosebumps. “Milk and Honey” has a sexy sensual vibe with industrial overtones but still maintains the Delain sound. On “Hit Me With Your Best Shot” (no, not the Pat Benatar song), Charlotte’s pop sensibilities take the center stage as she further distances herself from her symphonic metal peers. The album slows down with “I Want You”, a dark and twisted tale of love and obsession. For fans of the symphonic style it’s the closest Delain come to the genre that they get placed into. Fear Factory main man Burton C. Bell adds his distinctive vocals to the rockin’ “Where’s The Blood?” While not having the same effect as past collaborations with Tarot/Nightwish’s Marco Hietala, Bell and Wessels voices blend well together. Delan take on the subject of today’s “Twitter/Facebook” obsessed society on “ the up-tempo Generation Me”. “Babylon” is an epic metal song in the Delain tradition. The pop sound returns on “Are You Done With Me?”, which has a catchy sing-a-long refrain. The beginning notes of “Get The Devil Out of Me” bring to mind the title track to Delain’s last album “April Rain”, but soon enough it distinguishes itself with an infectious chorus. Otto Schimmelpenninck van der Oije makes his presence known with a thumping bass line on album closer “Not Enough” which is an appropriately titled way to end the album. The special edition digipak contains four live tracks including “The Gathering” and “Control the Storm” featuring Marco Hietala. Having been lucky enough to see these duets performed live at ProgPower XI in Atlanta in 2010, I can say they have more of a powerful punch in a live setting. Also included is the live show staples ‘Shattered” and “Sleepwalkers Dream”. With “We Are The Others” Delain has created their finest achievement. It’s high time that the band gets recognized as a major force in melodic metal and Charlotte Wessels proves she belongs at the top of her class of vocalist peers. Perhaps it’s time for Delain to finally return to this side of the pond to conquer the U.S. concert stages.
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The reality of the matter is that despite the fact that the band was quite mature at the time of Hybris‘ release, their capacity to bring out all the nuances in pieces like this shows that they are musicians who have truly refined their craft over the years. “Jordrök” sounds more alive than ever; the Mellotron flute section in the middle, one of the band’s absolute trademark melodies, is to die for, and Linus’ superb use of phrasing and pacing in the piano intro certainly takes this classic piece up several notches.Moving deeper into the performance we see “Sorgmantel,” one of my personal favorites from Viljans Öga. The first thing I noticed about this particular performance is that the intro sounds much more raw due to differences in instrumentation, this version starting out with a guitar and bass call and response. While I absolutely adore the studio version, this new arrangement and performance was also wonderful and brought its own set of advantages to the table. First, the bass/guitar duet at the beginning really exposes the melody and shows you that its not just about fancy instrumentation, it’s a gorgeous melody through and through. Second, the band is not concerned in the least bit with rushing through the performance of this piece; the pacing is delicate, precise, and emotional with plenty of space for ritard and sway as the intro melody gets passed around from guitar to bass and flute and is then countered by the piano, making the fugue-nature of this piece even more evident. The playing is incredibly tight but busting with dynamic throughout as “Sorgmantel” takes its many twists and turns before working its way to a quiet ending; graceful… even breathtaking.To wrap up the night, Änglagård once again goes back to the early 90′s, this time with “Kung Bore” and “Sista Somrar.” Although the former leans more on the folky side of the band, as does much of their first album, the highlight of the piece actually ended up being the mysterious and ambient middle section where the band shows that they have mastered perhaps one of the most difficult aspects of music: playing quietly with vibrant emotion. Between the light swells of guitar, weird effects on bass, a steady organ pattern in the upper register, and a lightly beating drum, this section goes beyond merely doing justice to the original. Finally, the depth and emotion of “Sista Somrar’s” slow, dark intro is, quite frankly, deadly, and goes miles deeper than the original studio recording (which was in and of itself very impressive) as an ominous sax melody flanked by stormy percussion and effects guides us to the unleashing of an uncanny tron female solo voice that will haunt your nightmares for weeks to come.In my opinion, Prog på Svenska—Live in Japan is an essential live album that you don’t want to miss out on. Quite honestly, I am a person who rarely enjoys live albums because oftentimes the performances and production are either significantly worse than the studio recording, or the live version ends up being stripped down to the point where there’s just something missing, or the band simply doesn’t offer an experience which is significant enough to enjoy the live version deeply; in most cases you sort of ‘had to have been there’ to get what’s so great about it. Such is not the case with Änglagård’s latest live documentation. From the performances to the production and the differences in detail from the originals, Prog på Svenska is a stellar capturing of live art through and through. And of course, I might add that if you ever get the chance to see Änglagård perform, take the opportunity; if your significant other isn’t a prog fan, take them anyways. Änglagård’s extreme level of delicacy in phrasing and dynamic is a tough match to beat in progressive music and should hold up even in the face of the snootiest of music connoisseurs." - Progulator
    $25.00
  • New German edition of APSOG arrives at a budget price plus a bonus live DVD (PAL Region 0) of APSOG performed live.
    $15.00
  • "Centric Jones is Chris Fournier and Tobe London, augmented by an eclectic set of revolving musical guests. Chris plays bass, guitars, keyboards, and electronic percussion and Tobe plays drums, acoustic/electronic percussion,and keyboards. They met in 2007 and discovered a shared goal: they both wanted to create songs that broke through musical boundaries without sacrificing feel and an emotional connection to their audience. And, they had the ability to excel at doing this. A few years later in 2009, after many hours of practice and composition, they released their Foreign Tea CD. Centric Jones continued to build up the emotional appeal and complexity of their music both rythmically and melodically following that first album, culminating in the up-coming release of their new CD, The Antikythera Method, on Prog Rock Records. With both Tobe and Chris being involved in various bands since the late 1970s, Centric Jones is able to stand apart from much of the musical pack today by merging their mature musical senses with the drive to create ever-more-expansive sonic imagery."
    $3.00