End Of An Era (Limited Edition DVD/2CD set)

SKU: NB1678-9
Label:
Nuclear Blast
Format:
NTSC
Region:
Region 0
Category:
Power Metal
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FINALLY AVAILABLE IN NTSC REGION O! Limited edition set includes the End Of An Era DVD along with the audio on a 2 CD set. Also has a Nightwish media player. This is Tarja's final gig with the band. Incredible quality. A must own.

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  • "Devin Townsend - fully 30 records into an astonishing career - has now just raised the stakes in the form of a new double album combining Ziltoid The Omniscient’s triumphant return and the follow-up to the critically acclaimed “Epicloud!” Feasting upon Z2 is akin to immersing oneself in the arcane creases of the DEVIN TOWNSEND PROJECT catalog, bludgeoning heaviness and angelic melodies living under the cathedral of Devin’s more contemplative solo vision. The effect is lush, full- range, cinematic, and expressive. Addressing the creative tension between the two discs, Devin explains “...it’s DTP...the ‘humans’ against Ziltoid, and it’s a battle of sorts...The DTP and Ziltoid side of my writing has evolved to where this statement was necessary and undoubtedly inevitable. The battle between the two seems like a great way to priced to the next chapter of my work. It’s a backdrop for something that hopefully engaging for people. I hope that the point that I’m trying to make with Ziltoid and the metaphor behind it, isn’t lost in just a sea of absurdity.” Guest musicians include Anneke Van Giersbergen (solo artist, ex-THE GATHERING) and Chris Jericho (WWE star, FOZZY) as Captain Spectacular! Also featuring the "Universal Choir", 2000 voices strong, the biggest choir on a metal record ever! "
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  • New digipak edition of the rarest Italian prog album its certainly also one of the strangest... "This is one weird album indeed. Even more weird when you consider some of the musicians involved. For example you got keyboardist Charles Tiring. He was not your typical twenty-something like you usually expect in prog rock bands. At the time this album came out, he was said to be 68 years old (not likely alive these days) and married to an 18 year old, which meant that didn't exactly endear himself to the rest of the band (he left after this album and they became Antonius REX). The rest of the musicians included Anthony Bartoccetti on guitar, bass and vocals, Doris Norton (known as Fiamma Dello Spirito on this album) on vocals, violin, and flute, and someone named Franz Parthenzy conducting the medium. What's also weirder was they were exploring the occult, performing under séances. While other prog rock bands simply used keyboards like the Hammond organ, Charles Tiring went totally hog wild on the pipe organ, although he used the occasional Moog for sound effects, and harpsichord and piano on occasions. There are times that it's really difficult to call this prog rock, because it's not rock, and pipe organ is sometimes the only instrument used. The album opens up with "U.F.D.E.M." which is often regarded as the album's high point. Here you get pipe organ and harpsichord, with Doris Norton singing in Italian, sounding a bit like an Italian Anna Meek (of CATAPILLA fame). "Praesentia Domini" is largely pipe organ, but near the end comes some chanting in Latin, obviously a séance. "Jacula Valzer" is a nice, pleasant jazzy piece with that atmosphere of a bad early '70s horror film. This one features some nice flute and piano. "Long Black Magic Night" is another worth mentioning. Violin and flute dominates, and Doris Norton chants in English, and comes to demonstrate just how lousy her English is. This song even more just screams "bad horror film". Listening to this, you can just imagine the cobwebs, vampires, and a pipe organ. The last piece, "In Old Castle" is the most pointless piece, as it's all pipe organ and nothing else. "Tardo Pede In Magiam Versus" is a truly like or hate it album. Some just call this a bunch of Satanic nonsense, others call it spooky and Gothic. I can be certain GOBLIN had heard their share of JACULA and Antonius REX in their lifetime, especially since GOBLIN was best known for scoring gory Dario Argento horror flicks (luckily GOBLIN went for a more conventional prog/fusion direction, with normal instrumentations, even though they sometimes used pipe organ). The original LP of "Tardo..." isn't easy to come buy, but Mellow Records reissued it on CD, if you can find a copy for cheap, get it, for a curiosity, but I bet you that you'll probably be waiting for Halloween to play this. Weird album indeed that might scare a few people away." - Progarchives.com
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  • "After going their separate ways for a brief period following the emotionally taxing and drug-infested Technical Ecstasy tour, Black Sabbath and singer Ozzy Osbourne reconciled long enough to record 1978's Never Say Die! -- an album whose varied but often unfocused songs perfectly reflected the band's uneasy state of affairs at the time. Even the surprisingly energetic title track, which seemed to kick things off with a promising bang, couldn't entirely mask the group's fading enthusiasm just beneath the surface after a few repeated listens. The same was true of half-hearted performances like "Shock Wave" and "Over to You," and there were several songs on the record that sound strangely disjointed, specifically "Junior's Eyes" and the synthesizer-doused "Johnny Blade" -- as though their creation came in fits and starts, rather than through cohesive band interaction. But when it came to wild, stylistic departures, one's disappointing realization that the lurching, saxophone-led "Breakout" came from -- and then went back to -- absolutely nowhere was easily offset by the stunningly successful oddity that was "Air Dance." Arguably the most experimental song in Black Sabbath's entire canon, this uncharacteristically mild-mannered and effortlessly evocative ballad saw Tony Iommi's normally bullish guitar giving way to simply mesmerizing piano flourishes performed by leading session keyboardist Don Airey. If only it had represented a bold new direction (albeit one that die-hard fans would never have accepted) rather than just another sign of the band's quickly fraying sense of identity, Black Sabbath's original lineup may have found a way to save itself -- but Never Say Die!'s incoherent musical aggregate in fact betrayed the harsh reality that it was indeed too late. So even though those same die-hard Black Sabbath fans and completists will likely find some redeeming value in Never Say Die! after all these years, the original lineup's final gasp will hold little interest to the average heavy metal fan." - Allmusic Guide
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  • Second full length album - this one produced by Steve Albini has a more angular feel. The music is a little more towards the dissonant side and veers a bit away from the Crimson vibe that was on No Interference.
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  • "If you think back to bands such as SixTh then this genre of ultra tech/ djent has been around for some time, however, with bands such as TesseracT, Periphery and Meshuggah perhaps bringing it more to the public eye and out of the groove Metal shadows, it can be no real surprise that more and more bands are coming forward with their own take on what, at the end of the day can be a very difficult style of music to get right.Nothing wrong with that I hear you say, and providing it’s done well, I quite agree.Monuments début album “Gnosis” nails it in a number of ways, yes, we have the jarring riffs that really set this genre apart from most others but we also have that increasingly rare commodity called melody. You can sometimes be technical for technicalities sake but Monuments deliver an album that strikes a near perfect balance between an overriding ambition to push the boundaries even further, and maintaining a level of accessibility for the listener.Tracks such as “Doxa” for example really encapsulate the bands sound in a nutshell, “Blue Sky Thinking”, with its beautiful mix of aggressive and clean vocal, and my personal album highlight “97% Static”, which lends a fantastic, dreamy, atmospheric feel to the ear.Lyrically, the album is quite political in it’s content, with the overall message of think for yourself and not to follow other peoples train of thought, which in a way could easily describe the band themselves.A début release this may be but it has been many years in the concept forming and song writing to get to this stage.Guitarist, John Browne has assembled a fine group of musicians together to realise his dream, non more so than Matt Rose on vocals who has an unnerving gift of moving from the hard edge sound and then to meander seamlessly across the spectrum to deliver some really uplifting melodies.Top of the tree they may not be just yet but on the showing of this highly impressive work, it must surely only be a matter of time." - Planet Mosh
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  • "Transformation is a very apt title for Canadian Prog veterans FM, for not only has their music transformed numerous times over the years, so has their line-up. Joining bassist/keyboard player Cameron Hawkins this time round is drummer Paul DeLong (Roger Hodgson/Kim Mitchell), violinist/mandolin player Edward Bernard, who has performed with Druckfarben and violinist (yes, there are two violinists here) Aaron Solomon. The recording group being completed by legendary Rush, Dream Theater, Fates Warning producer/engineer Terry Brown, who does an excellent job.So you'll gather then that the first proper FM album since 1987's Tonight still follows in its predecessors footsteps of placing violin front and centre. Yet while that may sound risky in today's often sanitised Prog world, Transformation sounds remarkably contemporary and, at the same time, true to this band's 70s roots. More beautiful than punchy, in places the songs on this album feel like Yes with copious amounts of violin strung over it, the air being light, melodic and captivating. DeLong is stunning throughout, his rare ability to be ridiculously busy and intricate, underpinned by a solidity which fixes everything in place. Nary a second goes by where the percussionist isn't whispering a ghost beat, paradiddling the toms to within an inch of their lives, or alternating between snare, hi-hat and cymbals at break neck speed. However, amazingly, he never interrupts the beautiful flow of the vocals provided by Hawkins, Solomon and Bernard; the trio causing another reason for celebration in the process. However no album was built on drums and voice alone, so the stunning, varied violin, viola and mandolin work which weaves and dances across Hawkins deep resonant bass and darting, lilting, pointed synth contributions, are as impressive as they are vital to the unbridled success of this album.There's a real depth of sound and arrangement across the nine tracks on show, the likes of "Tour Of Duty" a journey from fragile art through fractured beauty, into controlled frenzy. "The Love Bomb (Universal Love)" and "Brave New Worlds" contrast this approach excellently, a sparse framework thriving on roaming bass, while gentle string stabs allow the vocals to express the emotions of melancholic introspection, but overriding hope and belief displayed in every one of the songs on this album. And it's that uplifting feeling which really infuses Transformation with the power to captivate and control your attention from start to finish, whether through the harsher attack of the bristling "Re-Boot, Reawaken", unsettling pulse of "Children Of Eve", the almost jauntily optimistic "Safe And Sound" or idyllic "Heaven On Earth".Often when a band reappears from the past, as if by magic to reclaim their past glories, the results are safe and deflating. Transformation however falls far from that trap, instead announcing itself with a triumphant confidence which never fades once as its beauties unfold, and vitally it just gets better with each and every luscious visit to the land of hope and understanding it creates." - Sea Of Tranquility
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