Specter, Fate & Fable

"The second album from melodic power metal quintet Civilization One finds a few member shifts as well as a label change- so fear sets in when three-fifths of the lineup receives a re-boot. In the case of these musicians, it was necessary due to proximity and related productivity. Enter drummer Michael Stein- who also plays with vocalist Chity Somapala in Red Circuit, along with new guitarists Oliver Marmann and Nicklaus Bergen. What does the mean in terms of sound relative to their 2007 debut "Revolution Rising"?For one, the emphasis on these 12 songs (plus brief "Aazis" 54 second intro) appears to be on a more lively, easier to replicate sound than the multi-tracked vocal harmonies and waves of keyboards lurking in the shadows. Chity is an affable front man- professional and more than capable of keeping the melodies versatile and memorable: be it in a lower / mid-range capacity for the commercial leaning "The Land In Flames", the more heart-tugging ballad "Reunite" or his potent lung capacity for the conventional double bass driven number "True Believer". Oliver and Nicklaus perform to high caliber standards: challenging the listener with many dazzling lead breaks and a mixture of riffing techniques that combine crunchy, almost thrash-like parts in "The Supernatural Virtue" as well as standard Firewind meets Brainstorm guitar hero work on the title cut and "Hell Awaiting". Many will even smile at the Phil Collins/ "Take Me Home" laid back percussive aspect of closer "Dreams of Fire"- once again illustrating the band's desire for individuality.Another aspect I enjoy is the shorter time frames for the twelve songs: proof that you can cut to the chase, provide the level of energy and excitement, and move onto your next arrangement in a tidy 3-4 minute measure. "Calling The Gods" is a proper follow up to its predecessor, which is always a great move in today's crowded power metal sweepstakes. Those on the fence after their five year layoff will be adequately appeased." - Eternal Terror

One of the great hard rock albums of the 70s.  After Uli Jon Roth left the band he was replaced by Matthias Jabs.  His guitar technique was far removed from the neoclassical stylings of Roth, taking a more traditional hard rock/melodic metal approach.  Returning to the fold is Rudi's brother Michael Schenker.  With streamlined songwriting it all comes together.  A non-stop killer.

"Tellus Requiem was formed back in 2007 by guitarist Stig Nergård. In 2010 Tellus Requiem released a self-titled debut album digitally. This album opened up some doors for the band, and resulted in some live concert supporting acts like Keep of Kalessin, Edenbridge, and Pagan's Mind. “Invictus” was mixed and mastered by Tommy Hansen (Jailhouse Studios, Jorn, TNT, Helloween) with the cover art done by Thomas Ewerhard (Symphony X, Theater).According to the band’s biography, the main theme of the band’s writing is about worlds shattering to pieces. This can either be global or personal experience, fictional or literary. Tellus Requiem means; the earths death mass. Tellus being Latin for The Earth, Requiem being the last composition a composer writes before they die. Listening to the ten tracks featured on “Invictus”, it’s obvious that the band is comprised of five very talented musicians with a love for melodic progressive metal in the style of Symphony X and Dream Theater with flourishes of Eastern Folk and the big sound of a motion picture film score (as is evident on the opening instrumental song “Ab Aeterno”). “Red Horizon” kicks in with a vengeance and is highlighted by very Symphony x-like keyboard work by Anders Sundbø (whose frenzied playing style steals the show on this song) and heavy guitar crunch by Nergård.  Vocalist Ben Rodgers has a unique and impressive style and range without resorting to sounding like peers such as James Labrie or Russell Allen.Drummer Vidar Lehmann shows off his considerable chops and fast feet on the middle-eastern tinged “Eden Burns”. A beautiful acoustic guitar passage introduces “Reflection Remains” which leads into a melodic and majestic vocal performance by Rodgers accented by soaring harmonies and a soulful yet blistering guitar solo by Nergård.  The heavy melodic prog metal of “Twilight Hour” has plenty of melody, groove, instrumental chops, and odd time signatures to satisfy the most jaded prog metal fan.  “Sands of Gold” is a complex and chaotic attack of progressive drum patterns, middle-eastern melodies, heavy guitar and keyboard wizardry with Rodgers voice providing the melodic anchor holding it all together. The appropriately titled “Tranquility” is a slower, peaceful and introspective song with Rodgers showing his emotional side as well as his considerable range to great effect. “Redemption” starts off with an impressive Spanish style guitar playing and kicks into a heavy guitar rhythm and aggressive lead vocals and beautiful harmony vocals courtesy of a vocal choir. The heavy prog of “Invictus” is a fast paced and the vocals and musicianship are razor sharp here.  The final song is “Dies Irae” which is the “day of wrath” and was an old Medieval poem sung during the Mass of the Dead ceremony, is a short and sweet outro track and a fine way to end this musical journey. For such a young band, Tellus Requiem has created a stunning and impressive progressive metal feast that fans of Symphony X and Dream Theater will find quite enjoyable. " - The Metal Pit

"It’s Canadian to do things in an unorthodox fashion. Not like there’s anything wrong with it (there isn’t), and when it comes to metal, all one needs to do is look at the long list of prominent Canadian bands and it makes sense: Voivod, Kataklysm, Neuraxis, Cryptopsy, etc., etc. None of them bothered to do anything by the book, resulting in some of metal’s most expansive and off-kilter sounds. In the mix is Montreal’s Heaven’s Cry, who are returning after a seven-year hiatus with their third album, Wheels of Impermanence.A band of the progressive/power variety, Heaven’s Cry function largely in their own sphere, with perhaps the only real comparison being Perfect Symmetry/Parallels-era Fates Warning. This means that wacky time signatures, weird chord movements, and initially hard-to-digest songs come to the fore, making Wheels of Impermanence sound…very Canadian (FW is not Canadian, though). Nevertheless, there’s an assortment of quirky riff action going down here, rolling up into songs that for the most part, have some guile to them, such as opener “Empire’s Doll” and “The Mad Machine.”Singer Pierre St. Jean has a solid AOR caw to him, one that is occasionally ill-fitting for the band’s malleable music. That doesn’t prevent him from unfurling some adventurous vocal takes, as heard on the title track and “Consequence,” where he benefits greatly from back-up gang vocals and spurts of melodic guitars. Ultimately, St. Jean is able to cross the ever-difficult divide between power metal majesty and progressive metal over-thinking. He’s absolutely stellar.Evidently, Heaven’s Cry reformed at the right time, able to catch the attention of Prosthetic Records for the release of Wheels. Not to be forgotten is the inclusion of guitarist Eric Jarrin, who used to do time in deathcore merchants Despised Icon, which again, breeds additional peculiarity with this one. Canadians…they are a tricky bunch. " - Blistering.com

"The second, along awaited album from the italian multi-talented band is finally out! And "it's not so far" (in italian language "Non è poi così lontano" is a Perigeo work) from the expected!During the preceding months the band has given to fans information about their hard work in studio, but nothing let us know what would be their new musical orientation, though they were noticing it would be different from the debut one!Now we know at last! Though it's not so far from the first one, with a similar melancholic ansiogenic mood and the same powerful expressivity, there's a great melodic research and this gives easy pleasure to the listener, notwithstanding the harmonic and structural complexity. Let me tell you, this is only from talented and inspired musicians: the others entangle themselves in boring and uselessly complex structures.The opening track 'Wait For Me' starts with a powerful intro in Echolyn - Änglagård style, but it suddenly changes in a melancholic mood when Calandriello starts his beautiful singing.It's very difficult to find out what are the more representative tracks since the whole work is very high level. Surely the opener 'Wait For Me' has its big impact, as 'I Feel Like Snowing', the crimsonian 'Pleasure of Drowning', the dramatic 'Open Window' and the intense 'Not Now', this last sometimes recently performed LIVE. The whole work is enriched with musical and sound effect refinements which often bring pleasing surprise to the listener. For a NOT lazy listener this is a pleasure.. hasn't it?Calandriello, in my opinion, reaches his highest in intensity and melodic inspiration, the sound effects and the registers of Botta's keyboards are charming and refined, Zago's guitar work, in counterpoints, accompaniment or solo, has always the right tune and visionary intensity, Malacrida's refined drumming is a powerful support for Cassani's complex bass patterns.King Crimson is reborn in Italy? Not so true! Though the crimsonian inspiration is alive and well, as painful moods, ostinatos, harmonic and structural constructions, NAGS are actually the melodic counterbalance of another italian band where Zago and Botta are involved: Yügen.Sadly in the last days NAGS announced that Zago will not take part to the project anymore. We all hope that Gian Marco Trevisan, the one who will take his heavy inheritance, will be able to grant to the band the same visionary and technical support in future compositions.The last track 'Farewell' is Botta's special gift to Zago." - ProgArchives

New reissue of the long out of print first album from this Swedish band.  This was originally released in 1984.  Tribute made four albums - the later two finds them hooking up with Pierre Moerlen.  New Views is instrumental symphonic rock highly influenced by the the melodic side of prog. Mike Oldfield is an obvious influence as is Camel.  Layers of female voice is used as an instrument evoking the spirit of Incantations.  The real highlight is the near 22 minute title piece.  Highly recommended.