All That I Need To Survive (Promo)

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  • Withem is an up and coming Norwegian progressive metal band, inspired by the likes of Symphony X, Pagan’s Mind, Dream Theater and Circus Maximus.The band started to take shape in 2011 when Øyvind Voldmo Larsen (guitars) and Ketil Ronold (keyboards) met the gifted drummer Frank Nordeng Røe. Soon they were joined by the vocal talents of Ole Aleksander Wagenius and bass duties were taken care of by the special guest Andreas Blomqvist from Seventh Wonder.Withem’s debut offers varied sonic landscapes for the listener to explore, ranging from guilty-pleasure choruses permeated with memorable vocal hooks, to symphonic epic themes.  The unique vocal range of Ole Aleksander Wagenius gives the band a distinctive touch to tackle the overcrowded progressive metal scene.The passion and dedication put into the album is emphasized by the countless hours spent in studio perfecting each individual performance and making sure that the end result is a world class blend of progressive, symphonic and power metal.The Point Of You was mastered by Markus Teske (Vanden Plas, Saga, Spock's Beard)
    $13.00
  • Fourth studio album from Leprous reinforces the fact that they are one of the most innovative and cutting edge bands working in the prog metal idiom.  The music of Coal has already kicked up a bit of controversy from the early listeners.  The music isn't quite as angular and frenetic as Bilateral.  Atmospheric passages similar to Tall Poppy Syndrome are perhaps a bit more prevalant as well.  All in all it's clearly identifiable as Leprous.  Ihsahn guests on one of the tracks - don't forget Leprous is his backing band.  Nice guys - great band.  Highly recommended."Considering Leprous‘s previous album Bilateral is considered by many to be a masterpiece of progressive metal; Norway’s Leprous had a tall order in front of themselves. Coming up with a followup to such a critically acclaimed and beloved album is no doubt a daunting task. Despite that, after two long years of waiting, Leprous have conjured the successor to Bilateral, and it’s called Coal. Usually, when bands release an album after their magnum opus, the result is either a “version 2.0″ of the previous album, or it’s a return back to the normal style of the band. Leprous have taken a bold turn instead, and they have reinvented themselves. Coal is clearly a Leprous album, carrying all their trademark touches, but it’s also very fresh and unique.With Bilateral, the band were clearly rooted in a sound that has been defined by the big names of progressive metal. By applying their characteristic syncopation, moody riffs and singer Einar Solberg’s haunting and powerful vocals, they were able to perfect an already existing sound. With Coal, the band have taken a different direction. The album is very dense, emotional, and quite avant-garde at times. While there are some more traditional songs similar to Bilateral, there’s also an air of neo-80s on some songs, while others carry some characteristics of modern Scandinavian indie bands. Longtime fans of Leprous will definitely see the direction that has been present since the band’s inception, but listeners who know of them only via Bilateral might be slightly confused. In the end, Leprous have always been about mood, and Coal is oozing with it.In terms of structure, Coal is more similar to Tall Poppy Syndrome than Bilateral (but not too similar to either in the end). The songs are slow burners, setting up a mood, then deliberately building on it until overwhelming the listener with the climax. Everything is very subtle, the production making every hit of every instrument matter. Each song is an exercise in building an atmosphere by slowly adding layers to form a very powerful sound. Einar Solberg is at his best here, he has taken his voice to the next level. He was already an amazing vocalist, but Coal sees him becoming a master of expression. There are many progressive metal bands nowadays with clean singers who can hit insanely high notes and execute amazing melodies. But what is often lost is the soft touch, the control over timbre that makes one’s voice special. Einar is a master of timbre, and he uses his abilities to their full extent in Coal. While this is an album about the big picture and constructing an ambiance with the convergence of all instruments, his unparalleled vocal skills definitely deserve a special mention, because he is what hammers down the emotions and makes this album so special.As mentioned before, Coal is a deliberate album, where attention is paid to every instrument. And the production, by Ihsahn (who also has a stellar guest appearance on the closing track), is perfect for this. Especially of note are the drums, they sound very real and quaint. The intimate feeling of some of the songs can directly be attributed to the unconventional drum sound. The drumming has also taken a turn for the more subtle, with small flourishes and cymbal runs building tension in the more atmospheric sections of some songs. The bass is also clearly audible and adds to the sound. The guitar work isn’t as flashy as Bilateral for the most part, but it also has more character because of that. It should come as no surprise to longtime followers of the band, but Leprous are masters of doing more with less, and all of the instruments reflect this. Another production detail worth noting is the presence of keyboards. The keyboard work is more prominent now. In Bilateral it was used mostly to add some extra layers to parts driven by the guitars, but here the keyboards form the building blocks of the sound. This is perhaps what sets the album apart from Leprous’s previous work, the heavier focus on atmosphere and a dense aural landscape. This might be disappointing to some who preferred the more direct approach of Bilateral, as Coal is less “metal”, but the more developed sound suits the band.In terms of songs, Coal is a very diverse album. The first three songs and the closer can be interpreted as a direct evolution of the band’s sound from their previous work, then there is the extremely moody and emotional masterpiece “The Cloak”. This is where the album takes a turn for the introspective, as the rest of the songs are quite experimental and ethereal. Overall, the album has a very clear journey with a defined start and end, and it works quite well. Some of the later songs can feel like they last half a minute too long, but the deliberate pacing of the album makes more sense as is.In the end, it’s hard to deny that Coal is yet another masterpiece by Leprous. The songs ooze character and deliberation. Coal is expressive, emotional and brave. It might not be what everyone expected after Bilateral, but Leprous have defied expectations and raised the bar again." - Heavy Blog Is Heavy
    $9.00
  • Vocalist Silje Wergeland has been fronting The Gathering since 2009.  She has developed into a more than able replacement for Anneke Van Giersbergen.  The Gathering's music is far removed from the early death and gothic metal days.  They have firmly moved into the post-progressive rock genre.  Their music deals more with mood and tension - textures and atmosphere.  Think of a more rock oriented version of Portishead. 
    $15.00
  • "The world has lost a great musician and gifted vocalist, when the legendary Ronnie James Dio passed away almost 5 years ago. He was a hero and inspiration to many musicians, such as Lars Ulrich (Metallica), Doro Pesch or Axel Rudi Pell, and rumor has it that he's the main reason why every metal head worldwide is familiar with the sign of the horns. Now it's time some of our bands pay tribute to him as well! CRYSTAL BALL, MESSENGER, GUN BARREL, GLORYFUL, THE ORDER, METAL INQUISITOR, CIRCLE OF SILENCE, BURDEN OF GRIEF, LOVE.MIGHT.KILL, REBELLION, IRON FATE and WIZARD all covered Ronnie James Dio songs to honor this exceptional musician."
    $16.00
  • Limited edition digipak with three bonus tracks."What can we say about Liv Kristine, a beautiful Scandinavian enchantress, who has been one of the most prominent figures of gothic metal for the past 20 years and was a part of pioneering the beauty and the beast vocal style of singing? We first got to know her more than unique, angelic soprano when we met her as one of the front figures in a legendary gothic metal band Theatre Of Tragedy, but meanwhile she also set herself a solo career in 1998, with her romantic and beautifully gloomy debut Deus Ex Machina. She continued in a bit lighter manner, with following three releases Enter My Religion, Skintight and Libertine being slightly goth influenced pop-rock records, full of upbeat and catchy tunes, in which she still managed to radiate a crestfallen feel and evolve more and more vocally with each and every release. Now she presents us with her 5th full length album, which carries its title after a potent herb, which is known as one of the greatest weaknesses of vampires: Vervain.With Vervain, Liv Kristine decided to return to her roots and take us on a beautiful journey through dark rock with so many various influences; ranging from gothic metal, doom metal and even pop. Her first single, "Love Decay", which features Michelle Darkness from End Of Green on vocals, is a wonderful drive down the memory lane, as their duet and dreamy keyboards - especially at the very ending of the song - nostalgically take us more than a decade in the past - in the era of Theatre of Tragedy's marvelous creation Aégis. Their voices couldn't fit together more perfectly, as they create an amazing, emotional and heartbreaking atmosphere just by singing. It's not a coincidence Liv Kristine has collaborated with so many musicians, since she knows just how to entwine two different voices and voice colours to exist in perfect symbiosis.  Another duet, this time with the legendary vocalist Doro Pesch, is presented in a song "Stronghold Of Angels" and the very beginning of the song goes even further in the past, as its slow and doom-esque intro reminds of Theatre Of Tragedy's earliest works - the eponymous debut and Velvet Darkness They Fear. And you can imagine, with two strong vocalists such as Liv Kristine and Doro nothing can go wrong and Doro's powerful and slightly raspy voice again creates the ambivalent feel alongside Liv's crystalline soprano. "My Wilderness", "Vervain" and "Elucidation" are at the same time gracious and strong, slightly harsher songs, which will please the fans of Leaves Eyes. Their dense and rich song structure, alongside Liv's fierce vocals and guitars, which are flirting with alternative metal, certainly bring an unique ambiance to it, being at the same time romantically frail and glamorously dark. While "Lotus" is the fragile ballad and "Creeper" the power ballad of the album, "Two And A Heart" and "Oblivious" again present the colours of early Theatre Of Tragedy; "Oblivious" with doom oriented guitars and "Two And A Heart" with Liv's more than perfect vocal performance and additional piano tune, creating a doleful and sombre sound.It's more than enjoyable to once again hear Liv Kristine peering into the depths of gothic metal and including the typical romantic, yet saddened ambient into the songs, subsequently creating - well - a small theatre of tragedy inside each and every track.  All songs carry a very strong and dramatic structure; starting gently and building suspense to a peak of a story and then ending with a memorable crescendo, either by changing the tempo or adding more guitars; each and every track has a story of its own. While the rhythm section is gentler on Vervain, the guitars and keyboards alongside emotional, layered vocals create the core of the album. Ranging from upbeat and powerful melodies, through heartsore and gloomy tracks to fragile ballads, Vervain offers a wide array of highly captivating and intense sounds, evoking an extensive spectre of emotions and veils the whole album in a melancholic atmosphere, which will undoubtedly please the old and the new fans of Liv Kristine." - Terra Relicta
    $13.00
  • Second full length studio album from this British band finds them with new vocalist Ashe O'Hara replacing the great Dan Tompkins.  This shouldn't be inferred that O'Hara is any less a vocalist than Tompkins - he's excellent as well.While the core djent sound is there the band has moved a bit more into a prog rock direction.  In general its less metal and more rock.  O'Hara's vocals don't go in the screamo direction that a lot of djent bands prefer.  The instrumental parts are still stupifyingly crazy but crazy in a King Crimson meets Tool way.  I'm not sure what the djent metal community will think of this shift in course but I like this new direction.  The old was good - to my ears this is better.  Highly recommended.
    $9.00
  • "I wasn't expecting to see a new release from the German power metal legends Gamma Ray this year probably as front man Kai Hansen has been involved with his new impressive metal band Unisonic. However this is not an album full of fresh material as such but a live one which means Gamma Ray have now released two live recordings since 2008 and one new full length studio album To The Metal in 2010. They did release the EP Skeletons & Majesties in 2011 which was a different take on some previous Gamma Ray tunes and it received a mixed reception. Since their first release in 1990 Gamma Ray have had a total of ten full length albums and six of these were recorded before the year 2000, so the Gamma crew haven't been so active in recording new material since. Maybe this live album is a filler for the fans till we see that new album hopefully in the not too distant future, with a new Helloween release also on the horizon 2013 is looking great for all the European power metal buffs.Skeletons & Majesties Live is a dual CD release with a DVD version to follow, captured during 2011 at the Z7 in Pratteln, Switzerland. Once again Gamma Ray are performing like the enthusiastic precision team they are with Kai Hansen on vocals and guitar and long term members guitarist Henjo Richter and bass player Dirk Schlachter. While behind the kit is their longest serving drummer Daniel Zimmermann who has since departed Gamma Ray after having provided those stirring beats for many years. I was surprised to read this as I was under the impression that Daniel had parted ways with Freedom Call the band he co-founded to concentrate on Gamma Ray, but anyway Daniel has now been replaced by Michael Ehre.Continuing on the theme from the 2011 EP, Skeletons & Majesties Live isn't your usual Gamma Ray collection, as there are different or unexpected inclusions. Like acoustic versions of "Rebellion In Dreamland" and "Send Me A Sign" which sound fine for what they are in these much lighter arrangements, but pale in comparison to the metalized originals. However there is still a fine bundle of Gamma Ray style metal like the memorable animated tracks "Anywhere In The Galaxy" and "Dethrone Tyranny", and both sound fantastic. I was surprised by the absence of material from the latest full length studio album To The Metal, a song like "Empathy" would have been a great inclusion but on Skeletons & Majesties Live the swift track "Rise" is the sole inclusion from that album. An added attraction that fans of Hansen's former band Helloween will recognise are the vocals of Michael Kiske who appears on three tracks including one of Helloween's classics "Future World".Skeletons & Majesties Live demonstrates that Gamma Ray are still up to the task, but myself I do prefer their previous two live albums Skeletons In The Closet and Hell Yeah! The Awesome Foursome. Though the DVD may change my thoughts, especially with a Blu Ray edition on the cards." - Sea Of Tranquility
    $14.00
  • My Soliloquy is a British band formed in 2002 by multi-instrumentalist Pete Morten.  Since then the band has released a number of demos, gaining traction in the metal underground. The band had a number of notable support shows with Pagans Mind, Power Quest, Oliver and Rick Wakeman, and Threshold, as well as a second-to-headline set at Bloodstock 05 and a showcase at 2007’s ProgPower UK II.Since 2007, Morten has been an active member of British prog metal legends Threshold.  His membership has raised awareness (and created anticipation) for My Soliloquy’s long awaited debut.The essence of My Soliloquy is pure forward thinking metal – symphonic keyboards, shredding guitar leads, soaring vocals – all finely woven together with a blend of intricacy and melody.  The Interpreter was mixed and mastered by Rob Aubrey who has been a mainstay of Marillion’s camp for many years.
    $5.00
  • "‘Les Fleurs du Mal’ is a conceptual album by Swedish band THERION that features only French lyrics and consists of cover versions of old French pop songs from 60-70s. THERION celebrates by "a special art project", headlining by the material, its 25 anniversary. It was also said that the album is available only during the tour and from THERION online store; it is sponsored by the only founding member, Christofer Johnsson. But you can buy it i.e. on Amazon as well. I am not going to go at length comparing THERION old and new and trying to rationalise things. The reason is simple, as this album was actually the first that caught my full attention. I start from the cover: it's full of topless females. Obviously, Charles Baudelaire's legacy is quite reminiscent there. The cover is made of a quite rich artwork of Saturno Butto, themed mainly erotic and varying from matte painting to charcoal sketches.Most of the songs here are quite short, yet powerful. Why these songs? I have at hand some lengthy explanations from the press kit, but in fact it boils to one single thing: the overall direction of French songs that are dark and telling some quite grim stories. Yet we all aware of a largely poetic language and melodic music background of French culture. Christofer has a great, fluent knowledge of musical styles and approaches, so he claims influences from King Diamond, Candlemass to folk music and ABBA. The album is beating with energy, in carries you along with its set of 15 songs performed mainly by the lead opera singer, soprano Lori Lewis.Of course I was curious about how exactly the original songs were altered. It's too much of effort to get past all these tracks, so I picked few favourites. ‘Mon amour, mon ami’ by Marie Laforet is a playful pop song, performed originally in circus-like up-tempo, but THERION specialists worked closely in order bring about the "inner darkness", toned down tempo and timbre and added traditionally "darker" music instruments such as organ - so song became indeed heavier and more minor, yet more powerful and strong. ‘Polichinelle’, performed with a cute teenage girl's voice by France Gall, is initially a pretty love ballad that relates to a Commedia dell 'arte character (note that comedian masks are worn by the naked ladies on the album booklet. (Thumbs up for the throughout conceptual work!) THERION ended up with an operetta rendering of the song, making of it somewhat of an opera house hymn, this type of sound you would expect from contemporary French musicals. Despite being one of the most experimental pieces on the album, it would be, probably, one of the most noticeable tracks.Finally, Victoire Scott's ‘Une fleur dans le coeur’ - Christofer did not like very much a feature you can hear in original, the honky-tonk (tuned-off) piano that he only describes as "dreadful". Instead, THERION interpretation is deeply lyrical, with plenty of acoustic guitar and strong soprano of Lori multiplied by the riffs you might expect from Jann Tiersen, metal additions and whole lot of different styles changing one to another. One drawback that I see is that the vocal style often remains of the same across album, so if you listen to 15 songs in a row, you might be tired a bit with the similar style. Yet the band paid enough attention to insert pleasant breaks by quest vocalists. The album sounds sound, fresh, and original and there is additional fun to compare originals to the covers." - Reflections Of Darkness
    $11.00
  • "There’s a certain irony to a band naming its debut album A Long Time Listening and then waiting five years to release its follow-up – but whether by accident or design, this is exactly what Agent Fresco have done. In the interim, however, with only occasional ventures outside of their native Iceland, the quartet have managed to build something of a cult following with music that is both electrifying and emotional in equal measure. Amongst their fanbase, anticipation levels for second album Destrier are several orders of magnitude beyond stratospheric. So how can they possibly be met?So let’s put everyone who may have clicked on this review with a sense of trepidation at ease as soon as possible, because not only have Agent Fresco met those expectations, they have surpassed them with almost astonishing ease. Destrier is, bluntly, a fucking masterpiece. Whether you read what follows this paragraph or not, you need to hear Destrier as soon as you can. You have been told.For those of you that are still with us, let’s delve a bit deeper into exactly what makes Destrier (pronounced DE-streer, linguistics fans) so very special. Like its predecessor, the contextual nucleus of the album is an extensive exploration of the complex web of emotions surrounding a pivotal event in the life of singer Arnor Dan Arnarson. Whereas the theme of A Long Time Listening was the grief following the death of his father, Destrier deals with the aftermath of a particularly violent attack that left some significant physical and mental injuries. As one might expect, Destrier is a considerably more burly – at times even angry – affair.A significant proportion of what makes Agent Fresco’s music so special is how cohesively the band operate together. Throughout Destrier, they pulse, flex, twitch and turn together like the sinews of a single, well-honed muscle. There is layer upon layer of complexity in the sound they create, yet it coalesces into something so immediately accessible that it reaches out to hug the listener like a long-lost friend even during that first, glorious, play through the record.What’s more, whilst each individual track stands firmly on its own two feet, they are given an extra lease of life in the context of the album as a whole. This is particularly apparent with lead single “Dark Water“, whose eruption out of the ominous, brooding, Massive Attack-esque tones of opening track “Let Them See Us” pushes it into a practically euphoric release. The album ebbs and flows as a single, continuous work of art that makes pushing the stop button tremendously difficult, so it’s best to make sure you have a free hour for that first listen. What’s more, as my colleague and our resident Icelander Jon Þor pointed out to me, final track “Mono No Aware” fades down to the same delicate note that opens the album after reprising the title track. This effectively means that the album loops almost seamlessly, which is a magical thing.The titular Destrier itself is a type of medieval war horse, whose use was reserved for battle alone. It is metaphorically deployed here by Arnor as a kind of spirit animal, giving him the fortitude to confront the anger and vulnerability he felt in the aftermath of the attack. This shows neatly the cryptic yet vivid imagery that Arnor is capable of conjuring through his lyrics, placing him in the same league as Maynard James Keenan, perhaps coupled with Muse‘s Matt Bellamy in both his sense of theatre and his achingly beautiful falsetto. However, without access to a full lyric sheet as I write, I’ll refrain from any hamfisted analysis of half-heard lines; I think it deserves more than that.Destrier also shows that whilst their music is almost immediately identifiable as Agent Fresco, they are not bound by any restrictions of genre, making the album as much of a musical voyage of adventure and exploration as a lyrical one. Perhaps the most surprising moment lies in the title track itself, which suddenly drops into dense, practically atonal shards of syncopated noise. Elsewhere, elements of greasy garage rock, slinky lounge music and soft, bubbling electronica can be found alongside more familiar choruses (which are often big enough to be visible from space), delicate piano-led sections and ebullient math-rock riffing.With more dynamic surprises like the vulnerability of “Bemoan” dropping into the brash savagery of “Angst” to be discovered, Destrier is a near-perfect artistic expression that stimulates mind, body and spirit in equal measure. Listeners may well find themselves immediately besotted, then even more deeply gratified through repeated listens.As you can probably tell, Destrier is a most uncommon delight. It will almost certainly prove to be one of the most essential listens of 2015, and maybe an even longer timescale than that. We can only hope that it won’t take another five years for Agent Fresco to release their next album, but even if that does happen, we will probably not have tired of this one by then. Destrier is a masterpiece; a glorious, life-affirming masterpiece that, once heard, will make you wonder how you managed without it. Go seek." - The Monolith
    $15.00
  • Dutch symphonic metal band EPICA celebrated their 10th anniversary with a one-night-only event, dubbed Retrospect. The band was accompanied by the seventy piece Extended Reményi Ede Chamber Orchestra and the Choir of Miskolc National Theatre, playing an unforgettable 3-hours best-of set.According to respected Dutch newspaper the Volkskrant "The band wrote a chapter of Dutch metal History" this evening. Rock Tribune (Belgium) thought it was "an unforgettable show".Ten high definition cameras captured this very special sold-out show while Epica played in front of nearly five thousand ecstatic fans in Eindhoven, the Netherlands. In addition to a collection of the band’s biggest hits from across the spectrum of their entire catalog, this once-in-a-lifetime spectacular also features the live debut of “Twin Flames” and the previously unreleased “Retrospect”, covers of classics by Vivaldi, Pergolesi, and Oscar-winning film composer John Williams, two guest collaborations with the venerable Floor Jansen (Nightwish, ReVamp), and a very special performance of their breakthrough single, “Quietus”, with founding members Jeroen Simons, Ad Sluijter, and Yves Huts.Nuclear Blast will release Retrospect as a deluxe hardcover book with 32 pages. Both as a 2DVD/3CD and 2Blu-ray/3CD version. Retrospect will contain the following fan favorites:01 - Introspect02 - Monopoly on Truth03 - Sensorium04 - Unleashed05 - Martyr of the Free Word06 - Chasing the Dragon07 - Presto08 - Never Enough09 - Stabat Mater Dolorosa10 - Twin Flames11 - Serenade of Self-Destruction12 - Orchestral Medley13 - The Divine Conspiracy - Anniversary Edition14 - Delirium15 - Blank Infinity16 - The Obsessive Devotion17 - Retrospect18 - Battle of the Heroes & Imperial March19 - Quietus20 - The Phantom Agony21 - Cry for the Moon22 - Sancta Terra23 - Design Your Universe24 - Storm the Sorrow25 - Consign to Oblivion26 - Outrospect                                                                                                                                                                                 Retrospect features this massive performance in its entirety, as well as exclusive interviews with all band members and behind-the-scenes footage from the show. 
    $45.00
  • "Most progressive music fans will recognize guitarist John Wesley from his work as touring member with Porcupine Tree over the last several albums. Yet, Wesley also has an extensive solo collection as well, and he expands it with his sixth album, Disconnect.The album is defined by one singular element, Wesley's guitar playing. Disconnect is definitely a guitar driven prog record. His playing evokes the styles of David Gilmour, Alex Lifeson, Steve Wilson, and maybe even some Jeff Beck. (Lifeson guests on Once A Warrior.) Wesley's sound on many songs is generally sharp and high-pitched as with Once A Warrior, sometimes sounding psychedelic as within Disconnect, and then kinetic, yet muted, within Take What You Need.There's a lot of weight to many songs as well, definitely tipping the album towards progressive metal. When a song does appear to be somewhat lighter at the start, like Gets You Everytime or Mary Will, Wesley jumps in with those slashing guitar licks to slice your ears into tiny little pieces, like stir fry vegetables. If there is a drawback to the album at all, it's that the slashing sharpness of the guitar is pervasive and can get more than a little shrill at times. But there are some lighter pieces here, namely Window and more so Satellite, where Wesley dials up some acoustic guitar in the mix.Briefly, the other significant element here is Wesley's vocals. He has a great melodic voice, emotive and passionate at times, and definitely pleasing. With guitar in hand, a strong voice, and creative compositions, John Wesley has delivered another fine album with Disconnect. Easily recommended." - Dangerdog.com
    $10.00
  • "Forming in 2008, the floodgates appear to be wide open creatively for releasing full length product for this UK progressive metal act. Two albums within two years, as well as a prime support slot for the Devin Townsend Project across 12 countries in Europe during 2011 leads us to the third record Enigma. Filling out as a quintet with new keyboardist Shaz, the nine songs on this effort illustrate the ability to siphon the old, complex template with a modern, semi-staccato meets djent guitar style in shorter, compact arrangements.Aeon Zen isn’t afraid to add a light, jazzy horn break during the tranquil section of the somber “Seven Hills,” which contrasts the conventional Dream Theater-like musical montage that opens the record instrumentally entitled “Enter the Enigma.” Drummer Steve Burton is adept at death metal blasts just as he is twisting tempos at will- check out the Opeth-esque “Divinity” for his double bass maneuvers, lightning fast fills and impeccable sense of timing.Alongside the professional skills of vocalist Andi Kravljaca (Silent Call), three other vocalists appear to add their own texture to the band’s cause. Atle Pettersen (Above Symmetry), Jonny Tatum (Eumeria) and Nate Loosemore (Lost in Thought) give Enigma a deeper emotional platform, as the clean and extreme deliveries match the mood of each arrangement.It’s a younger generation who seem willing and able to push parameters and use technology to deliver a wider scope of feelings, emotions, and contrasts. Much like the peanut butter and chocolate argument of whether each is better separate or together, Aeon Zen has no qualms about loving Symphony X, Threshold, and Megadeth as much as Periphery or Between The Buried And Me- and making it work within their output.Melodic, modern progressive metal that should grab a wide scope in audience enthusiasm - Enigma could be a sleeper hit if these gentlemen land the right touring situations. " - Blistering.com
    $8.00
  • Hyperdrive marks a new era for Knight Area.  The long running Dutch progressive rock band had previously released four studio albums and toured Europe and USA extensively, performing at all major prog rock festivals.  1n 2012 the band welcomed guitarist Mark Bogert as well as legendary bassist Peter Vink (Q65, Finch, Ayreon) into the fold. With these newcomers onboard, Knight Area introduced a heavier element and fuller sound to their repertoire.  All the classic symphonic rock traits of their previous albums are still clearly evident but the songs on Hyperdrive are more immediate and concise.The band invited noted prog guitarist Arjen Lucassen (Ayreon, Star One) to participate as a special guest on one track.  Joost van den Broek, who is known for his production work with Epica, Mayan, and After Forever, mixed the album.   Rounding out the package is startling artwork by Gustavo Sazes.
    $14.00