April Rain (Digipak w/Bonus Track)

The much anticipated second album from Delain is here and it does not disappoint! Its interesting to see how the band has evolved. Originally conceived by Within Temptation keyboardist Martijn Westerholt as a studio project, Delain has evolved into a full blown active band. The success of the debut Lucidity tipped Westerholt's hand and Delain became a REAL band. With Charlotte Wessels on vocals, Ronald Landa on guitar and grunt vocals, Sun Caged bassist Rob Vander Loo, and Sander Zoer on drums, Delain took the Netherlands by storm. Delain toured extensively, opening for many bands including sister band Within Temptation, and appeared at many festivals. Ultimately they became a headlining band. With that behind them they headed into the studio to create their sophomore work.

April Rain is cut from similar cloth from Lucidity but different enough to hear the evolution mentioned above. Instead of the multiple guests that were featured on Lucidity, April Rain does benefit from the return of Nightwish bassist Marco Hietala who sings male vocals on two tracks, as well as world renowned cellist Maria Ahn.

Martijin Westholt is clearly at the helm - the big symphonic sound is still in place. Those elements that he brought to Within Temptation are clearly evident. There is a difference though...perhaps because of Jacob Hansen's mix the sound is more focused and even grittier, crunchier (thank you Mr. Landa). Songs tend to be on the shorter side but they slam harder. Having been familar with Rob Van Der Loo's intense basswork with Sun Caged its great to see him bring that progressive element to the rhythm section. Charlotte Wessels is young but has developed into the perfect voice and face for Delain.

The comparisons to Within Temptation will continue but its obvious that Delain has come up with their own sound that stands on its on.

This is THE symphonic gothic metal album of 2009. Nothing will touch it. This is the North American digipak edition of April Rain - with the exclusive bonus track "Come Closer". BUY OR DIE.

Product Review

Sun, 2011-06-19 00:41
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I rarely listen to this genre (female fronted symphonic gothic metal?) besides the occasional Lullacry single, but this album rocks. Great crunchy riffs, loads of soaring vocal hooks, and Charlotte's impressive vocals are complemented nicely by occasional male vocals which are cleanly sung, no grunting here. Really good hard rock album here full of catchy hooks.
Mon, 2011-06-20 10:10
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0
Addendum to previous review: there is a LITTLE growling (see the track "Virtue and Vice") but it's brief and minimal. Don't be discouraged, this CD rocks hard!
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Product Review

Sun, 2011-06-19 00:41
Rate: 
0
I rarely listen to this genre (female fronted symphonic gothic metal?) besides the occasional Lullacry single, but this album rocks. Great crunchy riffs, loads of soaring vocal hooks, and Charlotte's impressive vocals are complemented nicely by occasional male vocals which are cleanly sung, no grunting here. Really good hard rock album here full of catchy hooks.
Mon, 2011-06-20 10:10
Rate: 
0
Addendum to previous review: there is a LITTLE growling (see the track "Virtue and Vice") but it's brief and minimal. Don't be discouraged, this CD rocks hard!
You must login or register to post reviews.
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  • You might recognize this album...you should.  Like the rest of the Egg catalog, Patrick Vian's sole album was heavily imported into the US by JEM Records.  Back in the day, this album was everywhere.  In fact I still run across copies in the used bins from time to time.  It even made the Nurse With Wound list.  Originally released in 1976, it finally has found an audience and has been reissued by Staubgold.  Patrick Vian is the son of French jazz musician Boris Vian.  He was also a member of the underground rock band Red Noise, who made one album that is quite well known among prog and psych collectors.  Bruits Et Temps Analogues is actually quite an interesting album that has probably been taken for granted over the years.  Vian has assembled a high caliber instrumental quartet that includes noted percussionist Mino Cinelu.  Vian plays a variety of analog synths  - Moogs and ARPs.  George Granier is the second keyboardist and Ame Son's Bernard Lavialle plays guitar.  The music is flat out prog rock.  Vian's use of synths has a bit of a spacey quality but not in a textural way - he's playing laser-like leads while the band plays in a bit of a jazz rock style.  The rockier tracks sound a bit like Egg stablemates Ose and Heldon.  So you wind up with this weird amalgam of styles that come across like a mash up of Heldon and Gong.  Highly recommended.
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  • "Sweden’s Bloodbound has returned with the fifth album “In the Name of Metal.” If you think this album is all about dripping anthems raging about the glory of metal and all related topics...you would be right. If you think you have heard it all before, well, perhaps you have. BUT....if you love "Franken-traditional" comprised of parts of Manowar, Accept, ancient Queensryche, Helloween, Skid Row, and oddly, old Bon Jovi, well you have a new master. What Bloodbound did was take the sum of those parts, add the slick 2012 production and put out one of the greatest true metal albums in memory. For every single solitary thing that Manowar did wrong with “The Lord of Steel,” Bloodbound did ten things right. If you will indulge me, let me impart a few words that apply: “Glory, majesty, unity Hail! Hail! Hail!”I often speak of songs of yore back in the great times of the beginning to mid-80's and how it evoked a spirit, a feeling...a metal brotherhood, if you will. I’ve pointed out many recent albums that evoked that spirit, and I am back to tell you that this is another of those, but the best of all - complete with the hair standing on the back of my neck. Only my favorite bands have the ability to do this, and Bloodbound was not in that realm up to this point. As far as an album that lives up to its name, “In the Name of Metal” is glaringly perfect. As an album that breaks new ground, it “falls flat.” As an insult, that last statement is completely the opposite.Having heard the song “In the Name of Metal,” it wet my appetite providing more Manowar than the aged egos of its members have since “Gods of War” (for some, much earlier). This is nothing compared to what follows: the Accept-ish “When Demons Collide” (a personal favorite), the “bonecrushing” sound of first album HammerFall on “Bonebreaker,” back to Manowar with “Metalheads Unite,” Bloodbound took every working formula and made it better. “Son of Babylon” had me head scratching wondering where I had heard that chorus and it dawned on me, if Bon Jovi made “In and Out of Love” a heavy song, it would be this. “Mr. Darkness” doesn’t just scream Helloween for nothing: it has “Mrs. God” all over it (or was that “Dr. Stein,” no...no “Mr. Torture,” wait, no “Mr. Ego”). “I’m Evil” has a chorus that echoes (linear wise) Queensryche’s “Breaking the Silence.” The comparisons here are merely meant to show the affluence of talent drawing influences from all over the metal spectrum.The most interesting combination is found within “Monstermind.” The verses present a riff right from Motley Crue’s “Dr. Feelgood.” Then right before the bridge it grinds down with that brash riff from Ozzy’s “No More Tears” (complete with the Zack Wylde style). So many great styles meld to make “In the Name of Metal,” which works in terms of catchy head banging greatness. It helps that a band has a phenom on vocals in the form of Patrik Johansson (from Dawn of Silence, not to be confused with Nils Patrik Johansson), a brotherhood of guitarists (Tomas & Henrik Olsson), the absolutely non-buzzing bass of Anders Broman, and the perfect (not mechanical) drumming of Pelle Ã…kerlind (Morgana Lefay). Fredrik Bergh is one of those keyboardists that is unassuming, but who’s presence is notable when absent. Even he would agree, in Bloodbound it’s all about the guitar.So, when you are all done mocking power metal for its lack of originality, Bloodbound will still be there: totally unapologetic, balls to the wall, hail and kill, steel meets steel, bells of seven hells metal that makes you want to be a metalhead. Music doesn’t always require over the top orchestration or melodramatic progressive Malthusianism. Most days, it’s what makes you instantly feel great, even though the world laughs at you for being in a “pre-pubescent phase.” For the metal faithful, every achievement in life is all “in the name of metal.”" - Metal Underground
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  • "Ralf Scheepers has built himself quite a reputation for being one of the finest German Heavy Metal singers. With a career spanning three decades (he debuted with Tyran’ Pace’s “Eye to Eye” album in 1983), Scheepers sung on true Power Metal manifesto releases such as Gamma Ray’s first three albums, before starting Primal Fear in 1997, with Mat Sinner.His voice is high-pitched and tenor-esque and his abilities were often compared to some of the finest Hard Rock and Heavy Metal singers ever (from Rob Halford to Ronnie James Dio and Ian Gillan). Both Helloween and Judas Priest considered him as their possible next lead singer.Over the years Ralf wrote and collected a few tracks that did not fit exactly in the Primal Fear concept. As often happens, he had just been waiting for the right chance to present itself and that happened when himself, his buddy Mat Sinner and Frontiers Records President Serafino Perugino sat together and discussed plans for the future in… 2007!Over three years later and the results are finally here and in Scheepers’ words “I’m really proud of the result!”"
    $11.00
  • "Annysia is a Symphonic Power Metal band from Spain, led by lead vocalist, Rose Mack. The obligatory instrumental, The Essence Of A New Born Star is a well written one, that builds up tension in the beginning of the disc much like a movie soundtrack to an epic battle movie. The operatic stylings of Mack can be heard immediately over a harpischord-laden keyboard effect before the rest of the band kicks in. She definitely has a style of her own, and the music behind her is well played. The highest range of her vocals on this song, show her range, though I think an octave lower is more in her power range. The guitar solo on the other hand sounds out of place, but it may be the production of the song,. Nephilim starts out much in the same vein, though the vocals during the verses are a little more subdued and similar to Liv Kristine in Leave's Eyes. The growly/black metal vocals on this particular song don't do much for me here. The brief but arppegio-laden guitar solo is again well played, and a better fit here. Battle of Mystics is the first track I heard from the band, and honestly the vocal gymnastics in the beginning and during parts of the song, show Mack's talent, but they are done a little too much for my taste, though the song itself is very good. Actually musically this is probably my favorite track on the disc Demontia is a track I could not get into, but musically is not a bad song. Fairysins though, features Mack and a soft piano. Her vocals on this song shows her unique tone, and her wheelhouse when it comes to her range. This song is actually quite beautiful. The epic-ness of Valkyrie is not just in its almost nine minute length, but the music as well. Mack commands her range throughout the entire song, and the twin guitar lead melody is well played. I am not sure if I like the lead tone of the guitar that much, its a little fuzzy for my taste, but the musicianship is definitely there. The previously mentioned death/black metal vocals make an appearance here, and again does nothing for me except take away from Mack's solid performance.Again the fuzzy guitar tone comes back on the beginning of Redemption though when it meshes with the symphonic parts it does not sound as bad. Straying from her operatic range for most the song, Mack shows that she can again, subdue her range, even on a much faster song. The ability for her to sing like this, without her sounding like she is singing in a monotone is a compliment to her abilities. Lost Soul is another piano song, showing the sweeping vocals of Mack. The expression “Less is more,” best explains her vocals on this song, and it was definitely the right call. The instrumental of Captain's Song shows her bandmates definitely have talent themselves, and it is a pretty damn good instrumental. Another standout song is the mid paced, Pirates Of The Sea. The male operatic vocals are too low in the mix to be heard clear enough, though they are much better than the “Blackened” ones of earlier. Nivek is next, and is another epic song in its song structure. For the seven minutes it runs, it pretty much hits all the right marks. With headphones on though, Mack's vocals could have been produced a little better,and be heard a little louder. Much like the disc begins, it ends with an instrumental track, an outro.While the imperfections do come to head when you hear the disc as a whole, Annysia's debut is actually a well written, if only inconsistently produced disc. The disc does have its highs, with strong songwriting and Mack's powerhouse vocals. I do believe in some songs, the band is trying to be as epic as possibly when possibly a little more restrain could have been used. Again most of this criticism is personal opinion, and every listener will have their own opinion. As a whole, this is a great start for a new band, who is obviously full of talented musicians. Let us hope for a label to find the band, and for stronger production values next time." - Metal Review
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  • "What do you get when you take a rough and ready Germanic power metal band and add two members of Blind Guardian? You get a better rough and ready Germanic power metal band. Sinbreed is that band and features the talents of Blind Guardian guitarist Marcus Siepen and drummer Frederik Ehmke, which gives them some instant musical credibility and clout. Their 2009 debut When World’s Collide was a rock solid slab of slick, but angry metal in the vein of modern Accept, Herman Frank and Paragon and Shadows improves on that template with even more raspy, Udo-like vocals and thrashy guitar lines. These cats don’t go in for the frilly aspects of Euro-power and prefer to pummel and attack with aggression while maintaining enough melody to hook you in. That makes Shadows a feisty, ill-tempered collection of speedy riffs, catchy choruses, and pissed off attitude, and when power metal is done this well, it’s pretty hard to resist. Not revolutionary, but it sure satisfies that need for edgy power sans pirate shirt.If you loved the last two Accept albums, songs like “Bleed” and “Call to Arms” will go down gangbusters. Lots of fast, in-your-face riffs and the excellently raspy roar of Herbie Langhans combine for some headbanging good times with all the Germanic flair you expect from acts like Grave Digger, but this is much better and more jacked up. It’s one speedster after another, each with a more than adequate chorus and ample nutsack. Sometimes they remind a bit of Steel Attack (title track), others times there’s a distinct Steel Prophet feel to the songs (“Leaving the Road”). Regardless of what influences they borrow from, they keep things straight-ahead, simple and rocking.Tunes like “Reborn,” ”Black Death” and “London Moon” have simple, memorable refrains and manage to be catchy without dialing back on the aggression. Most songs ride along on simple, but heavy riff patterns and rely on Herbie’s vocals to do the heavy lifting, pausing only for some satisfying, if typical power metal solos. It’s a simple approach, but it works for them, though there isn’t much difference from song to song and things do start to bleed together a little on the album’s back-end.Speaking of Herbie’s vocals, he’s a helluva good front man for this type of music. He has the raspy, gravely style down pat and reminds me a lot of new Accept singer Mark Tornillo. He has quite the powerful range and can hit all sorts of interesting notes when he so desires. He also has a bit of Bruce Dickinson’s flair and swagger hiding between his harsher approach (especially on “Standing Tall”) and it helps put the music over and make an impression. Marcus Siepen and Flo Laurin deliver the badass riffage required for this style and their solo work is pretty nifty (especially on “Broken Wings”). Nothing they do will make you fall out of a chair, but they manage to keep things moving for all ten songs and the album feels like it goes by quickly, which is a good thing.A typical dose of Teutonic terror, but a very good one, Shadows blasts away with all barrels, stays very consistent and checks all the required boxes on Yea Olde Power Metal Checklist. These guys are one of my favorite bands of this ilk and between them, Accept and Herman Frank, I get all the Germanic rage I can handle at my advanced age. If you need more muscle in your power metal, these guys have the iron injection ready to go. Go heavy or go home." - Angry Metal Guy
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  • The band's second album. At this point the progressive elements were just starting to be displayed.  Remastered edition.
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  • Exit one guitarist - enter one female singer resulting in a new avant garde direction. While the first album had a quiet classical side this is far more experimental. One can hear an influence from minimalist composers creeping in."Three years passed before Pierrot Lunaire recorded and released the follow-up to their debut album. They returned as a totally refurbished act, with guitarist Caporaletti out and mezzo-soprano extraordinaire Jacqueline Darby in. "Gudrun" is an album that drifts apart from the realms of bucolic melodic prog with a slight dissonant twist; now, the repertoire is design to defy structure and convention, in order to create a sonic journey led by the volatile ruling hands of surprise, radical experimentation, and free form. The link between all tracks is marked by the clicking of a photographic camera, as if each number of the repertoire was some kind of scenario immortalized by the machine and turned into a permanent reminder. If Pierrot Lunaire's previous album was some a catalogue of reflections about the inner world, now Stalteri, Chiocchio and Darby turn their eyes and look at the world in its splendorous chaos and multicolored facets. The 11-minute long title track kicks off the album with a great deal of synth layers and sequenced ornaments, over which Darby's singing, piano lines, stormy guitar leads, and some other occasional stuff lays its print in a daring amalgam. If you can mentally picture a mixture of Klaus Schulze, drumless RIO and Brecht's operettas, then you may have an idea about what I'm trying to describe here (perhaps not too successfully). In sharp contrast, now comes a subtle piano nocturne titled 'Dietro il Silenzio', which sounds quite Satie-inspired to me: a really beautiful piece where the silent voids are as important as the actual piano sounds. The following number is a two part chanting displayed upon disturbing guitar and synth soundscapes: in the middle, a piano and conga drums revisit Darby's line with an air of simplicity that seems to portray some sort of high-spirited joy. 'Gallia' is a Darby-penned number, mostly a showcase for her well crafted dissonant operatic stuff, while her fellow men once again indulge themselves in a background of random dissonances on electric guitar and synthesizer. 'Giovane Madre' is the most symphonic (or should I say the least anti-symphonic) number. It basically consists of a recurring attractive motif on organ and synth, solidly founded on a 6/8 pattern laid by Chiocchio's bass and guest drummer Massimo Buzzi; somewhere in the middle, a gentle, joyful Renaissance-like motif enters abruptly, creating a weird tension that directly defies its own delicate beauty. Simultaneously, you can hear Darby whispering or laughing in some places. Many times I've found myself listening to this particular track three or four times in a row only to take pleasure in the challenging effect that the structure of this track causes in me as a listener. The weirdness never ends. 'Sonde in Profonditá' starts with the sound of an old radio speech, accompanied by a tenuous, evocative organ theme, with sitar, synth and acoustic guitar providing some additional colours until it all disappears under crashing waves. 'Morellia' begins with a Baroque-inspired piano solo, alternating with a Renaissance-like zither melodic line: then comes Darby, together with the piano, string synth, bass and drums (once again, guest Buzzi makes an appearance), delivering the most moving passage in the album. This same structure is reiterated, until a Cabaret-piano motif accompanies Darby's dramatic laughter. This piece is inscrutable, yet it manages to move the listener's heart in a way that they can't fully understand. Finally, 'Mein Armer Italiener' closes down the album with a successive combination of parody military march, psychedelic rock, pastoral stuff, slogan chanting - all comprised in an ambience of radical dadaist humour that may somehow remind us of Zappa's most theatrical pieces. An excellent but not recommendable prog recording due to its massively cryptic nature: anyway, "Gudrun" deserves to be regarded as a classic of the most experimental side of 70s progressive rock." - ProgArchives
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  • "The new Echolyn The End is beautiful is a far cry from the absolutely fantastic As The World which still is one of my favorite Echolyn albums! That said, they´re most certainly progressive in the truest sense of the word. As this album steers towards new areas. And YES it is brilliant! This my friend is a top notch album of the highest order!The music is excellent as always. They still have the complexity in their arrangements and individually they deliver the goods! But...and there is a but....you have to wait till track #6 "So Ready" to get some of their trademark Gentle Giant-like vocal arrangements. And therein my dear prog friends the problem lies. We have come to expect some fine complicated vocals arrangements. Now they're almost gone. Brett Kull & Ray Weston used to deliver the excellent lead vocals with the rest of these wonderful musicians following on superb second vocal harmonies.And they still do, that is, deliver the vocals...but somehow its not the Echolyn of yesterday! On the other hand, this is about progressive music and as such they still are, this great US band with superb arrangements and a brilliant mind for new thinking in this musical world we adore and love! "Misery, Not Memory" is the track that comes closest to that of the former Echolyn –ideology...with traces of Gentle Giant contra-point music style.Overall I must say that I love this album (my favorite still is As The World) for the sheer power and exuberance in fabulous ideas and musical brilliance. And oh....they dare....they dare go a step further...which is what this is all about: progression!So if you are new to these guys, get the first one (just out in a fine new package...with bonus) then work your way up till this one! Echolyn, a fine US prog band that always deliver! If you are a true prog fan then this album should be on your want list! Yeah, I am calling your prog loyality into question! This is a killer album! Make no mistake! This one goes to prog history!" - Prog Planet
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  • Lifesigns is a new band put together by keyboardist journeyman John Young, along with Nick Beggs (Steve Hackett), and Martin Beedle (Cutting Crew).  Featured guests include Steve Hackett, Jakko Jakszyk, Thijs Van Leer, and Robin Boult.  5 long tracks that have a contemporary prog sound but with nice extended instrumental parts.  Not a technical tour de force - emphasis here is on melody.  I'm reminded a bit of Steve Hackett's recent works.  While John Young has written all the material, bassist/Stickist Nick Beggs quietly steals the show.
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  • "'Hand. Cannot. Erase.' is the highly anticipated fourth studio album from Steven Wilson - four-time Grammy nominee and founder member of cult legends, Porcupine Tree.Hand. Cannot. Erase. follows the critical and commercial success of The Raven That Refused To Sing, released in February 2013, and a run of sold-out shows around the world including London's Royal Albert Hall. Steven will embark on an extensive 'An Evening With Steven Wilson' European tour in March & April 2015.Recorded at London's illustrious Air Studios, Hand. Cannot. Erase, reunited Steven with Guthrie Govan (guitar), Adam Holzman (keyboards), Nick Beggs (bass / stick), and Marco Minneman (drums), the spectacular band responsible for The Raven That Refused To Sing album and world tour.The album is presented in an elaborately designed 96 page case-bound book, with several additional inserts - including a diary, a sketchbook, newspaper cutting, a letter etc - featuring artwork by long-term SW collaborators Lasse Hoile (photography), Hajo Mueller (illustrations) and Carl Glover (design).Blu-Ray contents include hi resolution stereo & 5.1 audio (96/24 5.1 LPCM & DTS-HD Master Audio 5.1), seven additional alternative versions, mixes & radio edits, half-hour studio documentary, studio sessions photo gallery.The album follows the critical and commercial success of 2013's 'The Raven That Refused To Sing' (Germany #3, UK# 28) and an international run of sold-out shows, including London's prestigious Royal Albert Hall.Joined by Guthrie Govan (guitar), Adam Holzman (keyboards), Nick Beggs (bass / stick), and Marco Minneman (drums) - all part of the world-class band that graced The Raven and the 2013/2014 world tours - Wilson recorded 'Hand. Cannot. Erase.' at the renowned Air Studios in London."
    $16.00
  • Now here is a killer prog metal release from Australia.  Mechanical Organic is a new band led by former Vauxdivhl keyboardist Eddie Katz and ex-Neue Regel/Fracture vocalist David Bellion.Its the second part of a conceptual work.  If you are familiar with Bellion's voice you know he bears an uncanny resemblance to vintage Geoff Tate.  Katz has had other projects since Vauxdivhl, mostly in the experimental metal realm.  This Global Hive is an incredible marriage of different aspects of prog.  The result is a band that has created a sound that sounds like a mash up of Zero Hour and Queensryche.  Within the context of Mechanical Organic, Bellion has toned down the Tate-isms but the similarities are there.  He's a bit of a vocal chameleon - add in some Erik Rosvold and Chris Salinas and you'll get the overall picture.  Think Towers Of Avarice meets Operation: Mindcrime.  The music is melodic and atmospheric and full on prog metal.  Highly recommended.
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  • The DVD features the new video for lead track ‘Drive Home’ along with the video for ‘The Raven That Refused To Sing’, both directed by Jess Cope. It also includes four tracks recorded live in Frankfurt during the recent tour.  In addition, the DVD features audio recordings of two previously unreleased tracks, ‘The Birthday Party’ and an orchestral version of ‘The Raven That Refused To Sing’.‘The Birthday Party’ was recorded in the LA at the same sessions as the tracks that made up the album while the version of ‘The Raven That Refused To Sing’ is a new mix that strips the track back to just the orchestra and vocals. These tracks are also featured on the CD, along with the audio from the live tracks and an edit of ‘Drive Home’. The set is packaged in a ‘mini-LP’ sleeve pac.
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  • Ever wonder what Dream Theater would sound like today if Charlie Dominici had never left the band? This disc will give you an idea. Like the second part of the 03 trilogy, Dominici is backed by Italian progressive metal band Solid Vision. They began life as a Dream Theater cover band and it shows in their playing. Stylistically this is progressive metal heavily influenced by DT performed by a sickeningly tight band. I think if anything I think time has treated Dominici's voice pretty well. He stays within his range and doesn't try to go for upper register histrionics. This disc doesn't really come as much of a surprise because Part 2 was the shocker. This is the logical next step. Highly recommended to any fan of Dream Theater.
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  • Domestic jewel box version includes the bonus track "I Wish I Could"."At the very least, THRESHOLD may well be the UK's answer to DREAM THEATRE; progging on since 1988, 2014 sees a follow-up to 2012's "March of Progress", titled "For the Journey". Their brand of Prog Metal (let's face it, every band does it differently) involves less of a focus on instrumental technical showy-offy-ness, and emphasizes the heaviness of individual riffs, and the soaring atmospherics and ambience."Watchtower on the Moon" is teetering on the edge between classic prog motifs, and spacey, futuristic, sci-fi permutations. Upbeat, with a (largely) followable jive, a strong, groovy riff carries the first half of the track, slightly downplayed to best put the vocals out there, and what stellar vocals they are. The blend of delivery of catchy hooks, power and diction, that programs the 'Prog' name with unadulterated listenability. Interestingly enough, as the song evolves, instrumentals are brought to the forefront, and the fabrics of time signatures are toyed with, allowing melodic interplay between guitar and keyboard to flourish. "Turned to Dust" is quite the heavy piece, if not the heaviest on the album; the riffs punch through with a percussive power belied by the flamboyant melody arrangements, and also happens to contain my favorite chorus on the album."Autumn Red" is a smooth, liquid display Prog excellence, the chisel struck by the juxtaposingly heavy riffs; the "keyboards from the 70s' used to great effect, perhaps raking up nostalgia in the PINK FLOYD fans among us. Lyric enthusiasts among us will be drawn to this track; as I perhaps didn't emphasize enough, Damian is the man for the job, delivering poetry into a new artform; pure, melodic diction that embosses the expansive tapestry set by the band. "Siren Sky" is easily my favorite piece; perhaps one of the more "metal" track on the album. The first instance of riffage surged forth tall waves of pure 'epic'. Never a dull moment on this track, the riffs prepared on the piece are emotive like no other on the album; I'm legitimately without words.Easily in my top 3 of this year's Progressive releases, it is no wonder that veterans of the genre are behind this mastery." - Metal Temple
    $11.00