Broken Crown Halo

Remastered edition with 2 bonus tracks."The third and final album of what could be called Journey's cocoon phase (Escape would give birth to a fully formed butterfly and put the band through the stratosphere), 1980's Departure would also be the quintet's last with keyboardist/vocalist Gregg Rolie. Produced by Geoff Workman and Kevin Elson (essentially both engineers turned producers), the album continued to build on the band's previous two recordings, but offered an added edge, arrangement-wise. This was likely due to the fact that the band had walked into Automatt Studios with 19 new tunes and proceeded to record most of them live, eventually trimming down to 11 songs. Catapulted all the way up to number eight on the Billboard Top 200, Departure was the band's highest charting album to date and got off to an explosive start with the driving riffs and chorused vocals of "Anyway You Want It" (another radio smash that would chart Top 25). Never sounding tighter, the quintet then launched into "Walks Like a Lady" (another future FM staple, climbing to number 32) and a string of outstanding rockers, including future concert opener "Where Were You" and the stop-go-stop-go energy of "Line of Fire." On the other hand, elegant power ballads like "Good Morning" and "Stay Awhile" would foreshadow the band's future commercial triumphs on Escape. And even though it packs the occasional filler like "Someday Soon" and "Homemade Love" (a weak attempt to boogie that falls absolutely flat), Departure is a solid record all around. Soon, Rolie would be replaced by the greater pop-savvy songwriting muscle of former Babys keyboard man Jonathan Caine, and Journey would go from huge cult act to monster superstars." - All Music Guide

"My first introduction to Brazil's Hibria came with last year's DVD/CD live package Blinded By Tokyo. It seems, besides their popularity in South America, they've been a hit in Japan from earlier on in their career. The live set was good showcase for their power metal skills. Now seeking more international recognition, Hibria releases Silent Revenge through AFM Records.I'll admit I was almost put off by Silent Revenge from the start, thanks to the first, and title, cut. Silent Revenge features Andre Meyer of death metal act Distraught offering competing death vocals. I get the addition, but it's still annoying. Later, with Walking to Death, Hibria vocalist Iuri Sanson nears hardcore screamo vocals. All this makes me wonder if, in attempt to be edgier or more commercial, Hibria wants to move more towards modern metal.Alternatively, listening to Silence Will Make You Suffer, Lonely Fight, or the powerful anthem Shall I Keep on Burning (unplugged version is even better), you find both Sanson and Hibria straying little from their traditional heavy power metal roots, with emphasis on heavy. However, sometimes they get a little over ambitious as with The Way It Is. It's decent power metal, just too long. One thing Hibria has always been known for is powerful guitar leads, and there's a truck load of ripping leads all over this album. This simple, but necessary element, puts Silent Revenge beyond a better than average album. Their traditional South American and Japanese fans should enjoy this album, and the band will probably collect more fans in Europe as well. Recommended." - Danger Dog

"Recently reissued on the Cd format by the great ProgQuebec team, this album (and its predecessor) had been all too long ignored and denied a second life by the Harvest label. Oddly enough with the bulk of reserve material still waiting to be released back then, the CD reissue offers no bonus track, but the album alone is much worthy by itself. The last paragraphs are dedicated to the review being re-written after its reissue.Old review: How to describe this absolutely masterful and orgasmic music? Except for this lone LP where one number is sung, Maneige is an instrumental group that lets you know right from the start that they will take full advantage of this and will not allow you one second of inattention. The group mixes acoustic and electric instrument with such dexterity that they make it look easy and sound simple. NOT SO!!! Although people will classify this group in the fusion section , this is only partly correct as there is some jazz & folk , but there is an uncommon percentage of classical music but nothing stolen from the historical composers.This album and the debut as well as the recently released live 74-75 are highly indescribable melange of all sort of academic musics. If I must name one band of this site to come close to Maneige, I will tell you a cross between Univers Zero and Gentle Giant for the construction complexities but Maneige is so much more melodic and harmonious to your ears, that GG is rather distant cry from them."Why have you not heard of this band before?" you ask. My theory is that they got black listed because of their Quebecois origins at the time when Quebec was overtly menacing of separation from the rest of Canada because of the English compatriots refusing to recognize Quebec as a distinct society. This made Quebec groups unable to play freely in the rest of their country along with Harmonium (a little success), Pollen (just one superb record and disband), Aquarelle (I am not even sure they released something outside Quebec) and even the Franco-Ontarian band Cano, so they had real problems of exposure. This lasts still today except for Harmonium that does get international recognition. Is the best proof of this not that only three albums of this great band are on CD? As they are still relative unknown, your hunt for the vinyls should not be that difficult or expensive, but man, it is definitely worth it. Max: can you give a sixth star just for the sake of it?New review: The 19-min+ title track suite (written by wind player Bergeron) is grabbing by the throat from the first notes, and never letting it go of its grip through its six movement, with its constantly evolving composition and so many different acoustic instruments taking over the previous one and even a rare sung section, whose lyrics were reprinted in a weird fashion on a loose sheet alongside the inner sleeve. The first side closes on a short symphonic (a quartet really) piece that is not as inspired as the rest of the album. Indeed, La Grosse Torche sounds out of place on the Cd (this was less evident on the vinyl).The flipside starts with Saxinette and Clarophone's wild adventures and the opening minute could make you think of Genesis' The Lamb on the second disc But this is quickly forgotten as the two instruments share literally everything mixing blood, trading licks, making love to each other. Bergeron's sax and Langlois' clarinet are not just the stars of the show, they eclipse the sun for the duration of the track from shining so hard. Vincent (Jerome's brother) Langlois' electric piano solo draws chills in your back, until a weird animal meows like an elephant and the tracks veers into a wild goose chase ending in a chaotic crowd and dying a slow death! Du très grand art, monsieur!! The closing track Chromo is a much funkier track that will indeed remind what was coming ahead in NV.NN, which would be a much jazzier album.The amazing thing is that obviously at the autumn of the group's first career (the Jerome Langlois years, if you wish), the group had loads more music that was still waiting for a proper studio recording and release. Most of these tracks can be found throughout the three live albums that have been released since 98. And from these albums, it's easy to see that Maneige's first line-up could have released a third album that would have easily matched their debut and Les Porches. So as Chromo sort of announces the new Maneige, Jerome Langlois will leave the group to concentrate on the long-standing project that he had tried to get of the ground with his previous group Lasting Weep. Le Spectacle de L'Albatros would then see the light of day in early 76 with both Lasting Weep and Maneige playing alongside, but this is another superb ProgQuebec chapter of the marvelous musical adventures of Progresson." - ProgArchives

"The news of Angela Gossow stepping down as the front of ARCH ENEMY is still fresh as the band launches their latest album, "War Eternal". The new record features THE AGONIST's Alissa White-Gluz on the mike and former ARSIS guitarist Nick Cordle, who gets his first album representation following the 2012 departure of Christopher Amott.Change often sucks, but hardly in this case. The new blood in ARCH ENEMY has propagated a tremendous creative spark in Michael Amott. Simply put, "War Eternal" is the best ARCH ENEMY album in years. Though Angela Gossow held her post with honor, the songwriting under her tenure fell into a script that's observed on occasion here, but stepped well beyond."War Eternal" captures immediate attention with an overture opening featuring harpsichord and choral lines, "Tempore Nihil Sanat (Prelude in F Minor)" before ripping straight into "Never Forgive, Never Forget". The latter yields the same structuring as most ARCH ENEMY songs during the Gossow years with bombastic thrash-grind lines melded with modified slowdowns. Overall, the song is a scorcher and it comes with guitar solos that are dealt at a zillion notes they're worth backing up.Afterwards, the title track jumps in with an excellent shredded intro and retains a harmonious curve all the way through its mid-tempo stamp. This and the gloriously anthemic "You Will Know My Name" are the closest "War Eternal" get to accessible and the strident focus of the band puts these songs at peaks of near-perfection, once again bringing active, detailed solo sections full of jerked strings and fret dances. The solo on "War Eternal" needs to be shaved by about ten seconds, but otherwise, that track is one of the most affecting tunes ARCH ENEMY's written in some time."As the Pages Burn" is completely savage on the verses, but the stepped-back choruses that make an attempt at neoclassical-based melody does the headstrong thrash a slight disservice. Still, the song's a cooker. Speaking of neoclassical, Michael Amott and Nick Cordle lead and fill the steady crusher "No More Regrets" with scales galore and the fret garnishments assume a stately flair beyond the song's gruesome double hammer and fierce breakdown. By this point, it's evident Michael Amott and ARCH ENEMY mean to outdo themselves on this album.The brief guitar interlude, "Graveyard of Dreams", is a nice set-up for the heavy thrust of "Stolen Life", which the shredding lines and Alissa White-Gluz's spit-flung delivery keep the energy level of the album from faltering. The lullaby opening to the massive "Time is Black" is the perfect opener as the song rolls through a symbiosis of classical lines and progression that jack up in both intensity and elegance.Suffice it to say, the concentration upon Bach and Mozart behind Michael Amott, Nick Cordle and Sharlee D'Angelo's intricate lines becomes a theme on "War Eternal" and the method elevates the band beyond their powers. Once more incorporating harpsichord and symphonic strings for the intro and the fills of the headbanging groove on "Avalanche", the opportunity for auxiliary grace is capitalized intuitively.The band's tireless performance on "War Eternal" is comparable to a veteran baseball team with a powerful batting lineup giving a new pitcher a seven run lead to break in with. Blue-coiffed Alissa White-Gluz can rip esophagi with them best of them and she's a natural fit for ARCH ENEMY. She possesses excellent pentameter even in ralphing mode and she sounds like a demoniac on "As the Pages Burn". It doesn't hurt to have her predecessor looming in the background as the band's new manager. Gossow must be feeling proud, if bittersweet that ARCH ENEMY hits a higher level of craft on "War Eternal" than they have in a long time. There are transitional moments in a band, but this is a veritable catharsis." - Blabbermouth.net

Released by Camel some years ago, this is a wonderful archival live set from 1972. Four tracks: "Lady Fantasy", "White Rider", "Six Ate", and the incredible "God Of Light".

Gnô is a French power trio whose style is often described as Pantera meets The Beatles. After releasing Trash Deluxe (Janvier records) in 2002, Gnô is back with a new opus entitled Cannibal Tango, even more brutal though more melodic as well. The three piece combo play heavy rock with a good balance between metal riffs and catchy melodies. Their stock in trade is daredevil chops highlighted by insane stunt guitar. The rhythm section, powered by the roaring bass of Gaby Vegh and thunderous drumming by Peter Puke, provides an ideal foundation for the wizardry of Christophe Godin (Morglbl), considered one of the finest guitar players today! Not one, but three lead singers is another characteristic of the band, and they pay great attention to vocal harmonies à la Beatles or Kings X. While the musicianship will leave you shaking your head in disbelief, the humorous lyrics will have you laughing out loud. These three French maniacs revolve around the same planet as their musical brethren Freak Kitchen. If Frank Zappa had made a metal album it would sound something like this.