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Crown Of Creation

SKU: 886977013324
Label:
BMG Heritage
Category:
Classic Rock
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Remastered edition with bonus tracks.

"The group's fourth album, appearing ten months following After Bathing at Baxter's, isn't the same kind of leap forward that Baxter's represented from Surrealistic Pillow. Indeed, in many ways, Crown of Creation is a more conservative album stylistically, opening with "Lather," a Grace Slick original that was one of the group's very last forays (and certainly their last prominent one) into a folk idiom. Much of what follows is a lot more based in electric rock, as well as steeped in elements of science fiction (specifically author John Wyndham's book The Chrysalids) in several places, but Crown of Creation was still deliberately more accessible musically than its predecessor, even as the playing became more bold and daring within more traditional song structures. Jack Casady by this time had developed one of the most prominent and distinctive bass sounds in American rock, as identifiable (if not quite as bracing) as John Entwistle's was with the Who, as demonstrated on "In Time," "Star Track," "Share a Little Joke," "If You Feel," (where he's practically a second lead instrument), and the title song, and Jorma Kaukonen's slashing, angular guitar attack was continually surprising as his snaking lead guitar parts wended their way through "Star Track" and "Share a Little Joke." The album also reflected the shifting landscape of West Coast music with its inclusion of "Triad," a David Crosby song that Crosby's own group, the Byrds, had refused to release -- its presence (the only extant version of the song for a number of years) was a forerunner of the sound that would later be heard on Crosby's own debut solo album, If I Could Only Remember My Name (on which Slick, Paul Kantner, and Casady would appear). The overall album captured the group's rapidly evolving, very heavy live sound within the confines of some fairly traditional song structures, and left ample room for Slick and Marty Balin to express themselves vocally, with Balin turning in one of his most heartfelt and moving performances on "If You Feel." "Ice Cream Phoenix" pulses with energy and "Greasy Heart" became a concert standard for the group -- the studio original of the latter is notable for Slick's most powerful vocal performance since "Somebody to Love." And the album's big finish, "The House at Pooneil Corners," seemed to fire on all cylinders, their amps cranked up to ten (maybe 11 for Casady), and Balin, Slick, and Kantner stretching out on the disjointed yet oddly compelling tune and lyrics. It didn't work 100 percent, but it made for a shattering finish to the album. Crown of Creation has been reissued on CD several times, including a Mobile Fidelity audiophile edition at the start of the '90s, but in 2003, RCA released a remastered edition with four bonus tracks from the same sessions including the mono single mix of "Share a Little Joke," the previously unreleased 8 minute "The Saga of Sydney Spacepig," Spencer Dryden's co-authored "Ribump Ba Bap Dum Dum," which is a spaced-out assembly of noises, effects, and pop-culture catch-phrases, and the more accessible "Would You Like a Snack?," an atonal piece of musical scatology featuring Grace Slick and co-authored by Slick and Frank Zappa." - Allmusic Guide

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  • Digipak edition with one bonus track"Fans of gothic metal, rejoice! Tristania, one of the genre’s true pioneering bands, has just released their seventh studio album entitled Darkest White. The Norwegian powerhouse act has a storied fourteen year history stretching back to their 1998 debut – and they haven’t lost a step thanks to some much needed lineup stability. Darkest White contains all the near-theatrical arrangements, darker moods, and diverse tones that fans of the band would expect – delivered with a solid three-singer attack and technically tight musicianship. After numerous line-up shuffles, the now stable group has really hit their stride again, producing an album that clearly outshines their previous effort (2010’s middling Rubicon).Tristania has always focused on delivering solid vocal performances, and continue on with the duet of the angelic Mariangela Demurtas and the theatrical Kjetil Nordhus. Demurtas has a silky, clear voice and she remains her own singer rather than pushing towards the operatic stylings of other Gothic bands. Nordhus delivers with great emotion and depth, whether singing softly and clearly or doing some Broadway-style emoting. Guitarist Anders Høyvik Hidle now contributes a good amount of growled / death metal vocals, giving the band a bit of “beauty and the beast” sound at times. Overall, Tristania continues to deliver the clear and precise metal that has won them a worldwide following. Excellent musicianship backs up the great vocal harmonies, delivered by guitarists Hidle and Gyri Losnegaard, keyboard player Einar Moen, and bottom end Ole Vistnes (bass / backing vocals) and Tarald Lie (drums).“Number” opens the release with growled vocals and a kicky drum line, intense bass and great guitar hooks. Demurtas and Nordhus also contribute well done duet vocals making this track the quintessential example of the rebuilt Tristania. The heavy and intense “Darkest White” showcases the male vocalists. This track has a more conventional heavy metal feel to it, with strong contributions from guitars, bass and drums. “Himmelfall” is a slower, darker rock tune with hooky guitars and a great rolling rhythm line, and theatrical vocals by all. “Requiem” is a sweeping, epic soft track – very different from the previous songs. Demurtas’ voice is at its best here, and the softer keys and guitars combined with multi-layered vocal harmonies make it arguably the best track on the album. The languorous vocal lines of “Diagnosis” contrast nicely with the high speed rhythm lines, and both carry emotional intensity.“Scarling” starts off as almost an old school rocker, but becomes a moody progressive / Gothic track driven by vocals and drums. The vocal chorus, and interplay amongst the three leads is quite impressive. “Night on Earth” features great growl vocals over a simple but effective guitar riff and a real head banging rhythm line. The haunting “Lavender” is a major contrast, filled with soft guitars and mellow, soft vocals – the epitome of dramatic rock. “Cypher” is a somewhat gloomy sounding rocker with very well done male vocals and a brooding rhythm line. “Arteries” wraps up the CD, and features great back and forth between growl and clean voices along with top notch drum and bass.Darkest White is a very good release from a veteran band. The returning lineup now has a good deal more experience working as a team and has gelled into something special. Although the band’s technical abilities were never in doubt, they have addressed the weaknesses apparent in their last album – the song structure is better, the lyrics and themes more consistent, and the members of Tristania now seem more comfortable working together. They are tight and confident, once again pushing musical boundaries. Diversity in song style, tempo, and tone highlight the band’s superb use of multiple singers, and keeps the album interesting throughout. The excellent production values and strong engineering allow the many subtleties and great depths of the music to flow without seeming forced or unnatural.Highly recommended for fans of the genre." - Hard Rock Haven
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  • Debut from this neo-prog supergroup featuring Clive Nolan and Mick Pointer.
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  • Digipak edition with one bonus track."Tasting The Tears in the ninth studio offering from Italian prog metal masters Eldritch. For those who are unfamiliar with the band, that is what we here at Lady Obscure are here to do! We shine the spotlight on bands that may have flown under the music fans radar. Eldritch perform a technical form of melodic progressive metal with elements of thrash metal thrown in to create a style that is instantly recognizable as Eldritch. Following up on the success of the bands previous album Gaia’s Legacy (which included an invitation to perform a powerful set at the famous ProgPower USA festival in 2011) is no easy task, but after several listens of Tasting The Tears, I can safely say that Eldritch are up for the challenge. After the global warming concept of Gaia’s Legacy, the band turns to more personal subject matter. The lyrics on Tasting The Tears share a common theme: love in all its different forms. Not exactly progressive metal forte but Eldritch pull it off thanks to vocalist Terence Holler’s emotive delivery and some excellent songwriting.Tasting the Tears was produced by Eugene Simone at ES Studios in Livorno, Italy. and mixing and mastering duties have been handled by Simone Mularoni (DGM) at Domination Studios in San Marino, Italy. The album combines melody, complexity, and dark compositions to create a cohesive album. The production is crisp and all the individual instruments are given a clear representation in the mix. The album kicks off with Inside You, a moody and catchy headbanger with a soaring melodic chorus, and lots of tasty riffs courtesy of the guitar duo of Eugene Simone and Rudj Ginanneschi. The title track features the keyboard wizardy of Gabriele Caselli overlapping the thrash metal machine gun drumming of Rafahell Dridge with melody. The mood takes on a melancholy and darker tone with Alone Again. The band combines the clean guitar tones with keyboards and Holler’s melodic voice combined with superb vocal harmonies. Based on the lyrical content, Waiting For Someone is a song about loneliness and the search for love. The music is heavy and progressive with plenty of melody and guitar crunch. Seeds of Love has a driving intense drums and chugging guitar rhythms. A piano intro starts of The Trade, a song of betrayal and the tone relects the seriously dark subject matter. The thrashing mad Something Strong is filled with brutal riffs, technical drumwork, and impassioned vocals. Don’t Listen the trash influence is apparent but Caselis keyboards and Hollers vocals add the perfect melodic touch. The band shows their diversity and takes a chance with the moody piano ballad Iris. The song is well done although personally I would rather hear the band rock hard. Luckily the next song Love From A Stone shows the band doing what they do best and that is playing intense and melodic prog metal.The energy is ramped up on Clouds, an intense heavy progressive song with some fantastic keyboard work and a fantastic memorable chorus. As with Gaia’s Legacy, the albums closing song is a cover song, this time of the Queensrÿche classic I Will Remember from Rage for Order. The song is given the Eldritch treatment with added piano and Holler’s voice which is drastically different from vintage Geoff Tate, but he adds his own unique spin to the song and make it his own. Is it better than the original? Of course not, but it is a faithful rendition and tribute to one of the bands influences and I commend the band for taking a chance on recording a song of this stature in the metal world.Although it is not a perfect album, s a fan of Eldritch, I can highly recommend Tasting the Tears. It’s not as heavy and lively as Gaia’s legacy or Blackenday, but being one of the lucky fans to catch their last U.S. performance, I can say that the band puts on a highly energetic show and one can only hope that they return to U.S. shores soon. Fans of melodic progressive metal with a touch of thrash will appreciate the latest Eldritch offering." - Lady Obscure
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  • Remastered edition with bonus tracks."The debut Jefferson Airplane album was dominated by singer Marty Balin, who wrote or co-wrote all the original material and sang most of the lead vocals in his heartbreaking tenor with Paul Kantner and Signe Anderson providing harmonies and backup. (Anderson's lead vocal on "Chauffeur Blues" indicated she was at least the equal of her successor, Grace Slick, as a belter.) The music consisted mostly of folk-rock love songs, the most memorable of which were "It's No Secret" and "Come up the Years." (There was also a striking version of Dino Valente's "Get Together" recorded years before the Youngbloods' hit version.) Jorma Kaukonen already displayed a talent for mixing country, folk, and blues riffs in a rock context, and Jack Casady already had a distinctive bass sound. But the Airplane of Balin-Kantner-Kaukonen-Anderson-Casady-Spence is to be distinguished from the Balin-Kantner-Kaukonen-Casady-Slick-Dryden version of the band that would emerge on record five months later chiefly by Balin's dominance. Later, Grace Slick would become the group's vocal and visual focal point. On Jefferson Airplane Takes Off, the Airplane was Balin's group. (Jefferson Airplane Takes Off was released as RCA 3584 on August 15, 1966. It was reissued as RCA 66797 on January 30, 1996, as a CD that contained both the stereo and mono versions, and that added back the track "Runnin' 'Round This World," which had been deleted from all but initial copies due to the sexual and perceived drug references of the line "The nights I've spent with you have been fantastic trips." But the included version still eliminated the word "trips.")" - Allmusic Guide
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  • Redemption is one of the leading progressive metal bands in the world today.  Formed in Los Angeles, California in 2000 by guitarist / keyboardist / songwriter Nicolas van Dyk, the band features legendary progressive metal vocalist Ray Alder of Fates Warning, as well as guitarist Bernie Versailles (Agent Steel), and the phenomenal rhythm section of Chris Quirarte (drums) and Sean Andrews (bass).Redemption’s combination of heaviness not usually found in progressive metal, irresistible melodies and emotional urgency has created a unique and resonant voice for this band that sets them apart from the many clones in the genre, and which has gained them the attention of fans, critics and musicians.Through the band’s first three studios CDs (2002s self-titled first release, 2005’s The Fullness of Time, and 2007’s The Origins of Ruin), Redemption gained a loyal fanbase and garnered rave reviews worldwide from critics, who describe Redemption’s music as“one of the best progressive metal acts to emerge in the past decade” – DPRP“magical aura and incredible songwriting” – BLABBERMOUTH“it's powerful, catchy, enslaving, technical; it's the whole bunch” – LORDS OF METAL“the new star on the US prog-metal sky” – SQUEALER ROCKSAfter touring in support of Dream Theater and documenting at headlining show at tour’s end entitled Frozen in the Moment, the band returned to the studio to release 2009’s Snowfall on Judgment Day and 2011’s This Mortal Coil.Performing in support of that record, in 2012 Redemption co-headlined the world-famous ProgPower Festival in Atlanta, where the band recorded a unique show featuring nearly 80 minutes of material and staged with complementary visuals that drive home the compelling emotional impact of this band.   That performance is now being released as a CD/DVD set with additional bonus material through Sensory Records, the band’s original label.  From fan favorites such as the never-before-performed Parker’s Eyes to the crushing emotional weight of Stronger than Death, Redemption’s performance captured the special ability of its music to deeply connect with fans.  In the words of one concert-goer, Redemption’s show “was definitely the most exhausting, personal and emotional musical experience I’ve ever had.” 
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  • "The Jefferson Airplane opened 1967 with Surrealistic Pillow and closed it with After Bathing at Baxter's, and what a difference ten months made. Bookending the year that psychedelia emerged in full bloom as a freestanding musical form, After Bathing at Baxter's was among the purest of rock's psychedelic albums, offering few concessions to popular taste and none to the needs of AM radio, which made it nowhere remotely as successful as its predecessor, but it was also a lot more daring. The album also showed a band in a state of ferment, as singer/guitarist Marty Balin largely surrendered much of his creative input in the band he'd founded, and let Paul Kantner and Grace Slick dominate the songwriting and singing on all but one cut ("Young Girl Sunday Blues"). The group had found the preceding album a little too perfect, and not fully representative of the musicians or what they were about, and they were determined to do the music their way on Baxter's; additionally, they'd begun to see how far they could take music (and music could take them) in concert, in terms of capturing variant states of consciousness.Essentially, After Bathing at Baxter's was the group's attempt to create music that captured what the psychedelic experience sounded and felt like to them from the inside; on a psychic level, it was an introverted exercise in music-making and a complete reversal of the extroverted experience in putting together Surrealistic Pillow. Toward that end, they were working "without a net," for although Al Schmitt was the nominal producer, he gave the group the freedom to indulge in any experimentation they chose to attempt, effectively letting them produce themselves. They'd earned the privilege, after two huge hit singles and the Top Five success of the prior album, all of which had constituted RCA's first serious new rock success (and the label's first venture to the music's cutting edge) since Elvis Presley left the Army. The resulting record was startlingly different from their two prior LPs; there were still folk and blues elements present in the music, but these were mostly transmuted into something very far from what any folksinger or bluesman might recognize. Kantner, Jorma Kaukonen, and Jack Casady cranked up their instruments; Spencer Dryden hauled out an array of percussive devices that was at least twice as broad as anything used on the previous album; and everybody ignored the length of what they were writing and recording, or how well they sang, or how cleanly their voices meshed. The group emerged four months later with one of the rawest, most in-your-face records to come out of the psychedelic era, and also a maddeningly uneven record, exciting and challenging in long stretches, yet elsewhere very close to stultifyingly boring, delightful in its most fulfilling moments (which were many), but almost deliberately frustrating in its digressions, and amid all of that, very often beautiful.The album's 11 songs formed five loosely constructed "suites," and it didn't ease listeners into those structures. Opening "The Ballad of You and Me and Pooneil" (a Kantner-authored tribute to Fred Neil) amid a cascading wash of feedback leading to a slashing guitar figure, the band's three singers struggle to meld their voices and keep up. A softer, almost folk-like interlude, highlighted by Slick's upper-register keening, breaks up the beat until the guitar, bass, and drums crash back in, with a bit of piano embellishment. Then listeners get to the real break, an almost subdued interlude on the guitars, and a return to the song at a more frenzied pitch, the guitar part dividing and evolving into ever more brittle components until a crescendo and more feedback leads to "A Small Package of Value Will Come to You, Shortly." This brilliantly comical and clever percussion showcase co-authored by Spencer Dryden and the band's manager, Bill Thompson, is a million miles beyond any drummer's featured number in any popular band of that era, and it leads into Marty Balin's "Young Girl Sunday Blues," the most rhythmically consistent song here and one of a tiny handful of moments that seem to slightly resemble the band's past work. The aforementioned tracks comprise just the first suite, designated "Steetmasse.""The War Is Over" suite opens with "Martha," the album's folk-style interlude, almost a throwback to the group's original sound, except that the listener suddenly finds himself in the midst of a psychedelic delirium, heralded by the dissonant accompaniment and a high-energy fuzztone guitar solo (spinning out sitar-like notes) coming out of nowhere and a speed change that slows the tempo to zero, as though the tape (or time, or the listener's perception of it) were stretching out, and the pounding, exuberant "Wild Tyme," a celebration of seemingly uninhibited joy. "Hymn to the Older Generation" is made up of Kaukonen's "The Last Wall of the Castle," an alternately slashing and chiming guitar pyrotechnic showcase that rivaled anything heard from Jimi Hendrix or the Who that year, and Grace Slick's gorgeous "Rejoyce," a hauntingly beautiful excursion into literary psychedelia, whose James Joyce allusions carry the Lewis Carroll literary allusions of the previous album's "White Rabbit" into startlingly new and wonderful (if discursive) directions and depths. "How Suite It Is" opens with the album's single, the lean, rhythmic "Watch Her Ride," whose pretty harmonies and gently psychedelic lyrics persuaded RCA that this was their best shot at AM airplay and, true to form on an album filled with contradictions, it leads into "Spare Chaynge," the crunching, searing, sometimes dirge-like nine-minute jam by Kaukonen, Dryden, and Casady that wasn't ever going to get on AM radio -- ever -- and, indeed, might well initially repel any Airplane fan who only knew their hit singles. "Shizoforest Love Suite" closes the album with Slick's "Two Heads," with its vocal acrobatics and stop-and-go beat, and "Won't You Try"/"Saturday Afternoon," the latter Kantner's musical tribute to the first San Francisco "Be-In" (memorialized more conventionally by the Byrds on "Renaissance Fair"); it features many of the more subdued, relaxed, languid moments on the record, divided by a killer fuzz-laden guitar solo.Needless to say, this is not the album by which one should start listening to this band -- "Spare Chaynge" remains an acquired taste, a lot more aimless than, say, the extended jams left behind by the Quicksilver Messenger Service, though it did point the way toward what Kaukonen and Casady would aim for more successfully when they formed Hot Tuna. But most of the rest is indisputably among the more alluring musical experimentation of the period, and Kantner's "The Ballad of You and Me and Pooneil" and "Watch Her Ride," as well as Balin's "Young Girl Sunday Blues," proved that the group could still rock out with a beat, even if not so prettily or cleanly as before. [After Bathing at Baxter's was represented poorly on CD until 1996, when it was finally reissued in an upgraded edition, which was later deleted and was only available as part of the bizarre 2001-vintage Ignition box. It has since been remastered again, with very important, downright essential bonus tracks, as of 2003. Additionally, After Bathing at Baxter's was the last Jefferson Airplane album to appear in a mono version, which sounds very different than the more common stereo mix, and has yet to show up on CD." -All Music GuideRemastered edition with bonus tracks. 
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  • "I actually found Carving an Icon quite the retroactively blind purchase, suspiciously ironic since I had been tracking this project for quite a while and assumed I knew what to expect from Morfeus in regards to his avant-garde songwriting and abstruse, distinctive approach to the axes. From this isolated point of view, his sonic handprint is indeed all over Viper Solfa, making the unreasonably long wait for Dimension F3H’s This Mechanical World somewhat easier to mitigate since the dude has at least kept the old creative mind juiced as ever. What I wasn’t quite able to ready myself for was the remaining contributions, hardly something to just gloss over, as Viper Solfa is presented as something of a “supergroup” after all as opposed to a mere side-project.Ronny Thorsen supposedly leads Viper Solfa for all formal intents and purposes, the proclivity for many a conflagration granted by his burly speaking timbre and rousing death roars is a concerted force to be reckoned with. It can be argued that he is just another head in the pack, hardly boasting the standalone merit to turn one’s knees to jelly, but Viper Solfa isn’t done yet. The centrepiece of the band isn’t actually Thorsen, but Miriam Renvåg, whose swaying, affecting timbre opens doors unexpected for the band both conceptually and stylistically. So while I can’t feign shock now, I do recall bemused skepticism at the introduction of such audaciously disparate factors. Renvåg’s voice is very sleek and refined, with an almost pop-caliber cadre of appeals that land Viper Solfa closer to bands such as earlier Sirenia once the vocal trade-off between Thorsen is taken into account. It isn’t what I expected, having come into this project for Morfeus alone, but I certainly applaud Viper Solfa for attempting to merge sodden, opaque, death growls with avant-garde female vocal idiosyncrasy.With nearly all preconceptions espoused by this point, and with Renvåg’s quivering and psychedelic banshee wails taking their mental toll, I realized that there are plenty of parallels that can be drawn between Dimension F3H and Viper Solfa. Symphonics are used sparingly and as punctuation as opposed to the primary arsenal. Morfeus is basically the main songwriter here, and he is still shipping out crunchers of high order in the modern black/death format he began employing in earnest on Legacy of Evil during his waning years with Limbonic Art. In fact, the hard-lined, basal distortion sounds very similar to that record, and as the rollicking, flighty webbing of tremolos grow thicker and denser, Carving an Icon hammers out a welcoming mat to the most unexpected clientele.This ends up being the album’s tripping point, however, as far too much time is spent grooming vocal melodies that sound almost shoehorned in just for the sake of keeping the singers occupied. Thorsen’s petulant rasp gets one-upped by Renvåg’s (sometimes sorely overacted) caterwauling, and the end result borders on the monotonous more often than it should. The band still makes a good show of their missteps, what with a dense, abysmal grandeur pervading the nether reaches of what is honestly a relatively compact and easy listen on the whole, but these shortcomings remain. Carving an Icon may not be a masterpiece, or even the best outlet for all of the talents involved, but I can promise that it sounds like absolutely nothing you have heard lately, or likely will in the near future. At the end of the day, a neat project that delivered at least a few truly lethal numbers like “Whispers and Storms,” “Deranged” and most notably the floods of choppy, aggrandized viscera that embody the aptly-titled “Vulture Kingdom.” My expectations are not in line with the norm due to my familiarity with Morfeus’ back-catalogue, so take of this what you will, but Carving an Icon got more than a few spins out of me."
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  • This is kind of a shocking release to turn up on Napalm Records. It looks as though they are joining the ranks of Nuclear Blast and Century Media in picking up progressive metal bands...and that can't really be a bad thing. Serenity hails from Austria. They've been kicking around for awhile but this is their debut release. The music is a mix of melodic and progressive metal with some power touches. Georg Neuhauser's vocals have a plaintive, emotional feel that suits the music quite well. They focus on melody but are smart enough to lure a prog head like me in with occassional instrumentals of the Dream Theater variety. Savatage, Vanden Plas, Threshold, DT - these guys have their bases covered. Solid debut. Highly recommended.
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  • "This fifth album for the underground Norwegian Prog / Power Metal kings starts with a short Flamenco guitar and compass handclap pattern intro named “Esperanto”, luckily DIVIDED MULTITUDE will quickly manage to change everything soon with a real Metal riff and a double kick onslaught, they set the power to maximum heaviness mixed with sheer elegance, indeed since then the remaining 10 tracks on the album are pretty sharp with furious drums and almost Thrashy rhythmic guitars but moderated with ultra-catchy vocals in the real Scandinavian method. I like to think of them about as an heaviest version of CIRCUS MAXIMUS (“What I See”), applicant of a few hyper challenging Melodic motifs with a stunning Schizophrenic vocal rendition, indeed Mr. Sindre Antonsen alternates brilliantly between "testo-tenroic" multi layered singing like Jekyll & Hyde, in the great PRETTY MAIDS & Ronnie Atkins tradition with a two-faced styled that switch from velvet to sandpaper in the same sentence.Of course all the players are ultra-competent, Christer Harøy (PS: his other band with his brother Rayner called TEODOR TUFF is also warmly recommended by yours truly) is a solid guitar player but stay quite discrete leaving much room to another essential strong element in their sound: the fantastic yet subtle Eskild Kløften, who provides some fine effective performance in multipl(a)ying synthetic ambient waves & Progressive Rock keyboards.In this genre the songwriting should be uselessly complicated, well it’s not exactly the case with “Feed On Your Misery”, but don’t get me wrong please, there is plenty of weird or cerebral moments as some strange structures mixed with passionate and luxurious arrangements quite rich in complexity with an average over six minutes in length without never sounding hermetic or rigid.The smartest cuts like the title track “Feed On Your Misery”, the delicious “Crimson Sunset” or the dark “Vicious By Heart” are also pretty much influenced by early QUEENSRYCHE or CRIMSON GLORY with some modernized vocals taken from the inherent omnipresent obvious reference while speaking about Prog Metal singer, the soulful, the one, the only: Sir Russell Allen (SYMPHONY X / ADRENALINE MOB) himself (“Scars”).Finally, the best comparison could have been PAGAN’S MIND meets ANUBIS GATE meets CONCEPTION. I already said it, I will say it again: “Feed On Your Misery” by DIVIDED MULTITUDE, that’s Scandinavian Melodic Prog at its Best." - Metal Temple
    $14.00