Dream Evil ($5 Special)

SKU: R225612
Label:
Warner Bros
Category:
Power Metal
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"Dream Evil is by no means a departure from the Dio formula that was so successful for his first three solo albums. All of the elements that made them so successful are yet again retained here. However, what makes things different this time around is that Dio has more of a melodious side to him, which he puts use here rather than relying on the riffs and delivery he learned at the school of Sabbath. He even touches on the power ballad (a sure sign that the style had fully infiltrated metal) with "All the Fool Sailed Away." The title track and "Sunset Superman" also proved to be two of Dio's most well-known, and most loved songs in his massive catalog. Not an essential release, but one that diehard fans will be sure to want in their collection." - All Music Guide

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  • "Get All You Deserve is a high-definition 4 disc audio-visual set from Steven Wilson.Directed by long-time visual collaborator Lasse Hoile, Get All You Deserve was filmed in Mexico City during the recent Grace For Drowning Tour. The set captures the spectacular live experience that Wilson and Hoile created for the tour on Blu-ray, DVD and 2CD.Following the release of Grace For Drowning, Steven embarked on his first ever solo tour, assembling a virtuoso band, featuring Marco Minnemann (drums), Nick Beggs (bass), Theo Travis (flute and sax), Adam Holzman (keys) and Niko Tsonev (guitars), to accompany him. For the shows he worked extensively with Lasse to create a show unlike anything else he had attempted with his other bands, Porcupine Tree, Blackfield, No-Man or Bass Communion.The shows immersed fans in a rich sensory experience: rear speakers provide surround-sound effects, giant screens show off Lasse's films made specifically to accompany these songs, and cutting-edge lighting designs giving texture to each song.Get All You Deserve captures one of the key shows from the tour. Recorded at a sold-out Teatro Metropolitan in Mexico City, the gig features tracks from both Wilson's solo albums along with the new, as yet unreleased, track Luminol. " 
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  • "Unwritten Pages’ Noah is an album born out of a passion for progressive, driving music, concept albums and 80’s science-fiction film. It combines the broad musical taste of its creator Frederic Epe and the stylistic and unique musical backgrounds of each project member, reaching from rock and metal to Latin influences and more classical/score-oriented arrangements.The album features soaring guitars, fat organs and bone-breaking drums, as well as a healthy dose of retro. But most of all, it never loses its focus on unique and melody-driven song-writing. And it comes in the form of an ambitious story, told through the eyes of the vocalists and musicians.Noah tells the story of a boy born in the ruins of the futuristic Utopia City, and Maria, the daughter of a ruthless politician who has – literally – split Utopia City in half and driven the poor to a district known as LS01X. As the political climate escalates, a few hundred people from both sides of the city are forced to leave their home world and start a new life on Mars. Here, both Maria and the boy grow up in the middle of a rising conflict between two factions that are unwilling to ignore their grudge-ridden past. Noah features the talents of Damian Wilson (Threshold, Ayreon, Les Misérables), Karl Groom (Threshold, Shadowland), Davy Mickers (Stream of Passion, Ayreon), Alejandro Millán (Hello Madness, Stream of Passion) and many others."
    $3.00
  • Swedish masters of melancholy KATATONIA have announced a new concert film, "Sanctitude", to be released in North America on March 31 via Kscope."Sanctitude" will be released in four formats:* Blu-ray/DVD in 5.1 Surround Sound plus "Beyond The Chapel" documentary, including brand new interviews with Anders Nyström and Jonas Renkse.* CD/DVD package - audio / visual set including "Beyond The Chapel" documentary.* Double LP (incl. download code)* Digital download (audio)"Sanctitude" was filmed and recorded in the stunning, candle-lit setting of London's Union Chapel during KATATONIA's May 2014 "Unplugged & Reworked" tour — an intimate acoustic evening performing tracks from the "Dethroned & Uncrowned" album alongside atmospheric classics from the band's entire career, stripped and reworked. The 80-minute set features 17 songs across the albums "The Great Cold Distance", "Viva Emptiness", "Brave Murder Day", "Last Fair Deal Gone Down", "Dead End Kings" and "Dethroned & Uncrowned", including fan favorite "Teargas". The show closes with the sublime "The One You Are Looking For Is Not Here" and a special guest appearance by Norwegian vocalist Silje Wergeland of Dutch rockers THE GATHERING. The band was also joined on guitar and vocals by THE PINEAPPLE THIEF frontman and songwriter Bruce Soord."As a band we set out on uncharted waters, but while apprehensive about the journey ahead, our intentions couldn't have been more genuine to undertake this beautiful experience," commented guitarist Anders Nyström. "Sailing this project into harbor turned out to be bliss and has ultimately enriched all the members of KATATONIA."All audio on "Sanctitude" has been mixed and mastered by Bruce Soord, with artwork once more supplied by longtime visual collaborator Travis Smith.Disc 1:01. In The White02. Ambitions03. Teargas04. Gone05. A Darkness Coming06. One Year From Now07. The Racing Heart08. Tonight's Music09. Sleeper10. Undo You11. Lethean12. Day13. Idle Blood14. Unfurl15. Omerta16. Evidence17. The One You Are Looking For Is Not HereDisc 2:* Concert Film (80 minutes)* Documentary "Beyond The Chapel" (66 minutes)
    $16.00
  • Salvaged from the vaults of RCA Italy is this legendary prog album from Morgan Fisher and Co. Anyone who is a fan of British progressive rock must own this keyboard intensive masterpiece. New remastered edition gets the Mark Powell/Esoteric love. Essential.
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  • Fourth album, originally released in 1973, finds the band changing directions a bit. The humor factor is amped up a bit but there is still plenty of lysergic-laced epics to revel in. Official vinyl reprint with the original gatefold sleeve. FOREIGN CUSTOMERS PLEASE NOTE THAT WE WILL HAVE TO ADJUST YOUR SHIPPING CHARGES TO MORE ACCURATELY REFLECT OUR COSTS.
    $29.00
  • "TAROT is not only a card game, but also a long time running Heavy Metal band from Finland. The band was founded in the early eighties (!) by the Hietala brothers, Marco and Zachary. The first album "Spell Of Iron" was finally released in 1986. Much later Marco became famous as a member of SINERGY and of course NIGHTWISH, but he never abandoned his "baby band“. From time to time with some breaks, for obvious reasons, TAROT have released great albums which have made them a great addition to the metal scene. In 2007 Tarot signed a contract with Nuclear Blast and released the highly anticipated album “Crows Fly Black”.. The first single “You” entered the Finish charts on position # 1. One Year later in 2008 after several tours they released their first Live DVD ever. “Live Undead Indeed” also entered the Finish DVD Charts on position # 1. Now in 2010, TAROT is back in business. The hairy dudes from the town of Kuopio, county of Savo, Finland have again come up with a bunch of songs, which you will be able to hear on their eighth studioalbum titled “Gravity Of Light”. Most of the demo work for this album was done in August and September 2009 by Marco Hietala, Zachary Hietala and Janne Tolsa, the main writers of the band. The actual recordings for the album started immediately after that in November 2009. Mixing has been done by Janne and Mikko Tegelman and the mastering by Mika Jussila at Finnvox studios in January and February 2010. The album feels like meeting an old friend. Some things are the same, but your friend has gained weight. He shows new scars, and tattoos. The beard is longer and he projects a meaner and faster temper. At the same time there´s still a big heart at the center. The blood might rush to your head when your friend takes you to a weightless sauna orbiting the sun. When you hear “Gravity Of Light” you will believe."
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  • "Brothers and Sisters, the Allman Brothers Band's first new studio album in two years, shows off a leaner brand of musicianship, which, coupled with a pair of serious crowd-pleasers, "Ramblin' Man" and "Jessica," helped drive it to the top of the charts for a month and a half and to platinum record sales. This was the first album to feature the group's new lineup, with Chuck Leavell on keyboards and Lamar Williams on bass, as well as Dickey Betts' emergence as a singer alongside Gregg Allman. The tracks appear on the album in the order in which they were recorded, and the first three, up through "Ramblin' Man," feature Berry Oakley -- their sound is rock-hard and crisp. The subsequent songs with Williams have the bass buried in the mix, and an overall muddier sound. The interplay between Leavell and Betts is beautiful on some songs, and Betts' slide on "Pony Boy" is a dazzling showcase that surprised everybody. Despite its sales, Brothers and Sisters is not quite a classic album (although it was their best for the next 17 years), especially in the wake of the four that had appeared previously, but it served as a template for some killer stage performances, and it proved that the band could survive the deaths of two key members." - Allmusic Guide
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  • "And straight out of left field…One thing you really don’t expect to hear these days is proper gothic/symphonic metal in the classic late 90’s-mid 00’s tradition.While a few bands have recently begun making overtures towards a return to form if not revitalization of a genre that’s been effectively moribund since 2008, many of them are veterans going back to the sound that made them famous in the first place.  Leaves Eyes come immediately to mind, as does a recent surprising move to the operatic frontlines from longstanding (if previously somewhat boring) second stringers Xandria, who proved that sometimes losing a few founding members can be the best thing that ever happened to a band*.*for another glaring example of this principle, see also Theatres des Vampires, who only became a truly notable venture under the ostensible leadership of the lovely Sonya Scarlet…But what happens when we’re not talking classic acts undergoing some measure of renewal?  Moreover, when we’re not only talking a brand spanking new outfit, but one that (get this) doesn’t even hail from European climes.  Say what the hell?But here you go, a self-released gem right out of that busy musical hotspot of Minnesota (of all places…and we’re not even talking a Prince related project here!).  While not as bombastic as, say, Phantom Agony/Consign to Oblivion era Epica, Leaves Eyes or Mother Earth/Silent Force era Within Temptation, keyboardist/guitarist Damien Villarreal and vocalist Chelsea Knaack have come together to make what may be the first actual gothic/symphonic metal offering to come out of the United States.Sure, we’ve had a gothic/death metal crossover act (Echoes of Eternity, though they’re at least part Canadian) and a few lower rung gothic cum pop radio acts (remember that lone album where anyone cared about Evanescence?  Good move breaking up with Ben Moody, there, Amy…), but actual symphonic metal with operatic vocals?  This is total bizarro world stuff over here, in a nation still (sadly) dominated by aggro acts, hip hop and tuneless, emotionless math metal and prog wannabes.So once you manage to get over the shock factor engendered by their domestic origin, how does the music rate?  Well, for one thing, Knaack taps into similar vocal range and dynamics to earlier Simone Simons, albeit with a bit more stiffness that calls Carmen Schaeffer of Coronatus to mind (though I’m betting she was aiming more for earlier Floor Janssen if not Tarja Turunen stylistically).The guitars are somewhere in the middle, managing to keep Villarreal’s fingers a whole hell of a lot busier than the standard chunka-chunka single note stutter rhythms that tend to be a genre standby.  This is a good thing, as is his ability to hold down a reasonably melodic solo or harmony lead fill on occasion; these certainly enhance the sound to an unusual degree and keep the listener more on their toes than fans of the genre are accustomed to.But is he a virtuoso guitar hero on any level?  Not in the least.  Consider him a rather competent, melodically oriented craftsman with light prog leanings (you can pick out the Fates Warning by way of Dream Theater aspirations in a few of the rhythmic choices and modulations, not to mention the mostly inobtrusive but omnipresent keyboards which he also provides).Rounding out the trio is drummer Jordan Ames, who offers equally competent drumming, which appropriately for the style is never very flashy or notable, but filled with enough stuttering polyrhythms, cymbal work and a dash of double bass-inflected kit runs to show the guy to be quietly accomplished (much like what I’m trying to get across about Villarreal).  Coming from the Shrapnel school back in the day, I prefer a lot more flash in my players, but there’s nobody here who’s less than superlative in their musical competencies.The one major failing, and one I find with far too many acts these days, irrespective of genre, age or nation of origin is a noticeable lack of soul.  Like comparing Jimmy Page to Carlos Santana or the guys in Queensryche to Randy Rhoads, while in the right general ballpark, there’s something central and essential that just isn’t there.While more effusive and warm than several likeminded European acts (as befits a trio of blustery, heart on the sleeve wearing Americans), there’s a certain unexpected coldness to the sound and lack of bombast that baffles somewhat.  More of a note of constructive criticism, much akin to chiding a favored student for the mistakes that kept him from getting an A+ instead of a B, but worth noting nonetheless.All told, if you’re a fan of gothic symphonic metal in the days before that scene became overcrowded with no-talents and pop radio leanings and have some measure of respect for progressive leanings in your metal (think Ray Alder-era Fates Warning far more than Jason McMaster-era Watchtower and you’ll get a clearer picture), you really don’t want to miss out on this one.The first US overture into the gothic symphonic revival delivers a very credible and respectable showing, and gets themselves some high marks in the bargain.  Good stuff." - Third Eye Cinema
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  • "At first glance I was not entirely convinced there was a genuine reason for this release, after all the guitar legend scooped Prog Magazine’s 2013 Progressive Music Award for “Event Of The Year” following another Genesis Revisited sell out performance at London’s Hammersmith Apollo. So why the release of a second CD/DVD box set inside of 12 months capturing his Genesis Revisited tour only this time filmed at the Royal Albert Hall?Any artist/group would choose the Royal Albert Hall over the Hammersmith Odeon just on prestige alone, and maybe Steve choose to record this event for posterity, after all the reaction to the tour – worldwide – has been unprecedented, with more UK dates added in October / November 2014 to satisfy demand.But there must be more to it than that, and there is, a change in the setlist.But this does present something of a quandary for fans. Is it worth buying ‘Live At The Royal Albert Hall’ in addition to ‘Hammersmith’? And if you have neither, which one then is the better buy?The set list was altered for the second leg of the tour, with the ‘Albert Hall’ gig gaining ‘Carpet Crawlers’, ‘The Return Of The Giant Hogweed’, ‘Horizons’, ‘Ripples’ and ‘The Fountain Of Salmacis’ at the expense of Hammersmith’s ‘The Chamber Of 32 Doors’, ‘The Lamia’, ‘Shadow Of The Hierophant’, ‘Blood On The Rooftops’, ‘Entangled’ and ‘Eleventh Earl Of Mar’.In order to re-live such a seminal chapter of prog rock history live on stage for Genesis Revisited, Hackett surrounded himself with a team of exceptional musicians including keyboardist Roger King (Gary Moore, Snoop Dog, Jamelia), Gary O’Toole (Chrissie Hynde, Kylie Minogue) on drums, percussion and vocals, Rob Townsend (Eddie Henderson, Bill Bruford, Django Bates) on sax, flute and percussion, Lee Pomeroy (Rick Wakeman, Take That) on bass, and Nad Sylvan (Abbas’s Michael B Tretow) on vocals.Special guests are Roine Stolt and Amanda Lehmann reprising their respective album contributions on ‘The Return Of The Giant Hogweed’ and ‘Ripples’, Ray Wilson does exceptionally well with lead vocal on ‘Carpet Crawlers’ plus ‘I Know What I Like’, and not to be outdone, a certain John Wetton sings on ‘Firth Of Fifth’.Deconstruct this, analyze it, and then put it all back together again, and then you really have a choice to make, Visually and audibly, there’s little to pick between these stunningly masterful performances, the only choice you have to make, is which songs you want to hear, and being Genesis fans we want to hear them all, so if you have one, buy the other, and if you have none, buy them both, as you will regret it if you don’t." - Planet MoshFull track listing:1. Dance On A Volcano2. Dancing With The Moonlit Knight3. Fly On A Windshield4. Broadway Melody of 19745. Carpet Crawlers (w/ Ray Wilson)6. The Return Of The Giant Hogweed (w/ Roine Stolt)7. The Musical Box8. Horizons9. UnquietSlumbersForTheSleeprs10. In That Quiet Earth11. Afterglow12. I Know What I Like (w/ Ray Wilson)13. Firth of Fifth (w/ John Wetton)14. Ripples (w/ Amanda Lehmann)15. The Fountain of Salmacis16. Supper’s Ready17. Watcher of the Skies18. Los Endos
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  • First time on vinyl - now spread out over 6 sides of beautiful 180 gram vinyl.  Comes with the album on 2CDs as a bonus."A legendary band in their own right, The Flower Kings have been at the forefront of progressive rock since their formation in 1994 by guitarist, vocalist, composer, astronaut, chef and veteran nut head icon Roine Stolt. Dedicating themselves to producing a strain of prog they like to call symphonic rock‘, they incorporated classical music, movie soundtracks and both jazz, ethno, blues and seventies metal elements to much success - and building themselves a dedicated fanbase in the process over ten studio albums before taking a break.After a triumphant return to action in 2012 - following an almost 5 year hiatus, The Flower Kings released "Banks Of Eden" in the summer of that year to a brilliant reaction from fans and critics alike. In celebration they toured the world for the better part of a year, visiting locations including Europe, Japan, Russia, Israel & USA. The following year the band hit the road once again, this time with old friends Neal Morse & Mike Portnoy to celebrate the 20th Anniversary of label InsideOut Music, where they played a hugely successful prog extravaganza to packed venues across Europe and the US.Never ones to rest on their laurels however, The Flower Kings immediately entered Fenix Studio in Sweden to start work on the recording of a brand new album. Recorded "live" in this classic, but modern, studio and on reel to reel tape, the album features a glut of grand vintage keyboards such as Hammond B3, Mellotron M 400, Fender Rhodes, Minimoog and a whole host of Tube amps.The band even decided to try a new approach to writing and recording, assembling music on the spot and arranging it as a team.The result of this wonderfully collaborative effort is an epic 10 song cycle entitled ‚Desolation Rose‘; an album that revolves around some of the more disturbing observations of mankind's failure to create the paradise they once hoped for – and the greed, fear and ignorance that caused that failure. The scenario is an observation by an angel who resides in a mysterious tower, looking down on all this ongoing perpetual insanity, yet unable to reach out and help.The band is very much back to their cinematic and melodic symphonic rock best, but with a heavier edge no doubt honed while on tour for the past year. The 10 songs contained within are to be heard as a sequence and the lyric thread is wonderfully cinematic, but again it is more of an observation that works both as a whole or as separate parts. It might be considered one of their most focused efforts to date, such is the impact the tracks have on the listener from the very beginning. From the opening 14-minute tour-de-force that is ‚Tower‘, right through the moody swagger of ‚White Tuxedo‘ and beyond, this album sees the band crafting what might be their most varied album yet.The Flower Kings are truly back where they belong, at the beating heart of the modern day progressive rock scene, and ‚Desolation Rose‘ is testament to their continued vibrancy, sonic potency and determination to keep the music driving forward."
    $32.00
  • The third album from Haken once again demonstrates why they are at the forefront of the progressive metal scene.  The first two albums Aquarius and Visions are quite different.  Aquarius is a much quirkier album - lots of twists and turns that kept you off balance through out.  It had more of a prog rock feel and some real oddball approaches that resulted in some reviewers referring to it as circus meteal.  Visions was quite different.  It was much more linear and clearly defined in terms of content.  It was a prog metal album and wonderful one at that.The Mountain is the first release for the band's new home at Inside Out.  The direction of the band takes a bit of a u-turn.  The music falls somewhere in between the first two.  There is a quirky, prog rock vibe but you get the heaviness and complexity of prog metal.  One particular track I keep going back to is "Cockroach King" which essentially pays homage to Gentle Giant's counterpoint vocals.  Regardless of which direction you preferred, The Mountain has enough diversity to go please everyone.If you want to keep track of where progressive metal is headed then climb the mountain - this is where its at.  Highly recommended.US jewel box edition with the same two bonus tracks included on the import digipak.
    $12.00
  • Second album from Rush influenced band. New edition comes with four bonus tracks.
    $14.00
  • Guitarist/vocalist Clay Withrow is the heart and soul behind Vangough.  He's made some fine albums in the past but this is clearly his best as you can tell that he's exerting more of his own vision.  The previous albums were fine slices of progressive metal, bu they were clearly influenced heavily by Pain Of Salvation.  While there is some of that early PoS feel, Between The Madness has more of Clay than Daniel.  Its very angst driven music - from the vocals to the grinding guitar solos.  This is one pissed off band.  Its a non-stop prog metal roller coaster ride.  BUY OR DIE!"Over the last two full-length albums leading up to this, the band’s most important release, one thing is strikingly clear: Vangough has been eating their Wheaties. Whereas the last album couldn't find its center of gravity despite merits and high replay value, "Between The Madness" bridges the gap between Vangough's left brain and right brain. Moreover, the band feels much more balanced with the addition of drummer Kyle Haws. Further, it sounds like mastermind Clay Withrow had pushed himself beyond his limits to expand the Vangough tone palate.On the “Acoustic Scars” EP, Withrow developed a vocal technique that finds full maturation on "Between The Madness:” the rage-sing. Almost a yell, but neither a scream nor a simple vocal fry and free of any pitch interference, Withrow's rage-sing makes the lyrical intent as clear as it can be. The album offers bile to many parties, lyrically, and puts the listener behind a sometimes uncomfortable but necessary first-person perspective: any other perspective simply would not do justice to the intent. Vangough has always been more effective at conveying feelings than telling stories, but never before had the songs had such a natural novel-like flow to them. All the while, Withrow peppers his versatile clean singing with elaborate layers of harmony and polyphony, making for subtly different listening experiences each time.The overall sound hasn't drastically changed, and even shows some musical nods to prior songs. In "Vaudeville Nation," a scathing condemnation of a track, a clever link is established with "Mannikin Parade" around 4:28. The main melody of the latter is re-introduced on guitars in a straight-played manner. Later in the song, a similar "Mannikin Parade" vocal melody emerges in the line "...and burn the circus to the ground," and up through the yell following it. Further, continuing the storyline started with "Road To Blighttown" on the “Acoustic Scars” EP, "Depths of Blighttown" adds a fitting dark and ominous chapter to the story.The added input from Haws and bassist Jeren Martin have made the songs seem more logical, acting as balancing forces. The drumming style of Haws is noticeably organized, nuanced, and thought-out and could be accurately categorized as a blend of the styles of Lamb of God's Chris Adler, Opeth-era Martin Lopez, and Pain of Salvation-era Johan Langell. The mixing job by Sterling Winfield is a stunning step forward for the band as well, and the drum sound is particularly remarkable for its bright, punchy, but balanced character. Lead guitarist Jay Gleason makes several shred-tastic appearances to accentuate the technicality of Vangough's instrumentation, while Justus Johnston and Jose Palacios make appearances on strings to further amplify the feeling of the songs and add a superb creep factor touching on Resident Evil levels at times.No song feels out of place or unessential, with "Infestation," "Schizophrenia," "Vaudeville Nation," "Useless," and "Corporatocracy" as highlights. The dynamic growth between “Kingdom of Ruin” and “Between The Madness” makes this album out to be Vangough's “Blackwater Park,” what many will no doubt cite as the band’s seminal record. Put simply, there has never been a better time to jump off of whatever progressive metal train you've been on and ride with Vangough. "Into the dark I take you," Withrow jabs at us. Make sure your seatbelts are securely fastened." - Metal Underground
    $11.00