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Golden Destination

SKU: JPU062
Label:
JPU Records
Category:
Power Metal
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GOLDEN DESTINATION is the first single to be released by Japanese metal heroines LOVEBITES, and it is exclusively physical. The title track is taken from latest album ELECTRIC PENTAGRAM while tracks SPELLBOUND and PUPPET ON STRINGS are completely new releases and will not be available digitally. Album opener THUNDER VENGEANCE has also been rerecorded by an orchestra and is also only available as part of this single.

1. GOLDEN DESTINATION
2. SPELLBOUND
3. PUPPET ON STRINGS
4. THUNDER VENGEANCE (ORCHESTRAL VERSION)

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  • "Four years in the making, Norway's Triosphere returns with their third album, The Heart of the Matter. It was worth the wait. While reviewed previously on this site by another reviewer, this is my first experience with the band.There's many things to like about Triosphere. Not the least of which, for a female-fronted band, is that vocalist and bassist Ida Haukland is a pure melodic metal singer, not swaying to the extremes of operatic or death vocals. Another significant element is simply their superb sense of songwriting. They have an arsenal of weapons to draw from whether an abundance of catchy riffs, a strong melody, vocal harmony, notable rock groove, or sizzling leads. I think, more than anything, the guitar structure, riffs and leads, are rather immense and attractive, propelling the album. You can't avoid the swell of riffs and leads within songs such as Steal Away The Light or As I Call, melodic and inspiring. But Triosphere wraps all these elements up in imaginative and entertaining arrangements, nearing progressive metal, that make for essential melodic metal listening.While the entire album is a rich tapestry of melodic metal, a few songs deserve some attention thanks to some interesting passages within. One is Breathless, a steady sturdy number that has this interesting breakdown after the half way point. The riffs collapse for this light guitar work, almost fusion, over equally slight drums. Another terrific song follows in Departure. It has its share of riffs and some staccato drums, but once more, it's the latter guitar segue that grabs you. More emotive and lighter leads over subtle bass and drums. A third song of interest is the later Remedy with a smooth melody and enormous vocal harmony. But the kicker, once more, is the guitar breakdown in the latter half. Different than the previous songs, it's sharper and heavier, riff based yet fiery, and propelled by some intricate drumming. Finally, the entire swail of riffage is abandoned at the end of the album for the acoustic and gentle ballad Virgin Ground. A respite perhaps? All in all, Triosphere, with The Heart of the Matter, has turned out a rather terrific and enjoyable album of melodic heavy metal. Easily recommended." - Dangerdog
    $9.00
  • Remastered edition with two bonus tracks."Searching for a way to retool their sound, Judas Priest attempted to accentuate their melodic side on Turbo by incorporating synthesizers and '80s pop-metal stylings ("Wild Nights, Hot & Crazy Days" sounds more like Poison, albeit with synths). The restrained songcraft sometimes pays dividends, especially on the synth-driven leadoff track, "Turbo Lover," easily the best song on the record and a successful reimagining of the Priest formula. But often, the band simply sounds directionless, unsure of exactly which path to accessibility it should follow; moreover, the synth-guitar backing and overly polished production give the album an oddly mechanized, processed feel. It certainly doesn't help most of the material, which is often at least competent but rarely inspired enough to make much of an impression. That's unfortunate because Turbo's best moments indicate that with a clearer focus, the album could have been a creative success; however, it's overall Judas Priest's weakest release since Rocka Rolla." - All Music Guide
    $7.50
  • Evergrey are back and better than ever!  I think the general consensus is that as the band became more and more popular the music became a bit more commercial and the production slicker.  Tom Englund has gone back to the basics and its clearly the right move.  Jonas Ekdahl (drums) and Henrik Danhage (guitars) have returned to the fold and production has been handed over to Jacob Hansen.  This is a return to the "classic" Evergrey sound - that perfect balance of melody and heaviness with the right amount of "prog" injected when necessary.  COMEBACK ALBUM OF THE YEAR!  BUY OR DIE!"One of the leading names in the power/progressive metal world is the Swedish five-piece, Evergrey. Forming in 1995, the band has released eight full length albums, with number nine releasing this fall. The band has been known for relatively dark lyrics and concept albums since their debut, and because of this fact, it was very difficult for me to get into their music. I can easily count the amount of times I thought “I should listen to Evergrey” on one hand. Though I wasn’t well versed in their discography, what I had heard was moving quite slowly, was downright melancholic, and just couldn’t catch my attention. That was until the Hymns for the Broken album landed in my inbox.First off, the notable changes in the lineup, with the return of Jonas Ekdahl (drums) and Henrik Danhage (guitar) grabbed my attention immediately. Though the band briefly spoke about the addition of the two previous members on their Facebook, “What can we say? We missed each other.” I truly believe that this decision, and the amazing mixing by Jacob Hansen (Volbeat, Amaranthe, Primal Fear) and production quality are what set this album up for its coming success.The album kicks off with a very eerie intro track, then jumps into the first single and video, “King of Errors”. Even without being an Evergrey fan in particular, I have always known who Tom Englund was, as his voice is so unique and legendary in the industry that I couldn’t ever really escape it. This song is a great display of the power and ability he has as a vocalist to truly bring a wonderfully written song to an entirely new level. The blend of the guitar riffs and keyboard work is perfection to say the least, but when the awe-inspiring guitar solo hit, I knew this album had me by its teeth.Immediately following is another one of the strongest tracks on the album, “A New Dawn” with a strong and hard-hitting guitar and bass riff that doesn’t ever really let go throughout the song. This song features one of the more beautiful keyboard solos on the album, but yet again that guitar solo just comes out of nowhere and destroys any solo I have ever heard this band release. “Black Undertow” is another perfect example of why Englund is so well-respected in the music world. It begins with his chillingly lower vocal range, but builds back up to where he truly shines. This song not only features another soaring and strong chorus, but the rhythm work between all instruments keeps it dark and eerie, though the keyboard lightly dances above it all.The title track to the record explodes into this phenomenal musical intro, but fades just as quickly as it hits. Boasting some of the strongest, most emotional lyrics on the album, the song hits a chord in many personal ways. “Scream loud, these hymns are for the broken,” are just some of this crowd enticing chorus that Englund sings flawlessly throughout. Bringing the album to a close is the over seven minute song “The Aftermath” which begins in a ballad-like fashion, but builds to a very strong finale. The tempo remains slow, but the flawless movement in the instruments keeps it absolutely enthralling. The last half of the song is entirely instrumental, and the conversations between keyboard, bass, and drums is something that I could listen to on repeat for hours, especially when the haunting lead melody soars above it all.If you can’t tell, I can’t think of a single moment on this album I don’t absolutely love. As someone who could never get hooked by an Evergrey album, I can assure you this is not just ‘fandom’ talking. Hymns for the Broken is a perfect album that even after weeks of constant play, I can not get enough of. Perhaps it is indeed perfection, or perhaps it just hit me at the right time in my life, either way I am in love. Easily a current contender for album of the year, it’s so full of beautiful melodies and amazing arrangements that any fan of power or progressive metal will absolutely love. I don’t doubt that all previous fans of the band will appreciate this album as much as I do, but I sincerely hope that new listeners give this record a fair and objective chance as well.This is definitely their most ambitious release yet, and they absolutely nailed it!" - Metalholic 
    $15.00
  • "With 1985's Metal Heart, German metal institution Accept attempted to add catchier choruses and melodies to their high-octane guitar riffing in a clear ploy to crack the American market. Not that this move in any way upset the balance of their thus-far smooth-running metal machine, which had been gaining momentum with every release since the start of the decade. No, Metal Heart was certainly a step toward accessibility, but a cautious one at that -- and, frankly, there was no toning down when it came to the lacerated larynx of gifted lead screamer Udo Dirkschneider. You gotta hand it to Accept, they sure knew how to make an entrance by now, and the apocalyptic title track is about as dramatic as it gets (the operatic "Bound to Fail" comes close), with guitarist Wolf Hoffman taking the helm on a long, mid-song solo excursion containing equal nods to Beethoven (very nice) and Edward Van Halen (get real). First single "Midnight Mover" is next, and along with the even more melodic "Screaming for a Love-Bite," it places obvious emphasis on hooks and melodies (and proved to be the toughest to stomach for the band's more hardcore fans). But despite another strange detour into jazz territory with the bizarre "Teach Us to Survive," Accept still packed amazing power, heaping on their Teutonic background vocals for the ultraheavy "Dogs on Leads" and gleefully pile-driving their way through relentless moshers like "Up to the Limit" and "Wrong Is Right." The brilliantly over-the-top "Too High to Get It Right" finds Dirkschneider screeching like never before, and to cap things off, the band really cooks on "Living for Tonight" -- arguably the best track all around. A winning set." - Allmusic Guide
    $7.50
  • MELTED SPACE is the creation of French composer Pierre le Pape, who bears a master degree in classical music and movie scores, here creating a modern opera that takes over the classical codes, including numerous characters, scenario, powerful orchestral arrangements and varied ambiances, all set to skilled and catchy songwriting and amazing casting. The new MELTED SPACE album, The Great Lie, features fourteen prestigious and unexpected singers, joined by seven talented guest musicians and The City of Prague Philarmonic Orchestra. Together, this cast has created an epic saga as powerful as moving, and by mixing the tradition of the classic opera with infectious heavy metal, The Great Lie promises to set a new milestone in the genre. The full cast of guests on the album includes:David Vincent (MORBID ANGEL)Attila Csihar (MAYHEM)Mikael Stanne (DARK TRANQUILLITY)Arjen Lucassen (AYREON)Ailyn GimenĂ©z (SIRENIA)Kobi Fahri (ORPHANED LAND)Mariangela Demurtas (TRISTANIA)Guillaume Bideau (MNEMIC)Niklas Kvarforth (SHINING)Sylvain Coudret (SOILWORK)Adrien Grousset (HACRIDE)Christine Rhoades (JEFF LOOMIS)Manuel Munoz (THE OLD DEAD TREE)Arnaud Strobl (CARNIVAL IN COAL)ClĂ©mentine Delauney (VISIONS OF ATLANTIS)Virginie Goncalves (KELLS)The City of Prague Philarmonic OrchestraInitiated by pianist and composer Pierre Le Pape, MELTED SPACE stands as the first French metal opera boasting the air of a huge choral fresco, bringing together numerous female and male singers and musicians from the international metal scene. Powerful metal meets the refined essence of movie soundtrack style movements the band has seduced a wide audience. MELTED SPACE s music is inspired by traditional symphonic metal but is also rooted in the black and death metal scenes, each coming to play depending on what action that is taking place within the story that Pierre is telling us.MELTED SPACE began as an instrumental project by Le Pape in 2007, yet under the thumb of his electro acoustic teacher, he created a universe of its own which can be described as a potential ultimate step in Dante's "Divine Comedy". The first record, 2009's There's A Place, was totally self produced and while it was a completely instrumental album, it laid the foundations of the band's 2012 releaseed successor, From The Past, which really pushed the name further.Gathering twenty six musicians, renowned female and male singers, From The Past received rapturous articles and one of the most enthusiastic welcomes. Following this success, Pierre didn t stop there and started to compose a mini album entitled Between, which was released in May 2013 with Season Of Mist and PlasticHead handling French and European distribution. MELTED SPACE had gone further again as Pierre hired two internationally known singers to interpret his songs: Liv Kristine (Leaves s Eyes, ex Theater Of Tragedy) and Ashmedi (Melechesh). Le Pape then hired five talented musicians to go on tour with him as main support act for The Old Dead Tree s last tour in October 2013, and the motivation since has now resulted in additional tour and festival dates, and now, the most ambitious album from the collective yet, with The Great Lie.
    $5.00
  • Remastered edition with 2 bonus tracks."Easily one of the most important heavy metal albums ever released, Stained Class marks the peak of Judas Priest's influence, setting the sonic template for the New Wave of British Heavy Metal more than any other single recording. This is the point where Priest put it all together, embracing their identity as the heaviest band on the planet and taking the genre to new heights of power, speed, musicality, and malevolence. Not until Painkiller would the band again be this single-minded in its focus on pure heavy metal. Their blues-rock roots have been virtually obliterated; largely gone, too, are the softer textures and gothic ballads of albums past. The lone exception is the morbid masterpiece "Beyond the Realms of Death," on which the band finally finds a way to integrate the depressive balladry of songs like "Epitaph" and "Last Rose of Summer" into their metal side. Starting out with quiet, mournful verses, the song's chorus is ripped open by a blazing guitar riff as Rob Halford shrieks about leaving the world behind, a dramatic climax that sounds like a definite blueprint for Metallica's "Fade to Black." Yet it wasn't this song that inspired the ridiculous 1989-1990 court case involving the suicide pact of two Nevada teenagers; that honor goes to the Spooky Tooth cover "Better by You, Better Than Me" (penned by none other than the "Dream Weaver" himself, Gary Wright), on which the band allegedly embedded the subliminal backwards-recorded message "Do it." Astounding implausibility aside (as the band pointed out, why encourage the suicides of fans who spend money?), it isn't hard to see why Stained Class might invite such hysterical projections. On balance, it's the darkest lyrical work of the band's career, thematically obsessed with death, violence, and conquest. That's not to say it's always approving. Sure, there are battle cries like "White Heat, Red Hot," horrific nightmares like "Saints in Hell," and elements of the fantastic in the alien monsters of "Invader" and stone classic opener "Exciter." But the band stays philosophical just as often as not. The twisting, turning title track adopts the biblical view of man as a hopeless, fallen creature preyed upon by his baser instincts; "Savage" foreshadows Iron Maiden's "Run to the Hills" in depicting violent colonizers as the real savages; and closer "Heroes End" laments the many legends born from untimely deaths. So in the end, what really cements the celebrated morbidity of Stained Class is the sinister atmosphere created by the music itself. Never before had heavy metal sounded so viciously aggressive, and never before had that been combined with such impeccable chops. Seemingly at will, Tipton and Downing spit out brilliant riffs that cut with knife-like precision, usually several per song. This means that there's a lot to take in on Stained Class, but if there's nothing here as immediate as the band's later hits, there's also a tremendous amount that reveals itself only with repeated listens. While the album's overall complexity is unrivalled in the band's catalog, the songs still pack an enormous visceral impact; the tempos have often been jacked up to punk-level speed, and unlike albums past, there's no respite from the all-out adrenaline rush. Heavy metal had always dealt in extremes -- both sonically and emotionally -- but here was a fresh, vital new way to go about it. It's impossible to overstate the impact that Stained Class had on virtually all of the heavy metal that followed it, from the NWOBHM through thrash and speed metal onward, and it remains Judas Priest's greatest achievement." - All Music Guide
    $7.50
  • 2CD digipak edition includes instrumental mixes and one bonus track."Kamelot are one of the greatest powerhouses of American Power Metal, with an impressive body of work and having the distinction of having inspired the similarly prolific and mind-bendingly talented Epica. Kamelot have covered a lot of ground over the years, but the first thing to note about their latest album ‘The Shadow Theory’ is that it reaches into the darkest and harshest elements of the band’s art. With that being said, the first half of the album in particular seems to capture the tension of sci-fi edging into the apocalyptic, while the second is dedicated to Gothic melancholy. The sci-fi tension immediately arises in the opening The Mission, which feels like it could open Tron or Blade Runner as a Kamelot album, if those films happened to be directed by Tim Burton. Fans may also notice some nods to the melodies of ‘Ghost Opera.’The album then kicks into the dramatic and even chaotic stylings of Phantom Divine (Shadow Empire). Alongside typical Kamelot drama is a true sense of Gothic evil in the pounding drums, crunchy guitars and harsh vocals of Lauren Hart. While her harsh vocals rival – perhaps even eclipse – Arch Enemy’s Alissa White-Gluz, her cleans are more reminiscent of Doro Pesch. Even Tommy Karevik’s vocals are a little darker than usual amongst the dense music, which gets so hectic as to err on the side of confusing.RavenLight opens with a guitar sound more akin to melodic Death Metal than Power Metal, though the lilting keys and stronger showcase of Karevik’s vocals keep the song anchored to a comfortably Kamelot space. This track is particularly guitar-focused, with powerful solos from Thomas Youngblood, and Oliver Palotai not to be outdone on keys.Amnesiac carries on the heaviness with crunchy, aggressive guitars, and the sci-fi flavours of the synths returning with a vengeance. This is one of the catchiest songs on the album with its energetic chorus, and grooving bassline courtesy of Sean Tibbetts. Prog fans may notice some hints of Ayreon influence amongst the sci-fi elements, particularly in the guitars.Things kick up a notch with Burns to Embrace, which builds tension with dramatic music underlying Karevik’s slow vocal line. Haunting, mournful strings mix with heavy drums and riffs, while Palotai’s keys carry the melancholy through verses and Youngblood’s guitars twist the sadness into anger. This song is the first to bring the disparate parts of the album’s sound together in a way that really, unquestionably works. In this case, the solos are more restrained and focused more on melody than technicality.In Twilight Hours is fairly typical of slower Kamelot songs, starting out with a focus and keys and vocals before launching into dramatic guitars and symphonic elements. Of particular note are Jennifer Haben’s gorgeous vocals, with a style not unlike Simone Simons mixed with Sharon den Adel.The pace picks up again with Kevlar Skin, showcasing the cohesion of the band beautifully – there’s no showboating here, just a great song with masterful symphonic elements and epic solos. By contrast, Static shines the spotlight on hauntingly beautiful strings and piano, maintaining that despondent glory as the song evolves into heavy guitars and further symphonic elements. Karevik presents deeply emotive vocals, and Youngblood’s guitar fairly weeps alongside him.MindFall Remedy reinstates many of the elements of Phantom Divine, particularly the dark and dramatic sci-fi mood. Hart’s vocals are nothing short of incredible on this track, her growls absolutely unbelievable.Stories Unheard is a disciplined and restrained track, gentle at times but maintaining tension throughout. However, it is the following two tracks that are the greatest triumphs on the album. Vespertine (My Crimson Bride) is simply an excellent example of a Kamelot song – all the elements are there. It’s fast, symphonic, powerful and dramatic, with Youngblood’s solo crying with raw emotion and energy.The absolute coup of the album though is The Proud and the Broken, described by Karevik as the second part of Burns to Embrace and “more of a moody piece of art than a song.” Palotai’s creepy and haunting piano leads into riffing that is nothing short of darkly fantastical alongside interesting synth sounds. New drummer Johan Nunez’s work is wonderfully varied throughout, and the track perfectly captures the dark fantasy side of Kamelot. As it continues it descends into the depths of woe with a simple, dark piano melody accompanied by Karevik’s lamentations, before moving into Palotai’s mind-blowing keyboard shredding.In closing, the album becomes Burton-esque and whimsical once more with Ministrium (Shadow Key), which sits somewhere between The Nightmare Before Christmas and The Lord of the Rings in its aesthetic.Overall, ‘The Shadow Theory’ is a bit of a slow starter in that the songs in the latter portion of the album are often vastly superior to the openers. That being said, the album is more than worth persevering with, and absolutely rewards the listener into an excursion into dark fantasy sure to please those Kamelot fans with an inclination towards the creepy and the mournful. Best listened to in the cemetery by moonlight." - Overdrive Magazine
    $7.00
  • Remastered with 4 bonus tracks."Judas Priest's first official live recording has always been met with equal amounts of acclaim and controversy: acclaim from those who consider it an excellent summation of the metal legend's 1970s output, and controversy from the critics and industry insiders who criticized what they believed to be a heavily overdubbed and studio-enhanced performance, mockingly naming it Unleashed in the Studio at times. Before delving deeper into this issue, let it be said that except for a few unfortunate omissions ("Hell Bent for Leather," "Better by You, Better Than Me") the track listing here is quite impressive. Along with powerful versions of such storming anthems as "Exciter" and "Running Wild," the band delivers the definitive version of the prog metallic "Sinner," and competent versions of their popular covers tunes, "Diamonds and Rust" and "The Green Manalishi (With the Two-Pronged Crown)." Interestingly, most of the tracks from the classic Sad Wings of Destiny fall short of their mark, however, perhaps because they forfeit heaviness at the expense of speed. As for the "live" dilemma, in the late '90s estranged singer Rob Halford would claim in interviews that, while the band's playing was indeed recorded entirely live, his vocals had been ruined in the original mix, forcing him to re-record them in one take in a concert-like setting. If this was the case, it would hardly be the first or most severe case of studio interference on a live recording, and fans seeking a concise, nearly flawless collection of Priest's 1970s hits will not be disappointed." - Allmusic Guide
    $7.50
  • Remastered with 2 bonus tracks."In the early '80s, a new musical movement, dubbed "The New Wave of British Metal," swept across England. The conspirators include such heavy bands as Iron Maiden, Motorhead, Saxon, and Def Leppard, but Judas Priest is often credited as the originator and leader of the pack. Rob Halford's vocal histrionics and the dual guitar attack of K.K. Downing and Glen Tipton mesmerized metal-heads everywhere. While Priest had been together since the early-'70s, the band's big U.S. breakthrough came with 1982's SCREAMING FOR VENGEANCE.Like most other metal bands that broke through in the early '80s (Motley Crue, Twisted Sister, etc.), Judas Priest took advantage of the then-developing video medium. MTV put the clip for "You Got Another Thing Coming" in heavy rotation, and the song became one of heavy metal's all-time classic anthems. Other album tracks, such as "The Hellion," "Electric Eye," "(Take These) Chains," "Devil's Child," and the title composition, were all prime metal cuts. With its perfect balance of heavy riffing and melodicism, SCREAMING FOR VENGEANCE is considered by many to be among the finest heavy metal albums ever made." - Allmusic Guide
    $7.50
  • I can't remember a buzz on a band's debut since Circus Maximus.  Perhaps due to the album being released in Japan a year ago and its unavailability elsewhere, maybe because they are lined up to play ProgPowerUSA.  Whatever the reason the album finally gets a wide debut and it was worth the wait.  Damnation Angels is a British symphonic metal band fronted by a Norwegian singer.  He goes by the name PelleK and was a contestant on Norway's version of X Factor.  The band's stock in trade is epic sounding metal that pays a huge debt to Kamelot.  The instrumental passages take on the grandeur and scope of Nightwish.  PelleK does a sold job out front - he's obviously listened to a Khan quite a bit.  Highly recommended.
    $14.00
  • The Journey Continues!"To Travel For Evermore," the second album from the Danish metal band Wuthering Heights, is the sequel to their celebrated debut "Within". This second part of a projected musical trilogy finds the band with a new and stronger lineup. Main composer/guitarist Erik Ravn is reunited with ex-Tad Morose vocalist Kristen Andren but the lineup now also includes Time Machine bassist Lorenzo Deho and guitarist Henrik Flymann of Zool. With twin lead guitars the band has expanded their musical vision to encompass neoclassical metal as well as symphonic speed metal. Wuthering Heights will appeal to fans of Blind Guardian, Rhapsody, Angra and Yngwie Malmsteen. The album was produced by Tommy Hansen who cut his teeth producing Helloween, Pretty Maids, and Iron Fire.
    $5.00
  • "I’ve been listening to Myrath since the release of “Desert Call” back in 2010, and I’ve seen them morph from a unique version of Symphony X or Dream Theater into a truly original band that loves their country and is not afraid to incorporate that love into their music heavily.  On top of that, they really know how to write an addictive song.  Their new album, called “Shehili”, releases on May 3rd through earMUSIC.Myrath hails from Tunisia, and the band consists of Zaher Zorgati on vocals, Malek Ben Arbia on guitars, Anis Jouini on bass, Elyes Bouchoucha on keys, and Morgan Berthet on drums.  You will notice right away that these musicians are highly skilled, providing jaw-dropping performances.  However, their technical ability never overtakes their desire to write beautiful and memorable music.Myrath have basically grafted progressive metal into their Tunisian folk melodies.  Many times, they will appear to be more like symphonic metal, such as Kamelot, but that is because the band is oftentimes quite theatrical in presentation.  They aren’t afraid to be expressive and over the top, while laying down some mean riffs and insane instrumentals at the same time.  Their vocal melodies come across as poetic and thoughtful, as well, and so the band just has the potential to create masterworks again and again.“Shehili”, for my money, is one of the best albums the band has created yet.  While I will always have an affinity for “Tales of the Sands”, the album where they really found themselves, “Shehili” is even catchier, more varied, and absolutely rocks in all the appropriate spots.  I’ve found myself singing along with literally every song on the album.  They are all remarkable, and that’s a difficult thing to accomplish.  So, while being progressive and complex, the album revels in the band’s heritage, and does so without overly long songs or pretention.  I don’t have the room to talk about all the songs on the album here, so songs like “Born to Survive”, “Lili Twil”, and “Mersal” won’t be discussed, but they are all wonderful.  Certain songs on the album have instant appeal.  “You’ve Lost Yourself” is poetic and emotional, and the chorus is definitely going to stay with you.  “Wicked Dice” feels vicious and razor sharp, and if you don’t snarl your lip while you hear it, I don’t know what is wrong with you.  “No Holding Back” is one of the singles, and it focuses more on folkish melodies.  It is, however, one of the most addictive songs on the album, too.  I love the rising, fomenting piano melody near the end.  The title track ends the album with an emotional vocal performance from Zaher, and really closes the book in perfect fashion.Some of the songs, though, really stand tall.  “Dance” was the first single and is one of my favorite songs of the year.  The video is definitely outlandish, but the song itself is powerful, grand, and totally unforgettable.  My kids absolutely love this song, and you should see the sweet dance my little 5 year old son Atlas does as soon as he hears that foreboding intro.  “Monster in My Closet” is somewhat haunting and atmospheric.  It dabbles with electronic accents while also having such a great chorus.  Now, “Stardust” battles “Dance” as my favorite song on the album.  This song has a burning electronic edge to it, but is also quite ethereal and almost desperate in emotion.  Finally, I have to admit that “Darkness Arise” is a very surprising song.  It is just as catchy as the rest of the album, but it melds some heavier riffs with some 90s sounds and even a mellotron solo.  It’s really interesting and fun to hear.“Shehili” is just an awesome album from every angle.  You will lose yourself in the melodies, and find more and more complexity every time you listen.  It’s not a long album, at about 45 minutes in length, but you will want to start it over again immediately.  Myrath are back and running on all cylinders." - The Prog Mind
    $12.00
  • "Maxi Nil (ex Visions of Atlantis) and Raphael Saini (ex Iced Earth) after touring the world and captivating audiences along the way, decided to join forces and re enter the music world as Jaded Star!Exploding with energy, experience and drive the band's debut album "Memories From The Future" is ready.Produced by Maxi Nil, mixed and mastered by Fredrik Nordstrom at the legendary Fredman Studios in Sweden, this album showcases Maxi's electrifying vocals and the masterful drum work Saini is known for.Guitar hero Kosta Vreto with his unique finger strumming style, eschews the plectrum in favor of a raw, organic sound that literally comes straight through his hands. Babis Nikou on the bass brings a solid foundation and the chemistry between he and Maxi as the song writing team provides emotion to match the power of the sound.The elements are there, the forces have aligned, the Jaded Star is ready to shine!" 
    $5.00
  • Remastered edition with two bonus tracks."After the failed experiment of Turbo, Judas Priest toned down the synths and returned to the basics, delivering a straight-ahead, much more typical Priest album with Ram It Down. The band's fan base was still devoted enough to consistently push each new album past the platinum sales mark, and perhaps that's part of the reason Ram It Down generally sounds like it's on autopilot. While there are some well-constructed songs, they tend toward the generic, and the songwriting is pretty lackluster overall, with the up-tempo title track easily standing out as the best tune here. And even though Ram It Down backed away from the territory explored on Turbo, much of the album still has a too-polished, mechanical-sounding production, especially the drums. Lyrically, Ram It Down is firmly entrenched in adolescent theatrics that lack the personality or toughness of Priest's best anthems, which -- coupled with the lack of much truly memorable music -- makes the record sound cynical and insincere, the lowest point in the Rob Halford era. Further debits are given for the cover of "Johnny B. Goode."" - All Music Guide
    $7.50