Impermanent Resonance

James LaBrie once again that there is life outside of Dream Theater.  His solo band features a stable lineup consisting of Matt Guillory (keyboards), Marco Sfogli (guitars), Ray Riendeau (bass), Peter Wildoer (drums, death vox).  Jens Bogren once again mixed. An interesting twist to the mix is the inclusion of Soilwork's Peter Wichers who contributes some guitarwork and also collaborated on songwriting with LaBrie.

While the music is square on prog metal and all in all not too dissimilar to Dream Theater its different enough to have its own vibe.  Wildoer's coarse vocal approach offers an interesting counterbalance to LaBrie's upper midrange clean voice.  The limited digipak edition comes with two bonus tracks.  Highly recommended.

There are no review yet. Be the first!

Product Review

You must login or register to post reviews.
Laser Pic

customers also bought

SEE ALL
  • Its been seven years since the first release from The Fractured Dimension.  The core of the band is led by two ex-members of the avant metal band Scholomance: Jimmy Pitts (keyboards) and Jerry Twyford (bass).Given the extensive lineup of guest musicians Pitts and Twyford have corraled one would expect a supreme tech metal blow out.  In parts you get that but there are very strong symphonic rock, classical and fusion elements woven into the music.    Essentially they let the musicians be themselves and it makes it more challenging and interesting to hear them work their styles in to the compositions.OK so here is who is on th album:Jimmy Pitts (keys), Jerry Twyford (bass), Hannes Grossmann (drums), Vishal J Singh, Tom "Fountainhead" Geldschlager, and Tom Kopyto on guitars, Joe Deninzon (violin), Kasturi Nath Singh (Indian Classical Fusion Vocals), and guest guitar solos by Christian Muenzner, Marcel Coenen, Alex Machacek, Mike Abdow, Pete Pachio, Aaron Roten, Bill Bruce, and Jeremy Barnes.So you have guys from Obscura and lots of insane guitar soloists letting it all hang out with overlays of keyboards, violin all thrown at you with lots of intensity.  The whole thing will keep you off balance and I promise you won't be bored.  Highly recommended."“How can less be more? That’s impossible. More is more”, is a famous quote by Yngwie Malmsteen, and US/Germany-based super-group The Fractured Dimension have turned that statement into their modus operandi through their new album ‘Galaxy Mechanics’. By just looking at the star-studded 16-man line-up, not many would expect anything less than all-out super-technical music: a sound the band itself has labelled ‘Cosmic Instrumental Metal’.Despite the large number of members, from over 7 countries, Keyboardist Jimmy Pitts and bassist Jerry Twyford are the ones spearheading The Fractured Dimension, while the others have special and guest appearances on the record. Where you’d see drummer Hannes Grossmann (ex-Necrophagist, ex-Obscura, Blotted Science, Alkaloid), you’d see his Alkaloid band-mate and guitarist Christian Muenzner, and where you’d see Christian, you’d see current Obscura guitarist Tom Fountainhead Geldschlager, and the list goes on. It includes guitarists Tom Kopyto, Mike Abdow, Jeremy Barnes, Bill Bruce, Marcel Coenen, Alex Machacek, Pete Pachio and Aaron Roten. Indian guitarist Vishal J Singh is also among the ranks, as is Indian classical fusion vocalist Kasturi Singh and violinist Joe Deninzon.The album is extremely complex, and features an incredible range of musical styles not just through different instruments and tones, but through stylistic variations within an instrument itself. For example, the guitarists exercise their own style of playing, and since different guitarists worked on different tracks on the album, each song is given a unique vibe. The songs are progressive and only subtly repetitive, while each one is quite different from the other not only in terms of the guitars, like mentioned, but also in the way they’re structured and layered instrumentally.Dealing with each track individually is impossible because of their highly complex nature, but some of the high points from the album include songs like “Displacement” and “Elysian” which, like the other tracks, make use of interesting keyboard patches and time changes. The bass and keyboards are prominent everywhere and along with some brilliant drumming, form the backbone of the sound around which the guitars weave their magic.However, the main issue that needs to be addressed is this: does all of this complexity and variation give rise to music that is, put simply, enjoyable? Not everyone may appreciate the highly intricate music, but it makes no sense to say that The Fractured Dimension tried to impress everybody anyway. What can be seen, or rather, what flares up and makes itself obvious in the music, is the honesty behind it. The songs do not feel like they are forced, and the creative freedom of the musicians is in full display here. If one can see this honesty for himself/herself, that person will end up enjoying Galaxy Mechanics. There aren’t many other albums for which the same thing can be said, so the album is a definite hit and not a miss, and while dealing with super-technical and intricate music it is very easy to go wrong.A quarrel one could pick with Jimmy Pitts and Co. involves intriguing song titles, like “Bolshevikian Mythological Creature” and “Seventh Hymn to Nibiru” for example, and no vocals and lyrics to explain them. This doesn’t mean the music would be better off with vocals, but it means that there is no vocal expression of these concepts in a manner everybody can understand. Other than this, Galaxy Mechanics is a sublime effort from The Fractured Dimension, and one can only wonder what this exceptional pool of talent will conjure up next." - Metalwani
    $9.00
  • "“Some things never change”; that’s one of the unwritten rules in the music industry, proving that some bands may take a rest for a while, having the strength and the cojones though to fight back and face every challenge. MUSTASCH’s history goes back in 1999 and Ralf Gyllenhammar hasn’t stop doing a great job behind the mic, delivering way successfully the heavy-loaded lyrics of the Swedish Heavy Rock quartet. Ok, currently the band is a trio, since drummer Danne McKenzie decided to quit last December due to personal differences.From “Ratsafari” and “Powerhouse” till “Latest Version Of Truth” and their self-titled album released 3 years ago, MUSTASCH is the tangible guarantee in the Heavy/Stoner Metal scene and their next step was highly anticipated by the fans. Well, it might have taken a bit longer that it should, but “Sounds Like Hell, Looks Like Heaven” is here to confirm the boulder that listen to the name ‘MUSTASCH’. Without wasting time, the listening of the album’s opener “Speed Metal” was a really pleasure, spitting 100% the MUSTASCH dynamics and the ‘dirty’ sound we all have learned to love. “The Challenger” continues in the same exponential pattern, spreading some frenetic panic and Metal riffs through its pass, thanks to Ralf’s readings, giving the feeling that not a day has passed since the release of “Powerhouse”.“So far, so good”, you may think, but there are more inside the ‘Hell/Heaven’ pack. And what’s that? A new, shinny face of MUSTASCH that made its first appearance in their previous work, but nowadays seems to be more confident to deal with some THIN LIZZY-esque influences, some AC/DC-driven guitar riffs and some METALLICA-laden attitude (“Reload” period), holding though steady the band’s love for some real heavy and shaking stuff. The only con of this album is the feeling that things got a bit rushed, since I can’t justify the presence of songs like “Your Father Must Be Proud Of You”, “Northern Star”. I’m not saying that these are bad songs, but they don’t fit at all in the whole album’s atmosphere, making me push the ‘skip’ button twice. If these two were avoided, we’d be probably talking about the mind-blowing comeback of a band who knows how to really shake things up and make the fans fold. Plus, MUSTASCH would have escaped at least two of the three negative points of my rating...“Sounds Like Hell, Looks Like Heaven” contains great compositions that I’m sure you have missed for so long. So, feel brave, grab your finest booze and skip a couple of unfortunate moments; of course, you’ll be rewarded without doubt, ‘cause this album is freaking awesome! Ralf’s name in the drill, one of the most badass singers out there, talks by itself, don’t ya think? Horns up!" - Metal Kaoz
    $15.00
  • "Clive Nolan (Pendragon, Arena) returns with his new solo project - ‘Alchemy – a musical”, a Victorian adventure set in 1842. Next to Clive Nolan himself, the album feature the artists well known in the world of progressive rock including Tracy Hitchings (Landmarq, Strangers on a Train), Andy Sears (Twelfth Night), Paul Manzi (Arena), Damian Wilson (Threshold), Paul Menel (ex-IQ), David Clifford (Red Jasper) as well as the leading lady of Nolan's previous musical 'SHE', Agnieszka Świta and Noel Calcaterra - a Uruguayan singer/actress and the voice of Clive Nolan South American 'Otra Vida' project from 2010. The Caamora Company musicians - Clive Nolan (keyboards), Mark Westwood (guitars), Scott Higham (drums), Claudio Momberg (keyboards) and Kylan Amos (bass) will once more take charge of the instrumental part of the project. The core members of the company will be joined by special guests and a chorus. This release will be preceded by the world premiere of 'Alchemy' show at the famous Wyspianski Theatre in Katowice, Poland on February 22, 2013, where it will be recorded and released on a DVD by Metal Mind Productions in Autumn 2013."
    $17.00
  • 6CD remastered box set containing the band's first six cassette releases.  This also comes with new liner notes, photos, and memorabilia in a 40 page book.
    $55.00
  • "This double album is a great testament to all the musical journeys and experiences that Nolan and Swita enjoyed as they spread the word about ‘She’ with their many ‘two-man’ shows. ‘Journey’s End’ features over 130 minutes of acoustic live performances from around the world, as well as a selection of never before heard demos, bonus tracks and interview footage. These live tracks also feature some great guest appearances: familiar ‘She’ faces such as Mark Westwood (guitar) and Christina Booth (voice), as well as new friends like Claudio Momberg from ‘SETI’ (keyboards) in Chile and Sebastian Medina from ‘William Gray’ (guitar) in Argentina."
    $20.00
  • "Here go the twins and their Metal, aimed to please, distribute their appreciation and admiration for the melodic end of this exquisite music. Founders of the majestic brethren of TWINS CREW, David Janglöv and Dennis Janglöv, originating from Sweden, were able to assemble an astonishing group of folks embraced with great talents upon providing the world with downright classic Heavy / Power Metal fame and fortune, crossing paths with IRON MAIDEN, RAINBOW, HELLOWEEN, GAMMA RAY, STRATOVARIUS, LABYRINTH along with the line of melodic fanatics. Signing with the Italian Scarlet Records seemed rather natural for these guys, also since Italy is one of the foremost places for melodic Metal, and it is quite an honor for the release of their sophomore release, “The Northern Crusade”. After listening to this album for a few sessions, I came to a known notion of mine, time and time again, regarding me being convinced even more, and it has been a while since I took to review this profound unison of brothering subgenres, that this form is a safe bet, a golden chip to rely upon while writing Metal music.What I mostly liked about “The Northern Crusade” that the larger sum of the time flew by as if a racing car passed right through my face without making me flinch about it. Though there were a few epic songs, those were so refined that I didn’t even notice their length. Eventually it starts and ends with the material in question, TWINS CREW wrote songs with an appeared intent on delivering it straight up, yet with being smooth, harmonic and fluent. Nothing within the music is awfully complex or ambiguous, every song has that same obviousness forged back in the 80s, yet it didn’t enervate or bored. Each track has its own quality and virtues without recycling the others in the process. When it comes to personal skills, I believe that the founders, both on guitars, are twin wizards, focusing their shred, partially Neo-Classical playing through the Malmsteenish style is conveyed with awesome precision, yet their playing also contributed a great deal to the clarity and power of the rhythm section that is intense as well. Furthermore, there is active keyboard man, and also the band’s newest addition, Nicko DiMarino, which maintained the certain Neo-Classical emblem on the band’s creations. Also I was overwhelmed by the frontman, Andreas Larsson, as it seems that these types of vocalists grow on trees in Sweden. I haven’ never heard of the guy nor noticed any other bands he participated in, definitely a keeper in this group. A part of the problem regarding Larsson’s role is that I don’t believe that he was set well into the overall mix, a little behind the rest of the band as he should be in the front center.Unraveling the classiness of 80s Metal with a little ventures towards a few modern enactments, “The Northern Crusade” grazed my skin with tasty hits. Although, as I stated earlier, there is a pattern between the songs, but each and every one showed its worth and effect. “Take This Life”, however heading towards the end of the album, heavily caught my attention with its HELLOWEENish nature, not fully Teutonic, yet with ounces of power, catchy melodic lead guitar licks and crisps of harmonies. Larsson nearly killed me with his performance. “Under the Morning Star” is one of those songs that I wish to long for just a minute or so, as it would terrible for them to end prematurely. Mainly a buildup ballad, eventually turning the chick to heaviness, cradles such an emotional chorus, slightly tacky but with the orchestration involved, it is simply magical. “Loud and Proud” is nothing more, nothing less of an 80s Metal hit, straightforward and pounding, a bit RAINBOWish, not in the range of “Long Live Rock N’ Roll”, yet more of the ACCEPT kind with sharper and stronger vocals. “Blade” and “Dr. Dream”, both Power Metal speeding bullets, cumbersome on those wonderful keyboards support, an incredible addition no doubt. Finally there you have it guys, a foundation of an unforgettable Heavy / Power Metal happening, an astute melodic title that you have to check out unlike most of the Swedish NWOBHM entries." - Metal Temple
    $15.00
  • Rise Above really has this down pat.  They seem to be finding the absolute best in retro-rock.  Time Warriors is the third album from this Swedish hard rock band.  Their most obvious influences are Thin Lizzy, UFO, early Judas Priest and Scorpions.  An immaculately executed trip in the Wayback Machine.  Highly recommended (if you go for this sort of thing).
    $13.00
  • One of the best Quebecois prog albums.  Originally released in 1972 by Columbia its become a serious rarity - one of the top in the Canadian prog genre.  All the reviews will tell you the same basic story.  Dervieux was dying of cancer.  He assembled a group of musicians that would ultimately carry on after his death as Contraction.  The album is very keyboard intensive having a bit of a classical feel - kind of ELP-ish in spots.  Quite a beautiful album and essential."Franck Dervieux manned the keyboards on some of Jean-Pierre Ferland's earlier works, but by 1972 the gifted pianist had decided to strike out on his own. For Dimension M, Dervieux assembled some of the cream of the early Quebec prog scene, including bassist Yves Laferriere, Michel Robidoux on acoustic guitar, drummer Christian St. Roch and on several tracks singer Christiane Robichaud, all of whom would go on to form the sought-after prog band Contraction. Dervieux was suffering from late-stage cancer at the time and dedicated the record to his team of doctors in Sherbrooke, who he claims "preserved" him for the making of this record.What makes Dimension M such a joy is the way it straddles - remember this is just 1972 - the worlds of psychedelia and prog. Dervieux delivers plenty of classically-themed piano and virtuosic organ solos a la ELP, but elsewhere, on the blithe intro to side-one closer 'Hyperboree' (an adaptation of a work by obscure French composer Gabriel Govrez) he fuses some bluesy organ with Robichaud's fetching aria. Even better is the haunting build-up of drums, keyboard and voice on his own 'Concerto Pour Les Mondes Perdus' or the spacy workout 'Present Du Futur' over on side two. Fans of Soft Machine, Kingdom Come or Van der Graaf Generator should find plenty to salivate over on these tracks.Alas, though the Lord may giveth, he also taketh away, and one of the true originators of Quebecois progressive rock died not long after the release of Dimension M. The original vinyl came in a gatefold sleeve with a four-page insert, but it can be devilishly hard to find despite coming out on Columbia Canada. For those of us who want more immediate gratification, the dedicated folks over at ProgQuebec recently issued Dimension M on CD, carefully mastered from a vinyl source, with photos and bilingual liner notes to boot." - Canukistan Music 
    $18.00
  • For the completists out there we have decided to stock the new 2 CD version out in Europe on Inside Out. It features still more tracks not found on the US version (even with our bonus EP that we toss in).
    $12.00
  • This is without question the most "prog" album The End has released on their label. Unexpect are a unique 7 piece ensemble from Quebec. It's somewhat hard to dissect this avant metal band but the closet comparison I can come up with is Sleepytime Gorilla Museum. Musicianship is insane - be it guitar, violin, keys, drums, or 9-string bass. The vocals are a predominantly clean mix of dual male/female harmonizing. It can be a cacophonous mix of shifting meters and then gorgeous melodies - all with the space of 30 seconds. A real grower of an album that really grabs your attention. Highly recommended.
    $11.00
  • Stunning second solo effort from Riverside frontman Mariusz Duda. Lunatic Soul explores the quieter, introspective side of the progressive spectrum. Duda plays most of the instruments himself, but he is also helped out by Indukti's Wawrzyniec Dramowic on percussion, and flautist Maciej Szelenbaum. The music has a definite Asian influence with a wonderful melodic flow. Think in terms of Riverside's quieter moments or Opeth's Damnation. It does rock out but not HARD since (once again) there are no electric guitars. This fact doesn't make the album any less intense. Album of the year candidate? Highest recommendation.
    $14.00
  • AlieNatura is the second album from this superb band playing in the classic "rock progressivo italiano" style.  The band is led by keyboardist Elisa Montaldo, who is as impressive on the ears as she is on the eyes (pardon the sexist comment).  One of the strong points of the band's debut was the inclusion in the lineup of former Museo Rosenbach vocalist Lupi Galifi.  With MR reforming he's left Il Tempio Delle Clessidre.  The obvious concern is who could fill his shoes?  Apparently the unknown Francesco Ciapica.  Truth is he does a fine job.  The guy can sing.  He has that expressive style that fits this music so perfectly.  Beautiful symphonic keyboards, liquid guitar runs, phat Moog solos - this band has the sound down pat.  The Italian scene seems to be burgeoning with new RPI bands and I would classify Il Tempio Delle Clessidre right up there with La Maschera Di Cera.  That's saying something.  BUY OR DIE!
    $16.00
  • PLEASE NOTE THIS IS THE STANDARD EDITION.  THE DELUXE EDITION WILL BE RELEASED IN TWO WEEKS."After an absence of three years, and several personal trials and tribulations, Austria's Edenbridge arrives with their eighth studio album, The Bonding. Edenbridge has never done anything half way or half-heartedly, sideways or otherwise. So what could the band do to turn the knobs to 11 for their grand symphonic power metal?How about recording with a full orchestra to make those symphonic parts sound even more grand than simple synthesizer twiddling? Through the support of fans and sponsors, Edenbridge was able the Klangvereinigung Orchestra of Vienna to push the band's already impressive symphonic sonics to the stratosphere and beyond.Is this to say that this substantial addition makes The Bonding great, even more spectacular than previous Edenbridge outings? Well ... yeah. There are oodles of melodic symphonic metal bands, many with female lead vocalists, producing their large bombastic sound. Putting the orchestra into the symphonic seems like a no-brainer. Edenbridge gets it right. The orchestra, the symphonic parts of the arrangements, are exactly that, a part of each arrangement. They neither lead nor smother any song, but they certainly add authenticity to Edenbridge's chosen style. The opener Mystic River is a perfect example of this balance.And you still get nice keyboards, big riffs and even bigger solos, and Sabine Edelsbacher’s voice, which sounds better than ever. She's smooth, controlled, clear, and simply powerful. Listening to her on Alight A New Tomorrow, The Invisible Force, or Death Is Not The End, by example, are impressive as they are inspiring.Perhaps we've hit the highlights of The Bonding. All these elements find their culmination, apex as it were, in the title cut which closes the album. It's better than 15 minutes of symphonic melodic power metal bliss. It also features Ms. Edelsbacher in duet with Erik Martensson (WET, Eclipse). Holy shiite! What an awesome combination. The song also displays that aforementioned balanced, more than nuanced, of the orchestra for the symphonic parts with entire arrangement. Principal composer Lanvall desires major kudos for this musical score. The Bonding is grand, engaging, and entertaining, more than a little epic, melodic symphonic power metal from a terrific band. Is it their best album yet? Could be. Strongly recommended." - Danger Dog
    $15.00