To The Metal! (CD/DVD Digipak BLOW OUT DEAL!)

Incredible warehouse find.  Scored a small horde of these and I can pass them on to you at an amazing price.

"Gamma Ray! Undoubtedly one of the most important names in contemporary, classic Heavy Metal, and thee most respected and influential German band in the genre. Fronted by Kai Hansen, following his departure from Helloween, Gamma Ray has become one of the most prominent bands in European Heavy Metal. "To The Metal" is the 10th studio album in 21 years of worldwide success and a new diamond in their never-ending experimental creativity. The Special Edition contains a bonus DVD in HD with interview, rehearsals, live studio sessions and 3 videoclips."

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  • Next to last album finds the band with a new lineup and a more commercial direction. Still some good stuff here.
    $18.00
  • Cheap copy of the good old typical Warner Bros. US pressing of this iconic live album.  Nothing fancy - just amazing music for 5 bucks.
    $5.00
  • "From the very sound of their name - a name shared by their 2009 debut - Halestorm sounds like a generic active rock band of the 2000s, and to a certain extent that's true: the band does specialize in strident power chord rock not too dissimilar from what their former tourmates Shinedown, Avenged Sevenfold, and Trapt sound like. What sets Halestorm apart from their pack is lead singer Lzzy Hale, the rare female in this testosterone-obsessed sound. Unlike Evanescence's Amy Lee, there isn't a shred of brooding gothic romanticism to Hale: she's a straight-out rock chick, the farthest thing from an angel, a tough girl who gets off on the fact that you're getting off on her. The mere fact that she flips mook-rock on its head is enough to give Halestorm an identity in a genre ruled by anonymity, but they also stand apart from the pack because they've studied not only the scale of classic arena rock but also its hooks, another area that's typically neglected by the male-fronted aggro-rockers. Of course, having Lzzy as their frontwoman does allow Halestorm to sneak in some flair, such as the Queeny pre-chorus of "Love/Hate Heartbreak," and it also allows them to flirt with genuine crossover power ballads like "Bet U Wish U Had Me Back," which sounds a bit like a louder, angry Kelly Clarkson. This gives them more variety than almost every other band of their ilk, but it's the combination of the group's pop skills and Lzzy Hale's charisma that makes Halestorm a bit of a pleasure, albeit somewhat of a guilty persuasion for some." - Allmusic Guide
    $6.00
  • 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
  • Crushing Swedish power metal. Band is now defunct.
    $20.00
  • Now here is a beautiful slice of contemporary progressive rock.  Anubis is an underrated band from Australia - bands down under don't seem to get the attention they deserve.  Hitchhiking is their third full length album.  2011's A Tower Of Silence was a big hit around here and frankly when it arrived it came as a huge surprise.  This long awaited follow up reinforces that the prog rock world needs to take notice.  The music has a cinematic Floyd-like feel.  Vocals from Robert James Moulding are emotion driven and have plenty of impact.  This is not a band who's music is filled with tons of soloing but what's here is solid.  In other words this is not old school prog - its very forward thinking but with a modern sound.  Highly recommended."I have long dreamt of an Australian progressive rock album that would inspire me to click the repeat button, in order to drift through its world all over again, and I am happy to declare that Hitchhiking to Byzantium has been on constant rotation for weeks at this point. Bringing an enchanting blend of Floydian melancholy and the energy of Rush to the table, Anubis have come to stake their claim as heavyweights in the Oz scene with their third opus.Whilst being equally impressed with their 2011 album A Tower of Silence (which I have only just heard recently also), I have found myself returning to Byzantium more to explore the subtle nuances contained within the album’s ten tracks. ‘Fadeout’ as an opening diddy is like riding a gentle breeze for just a short while before being swept up in all the drama and opulence of ‘A King with No Crown’, a reference quality track on every level, cinematic in scope and full of drama and tension and certainly an inspired choice as opening single for the album. ‘Dead Trees’ is a classic prog cut with all the bells and whistles sporting a vocal performance that harkens to a young James Labrie and a chorus that will have you by the balls from the first time you hear it.I mentioned a notable influence from Floyd and Rush earlier, but if I was to be honest, I would love to ask them if they are fans of American prog band Tiles and those wonderful Brits Anathema, because both bands are called to mind on this album amongst others like Sweden’s Anekdoten. The title track is a sublime centrepiece and features a plaintive aura that is sent soaring when spine-tingling female backing vocals lace the chorus. It’s so hard to choose a favourite song when they are all so filled with creamy goodness, but any of these three  - ‘Blood is Thicker than Common Sense’ (a seductive groover), ‘Tightening of the Screws’ (a majestic slice of melancholia reminiscent of early The Pineapple Thief) or ‘Partitionists’ (a lyrical and musical marvel) - could easily take the title for this humble listener.The final triptych features dark drama in ‘Crimson Stained Romance’, a song that reminded me most of a classic Floyd epic, the 15+ minute ‘A Room with a View’, which is nothing short of a sweeping symphony of moods and tones and the closing ‘Silent Wandering Ghosts’ sounds exactly like its title would suggest, haunting and transcendent with an outro to die for.These seven talented lads are a gifted lot, with every performance of outstanding quality, enhanced by a jaw-dropping production that let’s every instrument tell its own little story and play its part in this emotionally resonant work that as the band state themselves: "I feel that there's more of us in there - the hurdles that life throws at us and the only way to feel true inner peace - by examining the love around you. It's certainly an introspective record - but it's real life. It's about you, it's about me, it's about all of us. Hitchhiking to Byzantium. That journey is life."And somehow I believe them." - Loud Mag
    $15.00
  • Third album from this Spanish power metal band. Solid if you cling to that overblown Rhapsody meets Symphony X style.
    $9.00
  • "Quite the misleading band name, ya know? Project Arcadia isn’t much of a “project” as it is a Bulgarian outfit fronted by the ever-awesome Urban Breed, he of Tad Morose, Bloodbound, and currently, Trail of Murder fame. Prior to Breed joining, the band released From the Desert of Desire in 2012 to rather muted results, as in, no one on this side of the pond gave a flying toss. Sure enough, add Breed to the fold, record a new album in the form of A Time of Changes, and viola, Nightmare Records takes care of the rest. Not a bad deal.Hovering around traditional power metal and 80s metal protocol (the accompanying bio cites MSG and the Scorpions, which there is scant correlation), Project Arcadia wisely focus on the considerable vocal talents of Mr. Breed. He’s given ample breathing room to allow for his superbly melodic and hefty pipes to get their kicks, like on the soaring chorus for “I Am Alive,” and the acoustic-led “The Ungrateful Child,” which sees the Swede go full-on tender. But for the most part, the band plays it muscular, hitting some brute riffs in stride on “Formidable Foe” or finding some double-bass happenings on opener “Here to Learn.”The addition of Breed is sure to bolster Project Arcadia’s profile immediately. However, being that Breed is also known for being a bit of metallic nomadic, one had to wonder how long he’ll stick it out with the band. But the songs are certainly here on A Time of Changes, suited perfectly for Breed, who ten years after his shining moment on Tad Morose’s Modus Vivendi, can still hang with the best of ‘em. If the Swede was smart (and he is), he’ll stick with this, and Trail of Murder and keep on being productive…" - Dead Rhetoric
    $12.00
  • "Panic Room had something of a troubled 2013. Several years hard work paid off with a growing reputation and audience for their powerful and sophisticated mix of rock, folk, jazz and metal. Then their year began with the departure of the lead guitarist, founder member Paul Davies. While Morpheus Rising’s Pete Harwood did a sterling job standing in on their already-booked tour, his commitments to his own band ruled out any longer-term involvement. So they initially announced that they’d be writing their fourth album as a four-piece. Then around the time the band were ready to enter the studio they announced the recruitment of Adam O’Sullivan, bringing the band back up to full strength.In a rock band the lead guitarist can often be as important as the singer, so how would the new-look Panic Room sound?Hard rocking opener “Velocity” with its spiralling guitar riff is close to the feel of their last album, but with the next few numbers a rather different sound emerges. It’s a step away from the rich wall of sound that characterised the last couple of Panic Room albums, with a lighter, more pared-back feel that has as much in common with Panic Room’s acoustic side-project Luna Rossa than it does with 2012′s “Skin”. In places there are echoes of the début “Visionary Position” and the singer-songwriter feel of Anne-Marie Helder’s 2006 solo record “The Contact”, and it’s notable that Anne-Marie has sole songwriting credit for half of the ten songs.There are plenty of moments where the space in the mix gives individual members the chance to shine. There’s some inventive drumming from Gavin Griffiths, and some great understated Fender Rhodes from Jon Edwards across much of the album. Adam O’Sullivan’s guitar isn’t always prominent, though he does have his spotlight moments. Much of his playing has a strong jazz flavour, with some great bluesy rippling flourishes. A good example is on “Nothing New” where his guitar work duels with some equally jazzy piano runs from Jon Edwards. The one moment towards the end of the album where he cuts loose with a rock-style solo, it’s superb. Yet again Anne-Marie’s vocals are everything you’d expect from someone voted Best Female Singer by readers of Prog magazine, hitting the sweet spot between melody and expressiveness.Much of the strongest material comes in the second half of the album. The atmospheric “Into Temptation” with its eastern-sounding vibe is reminiscent of parts of “Endgame” from the band’s début. The following three numbers “All The We Are”, “Searching”, and the soaring “Close The Door” all demonstrate Anne-Marie’s talents as a singer-songwriter.The album closes with the dark and brooding “Dust”, an ambitiously progressive piece sounding like Massive Attack crossed with late-period Led Zeppelin, building on a repeated motif keeps going round and round in your head even after the album has finished playing.At this stage in their career, Panic Room could easily have attempted a retread of the well-regarded “Skin”. But that would have been a mistake, and they should be applauded for not simply repeating a successful formula. It’s not quite perfect; the album might have benefited from one or two out-and-out rockers in the vein of Skin’s “Hiding the World” or Satellite’s “Dark Star” to add variety and raise the energy level. But it does feel like the beginning of a new chapter for the band. This is album by a band not afraid to try something slightly different, and there is much to like about it, especially after repeated listens. It’s still unmistakably Panic Room, but with their sophisticated sound it’s a record with a wider crossover potential too." - Where Worlds Collide
    $18.00
  • Alive & Well Recorded In Paris has been out of print for many years. Esoteric Recordings uncovered the original multitrack tapes and presented an expanded edition.The original sessions were recorded in Paris in 1977. This lineup featured John Etheridge on guitar and Ric Sanders on violin as lead instruments. It was a vastly different sounding version of Soft Machine - at this point there were well into their fusion phase. The bonus disc features 45 minutes of unreleased material from these live recordings as well as 2 tracks from a single they released on Harvest. Of course you get an expanded booklet with nice liner notes. Typical great Esoteric job. Highly recommended.
    $20.00
  • "Sporting some of singer Warrel Dane's most extreme vocal workouts, In Memory is an impressive musical display of neo-progressive yet heavy melodic metal. With an identical band lineup and producer Neil Kernon returning to helm the console, the results on this follow-up to 1995's eponymous debut are predictably similar. The bombastic medley of Bauhaus cuts, "Silent Hedges/Double Dares," is representative of the continuing evolution of the band and its heavy rhythmic reworkings. While the melodies are commercial, Nevermore refuses to get bogged down in technique and, in so doing, avoids the sterility and weakness that some associate with a certain other Seattle melodic metal band. With subtle, clean performances mixed with all-out metal hollering, Dane sounds like a doctorate-level student of Geoff Tate's vocal style ("The Sorrowed Man" being his thesis). Perhaps borrowing a little too heavily from Queensrÿche, Dane and his bandmates still infuse enough of their own passions and personality to make the music on In Memory their own." - AllmusicTheir first effort following the breakup of Sanctuary.
    $4.00
  • First ever NEMO DVD! Recorded Live on April 17th and 18th, 2010. The movie is sold together with 2 CDs gathering the more outstanding songs of the band in re-recorded, re-mixed or re-mastered versions, and 2 new tracks!Digipak, strictly limited to 1000 copies! Warning: this is a PAL DVD.Tracks:01. Dvd - Intro / Philéas I (départ / Europe) (8.05)02. Dvd - Miroirs (6.42)03. Dvd - Même Peau, Même Destin (9.28)04. Dvd - Apprentis Sorciers (20.40)05. Dvd - Philéas Partie Ii (les Fleuves Sacrés) (3.53)06. Dvd - La Mort Du Scorpion Partie Iii (8.20)07. Dvd - Tous Les Chemins (10.40)08. Dvd - Barbares (26.28)09. Dvd - Les Enfants Rois10. Dvd - Philéas Partie Iv (nouveau Monde)11. Cd1 - La Machine À Remonter Le Temps (2010)12. Cd1 - 19:59 (2009)13. Cd1 - Barbares (2009 - Version Restaurée)14. Cd1 - Les Enfants Rois (2007 - Version Single)15. Cd1 - Reflets (2007)16. Cd1 - Une Question De Prix (2007)17. Cd1 - Une Question De Temps (2007)18. Cd1 - Ici, Maintenant (2006 - Remix)19. Cd2 - Miroirs (2006 - Rmix)20. Cd2 - Si (2006 - Remix)21. Cd2 - 1914 (2004 (remix)22. Cd2 - O.g.r.e. (2004 - Remix)23. Cd2 - Les Temps Modernes (2004 - Remix)24. Cd2 - La Dernière Vague (2003 - Réenregistrement)25. Cd2 - Générateur (2003 - Réenregistrement)26. Cd2 - Au Dessus Des Pyramides (2002 - Réenregist.)27. Cd2 - Dans La Lune Encore (2002 - Réenregist.)28. Cd2 - Et La Vie Continue (intrumental - 2010)
    $20.00
  • Sound Of Contact is a new band put together by Simon Collins and session keyboardist Dave Kerzner.  Yeah - Simon is Phil's son.  The apple doesn't fall far from the tree - Simon plays drums and he also sings.  His voice is eerily like his dad.  At times virtually indistinguishable.  The music follows a similar path to Phil's work with Genesis and solo.  Parts of the album are pure prog - in fact the album closes with a killer 19 minute epic called "Mobius Slip".  Other parts of the album exhibit a poppier more commercial side.  I don't think of the album as a pop album - its a prog rock album.  Kerzner provides some very interesting keyboard work - lots of intricacies through out the album.  There is that commercial element that reminds me of Genesis in the 80s.  With his voice sounding so much like his father, Simon will always be cursed with being compared to Phil.  That's a fact.  Overall I think he's come up with an interesting album that fans of more contemporary progressive rock will enjoy.
    $12.00