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Minimal Gods

SKU: RUNE393
Label:
Cuneiform Records
Category:
Avant Garde/RIO
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"Skewered blasts of noisome, Red metal shatters through rough and tumble landscapes of shuddering percussion, ominous, gravelly basslines and wheezing synths. An all-instrumental bulldozer of an album..." – i/e

Happy Family first appeared in the early 1990s as part of the explosion of exciting, underground bands that came roaring out of Japan at that time, such as Ruins, Bondage Fruit, Tipographica and Boredoms.

An instrumental quartet of keyboards, guitar, bass and drums, they released two albums of over-the-top, metal, King Crimson & Magma influenced avant-progressive rock for Cuneiform Records in 1995 (Happy Family) & 1997 (Toscco) and then fell silent...until now!

Reforming with 3 of the 4 members of the group who appeared on Tossco:
Kenichi Morimoto - keyboards
Takahiro Izutani - guitar
Keiichi Nagasse - drums
and with new bassist Hidemi Ichikawa, 15 years later, they are back with a fantastic new release, Minimal Gods, and just as heavy and intense as they ever were and they still sound like no one else except Happy Family!

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  • The much anticipated second album from Delain is here and it does not disappoint! Its interesting to see how the band has evolved. Originally conceived by Within Temptation keyboardist Martijn Westerholt as a studio project, Delain has evolved into a full blown active band. The success of the debut Lucidity tipped Westerholt's hand and Delain became a REAL band. With Charlotte Wessels on vocals, Ronald Landa on guitar and grunt vocals, Sun Caged bassist Rob Vander Loo, and Sander Zoer on drums, Delain took the Netherlands by storm. Delain toured extensively, opening for many bands including sister band Within Temptation, and appeared at many festivals. Ultimately they became a headlining band. With that behind them they headed into the studio to create their sophomore work.April Rain is cut from similar cloth from Lucidity but different enough to hear the evolution mentioned above. Instead of the multiple guests that were featured on Lucidity, April Rain does benefit from the return of Nightwish bassist Marco Hietala who sings male vocals on two tracks, as well as world renowned cellist Maria Ahn.Martijin Westholt is clearly at the helm - the big symphonic sound is still in place. Those elements that he brought to Within Temptation are clearly evident. There is a difference though...perhaps because of Jacob Hansen's mix the sound is more focused and even grittier, crunchier (thank you Mr. Landa). Songs tend to be on the shorter side but they slam harder. Having been familar with Rob Van Der Loo's intense basswork with Sun Caged its great to see him bring that progressive element to the rhythm section. Charlotte Wessels is young but has developed into the perfect voice and face for Delain.The comparisons to Within Temptation will continue but its obvious that Delain has come up with their own sound that stands on its on.This is THE symphonic gothic metal album of 2009. Nothing will touch it. This is the North American digipak edition of April Rain - with the exclusive bonus track "Come Closer". BUY OR DIE.
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  • Redemption is one of the leading progressive metal bands in the world today.  Formed in Los Angeles, California in 2000 by guitarist / keyboardist / songwriter Nicolas van Dyk, the band features legendary progressive metal vocalist Ray Alder of Fates Warning, as well as guitarist Bernie Versailles (Agent Steel), and the phenomenal rhythm section of Chris Quirarte (drums) and Sean Andrews (bass).Redemption’s combination of heaviness not usually found in progressive metal, irresistible melodies and emotional urgency has created a unique and resonant voice for this band that sets them apart from the many clones in the genre, and which has gained them the attention of fans, critics and musicians.Through the band’s first three studios CDs (2002s self-titled first release, 2005’s The Fullness of Time, and 2007’s The Origins of Ruin), Redemption gained a loyal fanbase and garnered rave reviews worldwide from critics, who describe Redemption’s music as“one of the best progressive metal acts to emerge in the past decade” – DPRP“magical aura and incredible songwriting” – BLABBERMOUTH“it's powerful, catchy, enslaving, technical; it's the whole bunch” – LORDS OF METAL“the new star on the US prog-metal sky” – SQUEALER ROCKSAfter touring in support of Dream Theater and documenting at headlining show at tour’s end entitled Frozen in the Moment, the band returned to the studio to release 2009’s Snowfall on Judgment Day and 2011’s This Mortal Coil.Performing in support of that record, in 2012 Redemption co-headlined the world-famous ProgPower Festival in Atlanta, where the band recorded a unique show featuring nearly 80 minutes of material and staged with complementary visuals that drive home the compelling emotional impact of this band.   That performance is now being released as a CD/DVD set with additional bonus material through Sensory Records, the band’s original label.  From fan favorites such as the never-before-performed Parker’s Eyes to the crushing emotional weight of Stronger than Death, Redemption’s performance captured the special ability of its music to deeply connect with fans.  In the words of one concert-goer, Redemption’s show “was definitely the most exhausting, personal and emotional musical experience I’ve ever had.” 
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  • "In the interim between Van Canto albums, it was such a pleasant surprise to see Stefan Schmidt start up another project, this time shedding the a cappella metal he invented to incorporate more guitar and return metal to its roots….which doesn’t mean Black Sabbath, Thin Lizzy, or even The Beatles. No, Schmidt went back to the real roots of metal: Ludwig Beethoven and Johan Sebastian Bach. Joining him is recently retired and again activated drummer Jorg Michael (Ex-Every Metal Band In Europe), Sebastian Scharf (Schmidt’s former mate in Jester’s Funeral) and David Vogt on bass. The result was precisely as expected, a stunning album of metallic perfection that comes close enough to Statovarius’ “Nemesis” to make 2013 very challenging at year end.With nothing dramatic added or employment of new types of metal, Heavatar takes the power of metal and mashes it with classical (Beethoven and Bach are credited writers) without any string instrument orchestration. Sounds like a recipe for basic chicken soup, huh? Well….that may be true, but Schmidt’s secret weapon is really no secret at all: Van Canto. Try to envision the greatest band you can create and then relegate the world’s only a Capella band as your “backup singers.” What you just did was automatically make your choruses unattainable by any average band.Countless times throughout “All My Kingdoms” there are moments that evoke such feeling for a fan of power and “true metal.” There’s the incorporation of the Beethoven’s “5th” right at the onset of “Replica,” the galloping twin guitar attack of Schmidt and Sebastian Scharf during “Abracadabra” as Schmidt belts out “You accuse me, I don’t give a f**k” like the bastard child of James Hetfield and Eric Adams, and the rapid fire riff attack of “Elysium At Dawn.” Schmidt has such a commanding voice, and it is so nice to hear him come out from behind his vocal Stratocaster to shine again as a soloist.Another thing that stands out from other recent power metal releases (barring Mystic Prophecy) is the ability to sound solidly within other “euro” metal without sacrificing a deadly guitar crunch. This album is far from being happy power metal - it’s devastatingly heavy. Check out “Luna! Luna!,” a track with a punishing and pounding rhythm while the chorus soars above the crumbling earth. It’s like “Hail to England” era Manowar with Blind Guardian choruses. Speaking of Manowar, the album’s final track “To the Metal” is so over the top in metal pomp it rivals anything in Manowar’s cheese arsenal (the big difference – honesty and no bass buzz).“Opus I: All My Kingdoms” is a pure masterpiece of power metal in the truest sense of the word “power.” Though I uphold and admire Van Canto and it’s never-boring-always-brilliant material, when you add some punch the listener gets a glimpse of what truly could be like with that vocal talent over a six string. For those power metal fans that prefer more power with choruses that reach the stratosphere, this is just the gem you were looking for." - Metal Underground
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  • "Blue Öyster Cult tried a new producer on Mirrors, replacing longtime mentor Sandy Pearlman with Tom Werman, a CBS staffer who had worked with Cheap Trick and Ted Nugent. The result is an album that tries to straddle pop and hard rock just as those acts did, emphasizing choral vocals (plus female backup) and a sharp, trebly sound. But this approach appeared to displease longtime metal-oriented fans without attracting new ones: "In Thee" became a minor singles-chart entry, but the album broke BÖC's string of five gold or platinum albums in a row. The real reason simply may have been that the songs weren't distinctive enough. Much of this is generic hard rock that could have been made by any one of a dozen '70s arena bands." - All Music Guide
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  • Remixed and remastered edition comes with a bonus CD with instrumental tracks and demos."Death was unquestionably one of the, and arguably the primary innovators of the death metal genre, but it was with this album that Death truly built their legacy as one of the greatest metal bands ever. This marked a new phase for Death, turning them from a band into essentially a Chuck Schulinder solo project, with every song on this album, and all future Death albums, being written by Chuck alone. This also marked the beginning of a series of releases of rare, extraordinary quality culminating in the release of the phenemenol Sound of Perseverance, which I consider to be the best Death album, and one of the few greatest albums ever recorded by anyone. If you haven't heard any Death, that is perhaps a better place to start, but this fantastic release still belongs in any metal fans collection, and is probably my second favorite Death album.Though Death was initially a pure Death metal band, this release and all future Death releases are better described as progressive death-thrash, perhaps leaning a bit more towards the thrash side. It's difficult to say why this is, other than to say that it feels more like thrash than death, to me anyway. Though it maintains much of the increased brutality of death metal, the riffs are very thrashy structurally, and they are always clean and crisp, not blurry and noisy as they tend to be in fast death metal. As a whole the riffs come a cross as a stylistic melding of those found in Reign in Blood and Beneath the Remains. Similarly, the drumming tends to be more thrashy, avoiding the blast-beat style drumming also common to death metal. Speaking of the drumming, Sean Reinert of Cynic is a fantastic drummer, though I prefer the later work of Gene Hoglan and Richard Christy. Sean doesn't seem to have as much personality stylistically as do those 2. To his advantage, he is probably the most accomplished double bass drummer I've ever heard, with even more extensive use of them than the latter 2. He can do them incredibly fast, but still mixes up the tempos more than any drummer I've heard. The rhythm guitar work is excellent as well, some of the fastest and most technically accomplished work around. Chuck seems unable to write an uninteresting riff. The solos/leads are good, but not great, and not nearly as good as they'd become just one album later. They still have their moments, particularly on the instrumental Cosmic Sea and and Lack of Comprehension. The bass is, sadly, pretty much MIA except on the aforementoined Cosmic Sea, where he does a nice, if short solo. Chuck's inimitable vocals fit the music very well, and he writes some thoughtful lyrics.The only real conceivable complaint against this album is that other than the relatively mellow instrumental it has little variety. The intensity rarely relents, and it tends to focus on the extremely fast tempos, though every track drops down to more mid-paced tempos at leat occasionally. However, though it lacks variety, it is very consistent, with the track quality ranging from very good to brilliant. The opener, Flattening of Emotions is probably my favorite track, and is the fastest and most unrelentingly intense track on the album, though it still has a very memorable chorus. The next track, Suicide Machine, is another standout. A bit slower, though it still knows when to kick it up to speed and its got another strong chorus. Lack of Comprehension is another speedy number, with some nice stuttering, jumpy riffs and short leads thrown in as well.(It also has the best solo on the album.) Anyway, enough about the individual tracks. They all rule.Thats really about all I got to say. Truly, a great metal album. Get it."
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