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Paint The World

SKU: BT029CD
Label:
Bakerteam Records
Category:
Power Metal
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"Italian Symphonic Metallers SINHERESY have an early Christmas present for you titled “Paint The World”. With how well these six combine their talents, how tight and refined each track is, it’s not easy to believe this is their first full length LP.  I seriously had to go back and check then recheck on that. These guys and girl are so good; their sound is that of a group that’s worked together for many, many years.

Alright, so SINHERESY isn’t completely new. Way back in 2010 they had a dual tracked demo. Rumor has it, they began as a NIGHTWISH cover band, though of that I am not positive. You will likely hear some NIGHTWISH undertones and influences though, The following year would see the release of their first EP named “The Spiders And The Butterfly.” Critics and fans loved these five fresh tracks, and hopes were that a full length album would be soon to follow.

Fall of 2013 would finally end the long wait, and SINHERESY would reappear with “Paint The World”. Are Symphonic Metal fans in for a treat? Definitely. Taking a slightly different approach with their sound, they mix male and female vocals throughout each song. Rather than harsh male vocals and softer female vocals, such as say EPICA, theirs offers the softer cleaner vocals from both for the most part. Vocals are by Cecilia Petrini and Stefano Sain. Their voices blend and complement each other beautifully.

Did I mention the music yet? It’s very tightly and expertly done. From the epic opening of “Last Fall”, you will know what I mean. Along with the heavy hitter “Last Fall”, favorites included title track “Paint The World” with its excellent guitar riffs and vocal changes. “Roses & Thorns” had some unexpected and wonderful vocal tweaks along with some lovely piano. What beautiful ballads both the latter and “Our Angel” are. “Breakpoint” is one of several catchy tunes, containing some varied vocal and musical changes that suit it perfectly. My ultimate favorite was “Elua's Gift” with a heavy dose of Arabic influence.

If you are a fan of NIGHTWISH, KAMELOT, EPICA, or Symphonic Metal in general, this is an album for you. As stated in the beginning of this review, it’s almost impossible to believe this is their first full length LP. As impressive as “Paint The World” is, I already can’t wait to see how they will top this. " - Metal Temple

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  • "Christianity and Heavy Metal have never really been the most obvious of bedfellows. Ever since the formation of the genre at the end of the 1960's, the relationship between Heavy Metal, in particular the more extreme variations of it, and the established Church, have been, for the most part, frosty. This doesn't mean that the two cannot come together though; There are countless great bands that have been playing great music that pays homage, rather than expressing outright hatred, to Christianity; TROUBLE, MORTIFICATION, HORDE, CRIMSON MOONLIGHT and DIVINEFIRE are the first bands that spring to mind for me every time I hear some closed minded moron quote that old, cringe-worthy and wholly incorrect adage about the Devil having the best tunes. Slovakian Power Metallers, SIGNUM REGIS, are one such band that are not only proving this phrase wrong, but are also using their knowledge of their faith to create great themes and concepts for their albums. Their last full length, for example, was based around Moses' liberation of the Israelites and their trials in the desert. This latest EP is full of the sort of classic Power Metal that many have grown to love, and it sounds amazing.This EP opens with a very solid, powerful opener, "Living Well". This is a great piece of Power Metal, with all the hallmarks of the genre; with a few harder aspects peppering the classic sound, which gives it it's own unique flavour. All this track’s elements work well together; it's really well mixed, and doesn't wander into the realms of cheesiness as some Power Metal has a tendency to, and above all, it's a great way to kick the record off. "Through the Desert, Through the Storm" treads down a much more straightforward Heavy Metal path, with razor sharp guitar lines, angelic vocals and some fairly interesting keyboard parts thrown in for good measure. The chorus is great, with some genuinely hair-raising parts that were just made for singing along to. "My Guide In The Night" is another really good piece of Power Metal with brilliant vocals and guitar work, punishing drums and some really cool keyboard sections. The fourth track, "Come and Take It", is perhaps the most straight forward Power Metal song on here, with plenty of great hooks to keep the listener interested. The penultimate track, a re-recorded version of "All Over the World", sounds even better for having been redone, and sits very well among the bands newer material.  "Vengeance Liar", which closes this EP, is perhaps the strongest song on this record apart from "Through the Desert, Through the Storm", and has a really cool, classic Power Metal sound with some genuinely inspired guitar playing and really spectacular vocals to match. It sounds awesome, and is a very good high note to end this record on.This EP is very good. Anyone who loves Power Metal will most likely enjoy this. This sounds like a band that have honed their style and perfected their image, now ready to take their music to the world at large. I'd highly recommend this EP, and indeed the rest of this bands awesome back catalogue, to anyone who loves, powerful, uplifting Metal music." - Metal Temple
    $10.00
  • Die-cut digipak edition."One thing already in the beginning. Dark Age continues with their change. If this is good or bad each of you have to evaluate personally.  I like the new album, as well as I liked their more death metallic history. The guys from Hamburg are more and more filling a gap between Linkin Park (70%) and In Flames (30%). That will say, that there are still some, almost hidden, death metal part in some of the songs, but the melodic parts are still increasing and the usage of keyboards became more. In that sense “A matter of trust” is a logical next step following their 2009 album “Acedia”.So what is, next to ‘change’, the consistent factor. Dark Age are still writing good songs. The songwriting quality didn’t change. And the band also comes up again with a very good production – maybe it’s even too perfect in the sense of being too clean.The album starts with “Nero”, a song which represents the album in a good way. The song is very melodic, and a great chorus. In the verse I was even party reminded to Simple Minds with some rougher guitar work. “My savior” makes use of the same pattern, but increases intensity towards the end.Songs like “Out of time”  and “Fight” show more the history of the band. The remind me in parts to the “Dark age” album.  “Dark sign” is a good mix between old and new. It combines old trademarks with a dark atmosphere.And than there are a few very keyboard focused tracks on the album. Songs like “Onwards” are probably not even metal anymore, even though I like it. But the guitar is pushed very much to the back and the keys are dominating the scene.“A matter of trust” became a good album. But it also needs an open mind to enjoy it. If you got over the fact that the album didn’t became another “Dark age” you will have a enjoy what you hear. If you’re deeply rooted in death metal I would recommend to go for the new Master album instead." - Markus' Heavy Music Blog
    $15.00
  • "Fair to say their name is still as dislikeable as it was when we covered their excellent album Eight Pieces, One World album two years ago but musically the Belgian metallers still rock the juices out of us as proven by new encounter Odd Memories. Max Pie fills their third album with all the essences which made its predecessor a surprising and compelling proposition but it is with bigger and bolder imagination and creative energy. We are no major heavy/power metal fans here to be honest but once again Max Pie has given us one thumping and rousing time.The band was formed in 2005 by vocalist Tony Carlino taking inspirations from bands such as Symphony X, Van Halen, Toto, Queensrÿche, and Dream Theater into their emerging ideas. A slightly unstable time in personnel graced their early years before Max Pie released debut album Initial Process in 2012. Fan and critically acclaimed it was surpassed by Eight Pieces – One World a year later in presence, sound, and praise. Its release was followed by the band playing numerous festivals and undertaking tours with the likes of Symphony X, Evergrey, Fates Warning, Avantasia, and Queensrÿche. Now they return with, as the last album, the Simone Mularoni mixed and mastered Odd Memories and simply their finest, most inventive proposal yet.The album opens with its title track; an instrumental ripe with a foreboding atmosphere and epic textures all cinematically imposing on the imagination. This type of beginning is becoming a common practice across varied metal offerings but when done right, as here, it makes a potent invitation into any release. As the track slips into the following Age of Slavery, a sizzling electronic coaxing colludes with rampant riffs and a melodic embrace of keys. The thick commanding rhythms of drummer Sylvain Godenne shape and invigorate the track further, framing the growling vocals of Carlino perfectly. The frontman’s diverse delivery is as magnetic as ever, some elements more powerful and potent than others but like the music, a constant lure that likes to stretch and push both song and musician. As the guitar and keyboard craft of Damien Di Fresco builds and expands its enterprise, the track blossoms into a sturdy and fiery encounter to really kick things off.It is also, in many ways, a relatively straight forward and maybe expected proposal from the band, the new exploration showing itself more from Odd Future on. Keys breed the first mesmeric caress on the third track before guitars and the wonderfully dark throated bass of Lucas Boudina bring their hues to the emerging and stirring landscape of the encounter. Once vocals join, the song settles into a melodic roar and sonic flame of melodic and heavy rock ‘n’ roll, their union a heated and tenacious arousing of ears and thoughts veined by sparkling, and at times understated temptation from the keys. It is when things go off kilter with a glorious stretch of discord kissed invention and melodic bedlam that the song really comes alive and if there is any moan it does not play in this great moment long enough.Promised Land opens on a vivacious escapade of keys quickly encased in storming riffs and rhythms, it all quickly blooming into a virulently contagious slice of rock pop with classic metal and progressive rock hues. It has single running through its potent craft and lusty veins, every second of the track a bold and rousing incitement for body, voice, and emotions. Such its power and lure, it gives next up Love Hurts a hard time trying to follow it, and as mesmeric in melodic beauty within tempestuously emotional and physical terrain that it is, it never quite finds the same full-blooded personal reactions as its predecessor. It is undeniably superbly crafted and woven though and does leave only fully satisfied thoughts before the darker, ravenous excellence of Don’t Call My Name takes over. The guitars alone are predatory with their creative rummaging of the senses whilst the keys float with celestial temptation above them and the uncompromising rhythms spearing it all. Reaping the ripest elements of technical and progressive metal, band and track pulsate as they gnaw on ears, adding melodic and harmonic balm to the increasingly irresistible voracity on offer. With Carlino also on fine form, the track is the pinnacle of the album, reason alone to eagerly approach Odd Memories.The acoustically brewed Hold On slips in next to transfix and from a slow start to its persuasion grows into a big favourite. Whether by chance or intention, it has a Bowie-esque essence to it, a floating whisper in quieter moments which does it no harm. It is a scent soon out flamed by vocals and the sonic blaze giving the song rich crescendos and a breath-taking finale before Unchain Me takes the listener on another tumultuous ride of rugged metal and tantalising electronic adventure.No prizes in guessing some of the scenery within Cyber Junkie, its electronic and industrial endeavour a potent spicing to another song offering a compelling fusion of bestial metal and melodic flirtation, the former steering the ship with invigorating success. As Don’t Call My Name before it, the track is a masterful web of varied and diverse styles in one predacious provocateur, thoughts of bands from Anthrax to Armored Saint, Dream Theater to Skyharbor coming to mind across its exciting and again show stealing soundscape.The album is finished by The Fountain Of Youth, a song which either a raging storm of a canter or a gentle caress enthrals and sparks only the keenest attention and support from ears and emotions. Like a couple of other songs it takes longer to get all of its hooks inescapably entrenched but with its additional symphonic elegance and emotively hued strings, the song has seduced long before realisation notices.Wrapped in the excellent artwork of Didier Scohier, Odd Memories and indeed Max Pie have caught us again with a tempest of sound and invention driven by craft and passion. This time it is bigger, more adventurous, and confirming the band as one of progressive power metal’s finest." - The RingMaster Review
    $15.00
  • THIS NORTHERN VIRGINIA BASED BAND is a three-piece at heart, musically rooted in the raw energy and rhythmic interplay of RUSH and KING’S X. Fans of dark, guitar-driven rock bands from ALICE IN CHAINS, DEFTONES to the contemporary metal riffing of LAMB OF GOD and PANTERA, will connect to the heavy core of IRIS DIVINE’s sound. Add to that progressive complexity and moody synths inspired by DREAM THEATER and PORCUPINE TREE, and a liberal dose of memorable hooks and melodies, to understand some elements of IRIS DIVINE’s sound. And yet, the band has a distinct identity, not quite sounding like any of the aforementioned bands, and with an emotional urgency that pulls subtly from alternative and other influences.KARMA SOWN IS A TRIUMPH OF A DEBUT ALBUM, immediate and memorable but revealing layers and depth upon repeated listens."Progressive metal is in a rough period right now. The old guard are either releasing sub-standard albums that only make it more obvious how far they have fallen, or they are drastically uncool with anyone who didn't become a fan when progressive metal was first being created. Progressive today tends to mean djent, a style that has sapped all the life and humanity out of music, turning metal into a math equation of time signatures, and not songs that anyone can actually remember. There was a time when progressive metal remembered the ultimate goal of music; to have listeners enjoy the songs so much they would return to them again and again. Today, progressive metal is mostly the sort of music that could pass for muzak, if you don't turn the volume up too loud.Iris Divine wants to change that. They set out with the mission of writing progressive metal that is intricate and challenging, but still produces the kind of songs that listeners who don't have an advanced degree can love and sing along to. It's a challenge, and it goes against the tide, but it's a desperately needed revolution if progressive metal is going to flourish anytime in the near future.I knew from hearing the pre-release track “A Suicide Aware” that Iris Divide was special, and the full album reinforces the point. “The Everlasting Sea” comes out of the gates with plenty of tricky riffing and unusual rhythms, but they lead into big melodies with strong hooks and vocals. Their progressive playing isn't meant for show, it's a tool used to set a tone that juxtaposes with the more melodic moments. Finding the proper balance between these elements is not easy, and many a band have failed miserably trying to do so, but Iris Divine doesn't. On their debut record, they show a skill some bands have spent their entire careers failing to learn.What I love most about the record is that it can be seen in many different lights. If you like straight-ahead metal, there is plenty of heavy riffing and pounding drumming here to keep you satisfied. If you like progressive music, these songs have twists and turns, and Rush-like keyboards, in enough quantity to match the djent crowd. And if you're a fan of old-school radio rock, the choruses in these songs will be music to your ears. Keeping all three of these in mind at the same time can be tricky, but it's worth the effort.For being a trio, “Karma Sown” is a massive sounding record. The production is flawless, big and clear, without ever sounding too polished. The heavy parts are heavy, the vocals are up front, and you would never believe this was a self-produced record that was crowd-funded. I can put it up against many, many of the big label releases, and it would win the fight.In fact, I can think of a dozen so-called progressive metal bands that should immediately hand over their label contracts to Iris Divine, because it's a crime that a band that is advancing progressive metal in the right direction doesn't have the backing of one of the labels. Not to name names, but this album would be bigger than half of the progressive metal released this year if it had the media push behind it.In case you haven't noticed, what I'm saying is that “Karma Sown” is a fantastic debut, and the future of progressive metal. Iris Divine isn't a Dream Theater clone, and they're not djent. What they have done is integrate all the strains of progressive metal into a singular sound, one that could set the standard moving forward. If every band sounded this good, progressive metal wouldn't need to be underground. “Karma Sown” is the best progressive metal album of the year, bar none." - Bloody Good Horror
    $6.00
  • "On 'Possession', CRYSTAL VIPER decided to cross the borders of Traditional Heavy Metal, and while the fast and melodic songs bring references to such classic bands as Judas Priest, Black Sabbath with Ronnie James Dio or Jag Panzer, the epic and dark parts bring comparisons to acts such as Candlemass, Mercyful Fate or even Bathory. The album's artwork, made in a very classic and old school Heavy Metal style, has been painted by Michal Oracz, the famous Polish author of RPG and board games (incl. the world bestseller Neuroshima), and includes many impressive details which will be noticed by fans after listening to the album. Produced by Bart Gabriel (Sacred Steel, Sabaton, Burning Starr)."
    $15.00
  • My Soliloquy is a British band formed in 2002 by multi-instrumentalist Pete Morten.  Since then the band has released a number of demos, gaining traction in the metal underground. The band had a number of notable support shows with Pagans Mind, Power Quest, Oliver and Rick Wakeman, and Threshold, as well as a second-to-headline set at Bloodstock 05 and a showcase at 2007’s ProgPower UK II.Since 2007, Morten has been an active member of British prog metal legends Threshold.  His membership has raised awareness (and created anticipation) for My Soliloquy’s long awaited debut.The essence of My Soliloquy is pure forward thinking metal – symphonic keyboards, shredding guitar leads, soaring vocals – all finely woven together with a blend of intricacy and melody.  The Interpreter was mixed and mastered by Rob Aubrey who has been a mainstay of Marillion’s camp for many years.
    $5.00
  • "Archer are a hard rock/metal trio from Santa Cruz, California, consisting of Dylan Rose (guitar, vocals), David De Silva (bass), and Keyhan Moini (drums), with their third album Culling the Weak set to be released by Metalville Records. Though these guys are still pretty young, they've toured with the likes of Doro, HellYeah, Black Label Society, and are soon going out on the road with Annihilator, so the experience they are getting is surely helping them out in every way. Culling the Weak is an enjoyable platter of metal, compact with 8 catchy tunes filled with crunchy guitar riffs, blazing leads, pinch harmonics galore, powerful bass, and nimble drumming. Can't ask for more than that!Rose is pretty much the focal point, his inventive riffing seeming to draw inspiration from Iommi, Wylde, Dimebag, Mustaine, and Rhoades, and while his vocals aren't necessarily the strongpoint of Archer's sound, his gruff style more than fits the bill. Memorable riffs and a sizzling solo drive the anthemic title track, while "Belief" and "A World of One" feature can't miss melodies and arrangements that are almost like a meeting of Thin Lizzy & Black Sabbath. Other hot tracks include the raucous "Dawn of Dilution" and closer "My Atrocity", the latter featuring some lovely acoustic guitar during the intro and then loads of heavy riffs, gymnastic rhythms, blistering lead guitar, and passionate vocals.Overall, Culling the Weak shows a trio that is firing on all cylinders and ready to be taken seriously on the hard rock & metal circuit. With just 8 songs, this one doesn't wear out its welcome or contain filler, just rock solid from start to finish. Make sure you check this one out and also be sure to look for Archer at a live venue near you in the very near future." - Sea Of Tranquility
    $14.00
  • 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
  • "I actually found Carving an Icon quite the retroactively blind purchase, suspiciously ironic since I had been tracking this project for quite a while and assumed I knew what to expect from Morfeus in regards to his avant-garde songwriting and abstruse, distinctive approach to the axes. From this isolated point of view, his sonic handprint is indeed all over Viper Solfa, making the unreasonably long wait for Dimension F3H’s This Mechanical World somewhat easier to mitigate since the dude has at least kept the old creative mind juiced as ever. What I wasn’t quite able to ready myself for was the remaining contributions, hardly something to just gloss over, as Viper Solfa is presented as something of a “supergroup” after all as opposed to a mere side-project.Ronny Thorsen supposedly leads Viper Solfa for all formal intents and purposes, the proclivity for many a conflagration granted by his burly speaking timbre and rousing death roars is a concerted force to be reckoned with. It can be argued that he is just another head in the pack, hardly boasting the standalone merit to turn one’s knees to jelly, but Viper Solfa isn’t done yet. The centrepiece of the band isn’t actually Thorsen, but Miriam Renvåg, whose swaying, affecting timbre opens doors unexpected for the band both conceptually and stylistically. So while I can’t feign shock now, I do recall bemused skepticism at the introduction of such audaciously disparate factors. Renvåg’s voice is very sleek and refined, with an almost pop-caliber cadre of appeals that land Viper Solfa closer to bands such as earlier Sirenia once the vocal trade-off between Thorsen is taken into account. It isn’t what I expected, having come into this project for Morfeus alone, but I certainly applaud Viper Solfa for attempting to merge sodden, opaque, death growls with avant-garde female vocal idiosyncrasy.With nearly all preconceptions espoused by this point, and with Renvåg’s quivering and psychedelic banshee wails taking their mental toll, I realized that there are plenty of parallels that can be drawn between Dimension F3H and Viper Solfa. Symphonics are used sparingly and as punctuation as opposed to the primary arsenal. Morfeus is basically the main songwriter here, and he is still shipping out crunchers of high order in the modern black/death format he began employing in earnest on Legacy of Evil during his waning years with Limbonic Art. In fact, the hard-lined, basal distortion sounds very similar to that record, and as the rollicking, flighty webbing of tremolos grow thicker and denser, Carving an Icon hammers out a welcoming mat to the most unexpected clientele.This ends up being the album’s tripping point, however, as far too much time is spent grooming vocal melodies that sound almost shoehorned in just for the sake of keeping the singers occupied. Thorsen’s petulant rasp gets one-upped by Renvåg’s (sometimes sorely overacted) caterwauling, and the end result borders on the monotonous more often than it should. The band still makes a good show of their missteps, what with a dense, abysmal grandeur pervading the nether reaches of what is honestly a relatively compact and easy listen on the whole, but these shortcomings remain. Carving an Icon may not be a masterpiece, or even the best outlet for all of the talents involved, but I can promise that it sounds like absolutely nothing you have heard lately, or likely will in the near future. At the end of the day, a neat project that delivered at least a few truly lethal numbers like “Whispers and Storms,” “Deranged” and most notably the floods of choppy, aggrandized viscera that embody the aptly-titled “Vulture Kingdom.” My expectations are not in line with the norm due to my familiarity with Morfeus’ back-catalogue, so take of this what you will, but Carving an Icon got more than a few spins out of me."
    $7.00
  • Second album from this New York based prog trio.  The band is heavily influenced by early period Rush but elements of Yes and Kansas pop up as well.  The album highlight is the near 18 minute epic "The Eternal Spring".
    $11.00
  • "Kenny “Rhino” Earl is involved in two projects this year (so far). One is the new metal super group Death Dealer with Sean Peck, Stu Marshall, and Ross the Boss, offering their debut War Master. The other is this album Thundergod, the second appearance of his band Angels of Babylon.The two project are interesting juxtaposition in heavy metal. The former is bombastic, punch you in the face, kick you in the balls, even coarse, heavy metal. Thundergod is more towards melodic heavy and power metal. The emphasis in the metal here is more melody and harmony, while still remaining powerful and driven.Frankly, this is the more favorable, and accessible, of the two projects. For one thing, against the Death Dealer project and for AoB, you won't feel a need to take a break from this album because it's sledghammering your head into mush. Rhino takes a different approach in his songwriting, persuading you not only with metal, but a hard rock groove and an abundance of overt uncompromising melody. You get this throughout, but welcome, notable and enjoyable in Sondrio, Queen Warrior, True Brothers, or the racing metal rocker, Bullet. Sure AoB can get rougher, heavier, with The Enemy or King of All Kings, but it's never at the expense of good melody. This formula allows for some songs to develop into anthems with an epic feel with Redemption and Turning the Stone. Additionally, Rhino handles all the vocals on this album, and also adds to the timbre of the music with his melodic metal vocal style. Frankly, Thundergod is top notch melodic heavy metal. Very recommended." - Dangerdog.com
    $10.00
  • The late Michael Hedges was one of the great visionary guitarists of our lifetimes. He used tapping techniques on acoustic guitar to create a wall of sound. He was influenced by John Fahey and Leo Kottke and made us all rethink what can possibly be done with an acoustic guitar.  Introspective but addictive.  If you have any interest in guitar you need to hear this album.
    $8.00
  • "Have we reached the verdict regarding our future? Was George Orwell right? Has the big brother been watching over without us know, as if we were citizens in a global silent dictatorship? And what about the social networks, are those enough to be considered as the beginning of a certain end to our healthy minds? Too many questions and plenty of answers, maybe some would be left in the air for sure. Possibly the only thing left is tell about it, warn the commonwealth of probably future's dangers and hazards. Under the veil of melodic Metal, the Bavarian POWERWORLD created various perceptions of the future to come. Several views have been seen in movies over the years, others have been preserved for impending use, maybe to write songs about. POWERWORLD created the next revolutionary hysteria of the cyber world with their brand new album, "Cybersteria", via SPV / Steamhammer Records. Nothing too innovative musically, but this album, as the previous before it, is enough to encourage the listener to appreciate the band's profound talents for their version of Heavy Metal."Cybersteria", as the band's new album, served also a cornerstone for the change the engulfed the group. In 2011, after suffering from a continuous illness and bad health, the band's previous vocalist, Andrew McDermott, died. David Reece, known from his single work with ACCEPT and a constant member of BANGALORE CHOIR, stepped in as a replacement. Yet for the reason of musical differences, the ex-JADED HEART Bluesy voice of Michael Bormann, took charge of the vocal recordings. Furthermore, Guitarists, Andreas Rippelmeier (HEAVENWARD) substituting for Barish Kepic, and Keyboards players, Marco Grasshoff coming in for Nils Neumann, were replaced for the recording, possibly as new band members under the leadership of bassist, Ilker Ersin. In comparison to the previous "Human Parasite", this has been quite an uplifting experience, as this unified group generated a decisive, partly intricate and complex, concoction of Euro melodic, but heavy duty, Heavy Metal in range of ACCEPT or VICTORY, Bluesy furbished Hard Rock of whether 70s DEEP PURPLE and 80s WHITESNAKE, aside to a variety of Power Metal attributes of STRATOVARIUS and darkened features of EVERGREY. Not what I would call an explicit musical skirmish, but surly this particular one is a fresh air in a cool summer night."Cybersteria" enabled smooth catchiness just as the previous release, yet the dimmer veil that hovered above of the Blues created an atmosphere of something that might resemble sorrowfulness and emotional distress. One might also notice fear, especially within the theme of the lyrics, and Bormann's raspy tone of Jorn meets Coverdale tone of voice seemed to be the right choice to go along with. The album's rising star, "Coast Of Tears", is an aching, hooking, slow to mid tempo rumpus of emotional distress, a slight murky, powerful riffing and impressive vocals, reminded me a bit of EVERGREY but with a bleak PURPLE aloofness. "Back On Me" seemed endless at first, but ended up being highly articulate and melodic. Similar to "Human Parasite", POWERWORLD remained modernly produced in terms of sound, but for songs such as this one, nothing sounded as better. "Not Bound To The Evil" and "Like A Shadow" drenched in 80s Metal boundaries. Andreas Rippelmeier seemed quite capable of writing past oriented riffing. There have been several signatures of the 80s throughout the album, but these songs took me back to the hey days more than the others. The latter being a catchy speedster with an amazing main riff, a mere classic with an incredible lead guitar line, but with an even better was the vocal line. There you have it, dripping with the right volume of Blues, along with an expressional version of melodic Heavy and Power Metal, the pristine hysteria is delivered and here for your receiving and understanding. " - Metal Temple
    $15.00
  • Woodpecker is the debut release from singularly named Swedish vocalist AnnaMy (her spelling not mine).  Its a gorgeous album.  This is beautifully recorded gentle, melodic psychedelic folk.  Plenty of electricity here - most notably on electric guitar courtesy of Reine Fiske.  Undercurrents of flute and organ spice up the mix but the focus is on AnnaMy's stunning voice.  The overall sound pays homage to the greats of the 70s.  Think in terms of Trees, Mellow Candle, Caedmon, and Vashti Bunyan.  This one is a real grower.  Highly recommended.
    $16.00