Earn 1 Loyalty Point With Every $1 Spent!

Access denied

You are not authorized to access this page.
Laser Pic

customers also bought

SEE ALL
  • Ninth album from this Swedish band.  Katatonia's music shares a kindred spirit with that of Opeth and Tool.  Very much emotion driven with a dark vibe through out.  It doesn't come more melancholy than this one... "Despite being into their third decade, gloomy Swedish progressive metallers Katatonia are still producing fine work. 2009’s Night Is the New Day was heralded as the band’s finest ever album, and with prog’s increasing influence evident across the more facile end of the metal spectrum, this band is doing better than ever. Dead End Kings marks another progression for this outfit – in terms of album structure, anyway. While their previous effort was a sumptuous effort with a sum greater than its parts, this ninth album is a collection of fantastic, searching songs that stand alone as well as they do together. It’s still completely and utterly miserable, though… so very, very miserable. The cellos in opening track The Parting add solemn layers to music that is already laden with sorrow and introspection. It’s a multifarious affair from then on in. The slightly sinister Hypnone adds strength before the album succumbs to the mellow, emotive The Racing Heart. Buildings is the most resolutely metal track here. Its humungous riffs are positioned at exactly the moment where the listener may have been lulled into a false sense of security, bludgeoning guitars swelling the song’s belly with a fiercely charged beauty. There are other moments of grandiose, majestic beauty breaking up the murkiness, but Buildings is the only piece of metal you’re going to get.Dead Letters is massively reminiscent of Tool – and while the American prog-grungers remain at work on their overdue fifth LP, it’s a very welcome sound. It doesn’t last though. As with everything Katatonia do, the song wanders off into another direction, atmospheric moments splintering into sparse orchestration, Jonas Renkse’s murmured voice flying across the top throughout. <br><br>The closer is certainly the finest standalone song here, bringing Dead End Kings to a glorious and complex end. There’s no grand climax. It just fades to dust, allowing you to reflect upon yet another excellent album from Katatonia." - BBC
    $12.00
  • "As history has demonstrated, a female singer is a good way to change the landscape, or at least get more eyeballs pointed in the desired direction. And since there a few landscapes as dry as power metal, it manages to work for Polish-based power metallers Crystal Viper. On Legends, the band does manage to use every power cliché known to man (or woman), but the added element of singer Marta Gabriel gives it the apropos nudge in the right direction.Gabriel is hardly spectacular, but neither was Doro, so when she’s belting out the choruses to the valiant “Blood of the Heroes” or “Goddess of Death,” it’s easy to drop her into a band like Hammerfall, who are probably the closest cousins in terms of comparison. Gabriel also gets high marks on “Sydonia Bork,” a tender ballad that shows the Pole can do more than rasp her away through an album.Flashy Crystal Viper is not, so they’re often left to rely on the previously-done melodies and song constructs, namely the very Stratovarious-esque “A Man of Stone.” Elsewhere, the surging “The Ghost Ship,” and “Night of the Sin” are traditionally-styled PM romps, complete with rousing choruses and ample amounts of gang vocals which are the stuff that Doro made her uh, “legend” out of.Indicative of just how willing some power metal bands are in terms of playing it close to the vest, Legends won’t blow the doors off anyone, yet it’s the tried-and-true formula of simple songs, bombastic choruses, and a vamping female singer that gets the job done. Amazing what a touch of a woman will do, eh? " - blistering.com
    $14.00
  • Creation's End is the vision of New York City's Rudy Albert (guitar - from Zandelle) and Dario Rodriguez (drums).Rudy and Dario, who met in school, have been playing music together since 1999. As they grew tighter in their playing, they began to focus on writing original material. The nature of the material evolved from simple metal tunes in the early years, to more complex and mature compositions.During the summers of 2003 through 2006, Dario and Rudy convened to write music. The focus of the sessions was simply to make great music that they both enjoyed, and each summer, Rudy and Dario wrote and recorded a new demo of original material.Rudy soon took on keyboard duties in the band Until Destiny, where he met John Macaluso (drummer of James LaBrie Band, Fool's Game, ex-Ark, ex-TNT, ex-Yngwie Malsteen). After a short period of time, Rudy and Dario decided that the time was right to revisit their old material to record and release it the right way.With a newly renovated studio and producer John Macaluso on board, Rudy and Dario set out to record 8 reworked versions of songs that appeared on their demos. They were joined by the lineup - Mike Dimeo, (ex-Masterplan, ex-Riot), Marco Sfogli (James LaBrie Band), and Joey Bones (Chris Caffery, ex-Zandelle).In Summer of 2010 the band decided to have world known engineer Neil Kernon (Queensryche, Yes, Nile, Cannibal Corpse etc) mix the album.November 2010 will see the release of "A New Beginning" and marks the fruition of the album envisioned from the beginning - melodic, touches of prog, a strong sense of groove, and brutally heavy and dark. US and European tour dates are being planned, with a date at ProgPower USA in September 2011 already confirmed.
    $4.00
  • Second album of fairly generic melodic power metal from Greece.
    $5.00
  • 2nd album from this Swedish band is another fantastic effort. Along with a new vocalist the band seems to be charting a new direction for their music as well. "II = I" straddles the line between straight up progressive rock and metal. At times I'm reminded of bands like Arena, Nemesis and Flower Kings but when guitarist Johan Reinholdz kicks it into metal overdrive I hear the embodiment of bands like Pain Of Salvation and Dream Theater. Laserbeam synth leads alternate with clean shred guitar solos over a mega-tight rhythm section. Highly recommended - this disc kicks butt!!New remastered edition on Inner Wound Recordings.
    $10.00
  • "Cacophony's second (and last) effort improves on the formula established on their Speed Metal Symphony album. The brainchild of guitarists Marty Friedman and Jason Becker, Cacophony is basically an arena in which the two shredders can indulge their most decadent instrumental ideas. Their songs are as influenced by speed metal as they are by neo-classical prog rock, which makes them even more intense than many of their Shrapnel brethren. On Go Off!, the duo clean up the sound a bit and pare back the guitar excesses just a tad, allowing for a slightly more song-oriented approach (similar to what Racer X does). "Stranger" even has a decent pop hook in its chorus. Lead singer Peter Marrino adds some rather overwrought heavy metal braying and some truly ridiculous lyrics (sample: "Don't mess with a black cat/if you believe in superstition/never mess with a black cat!") which may turn off some listeners. But Friedman's and Becker's guitars are still the stars of the show here. Their preference for dissonance, odd time signatures, and unpredictably complex arrangements make Go Off! a very interesting listen at times. There are even some beautiful moments, like the outro of the title track, where the noise gives way to breathy keyboards and a lyrical solo. For a better sampling of these guitarists' talents, without the annoying vocals, check out their individual solo albums: Marty Friedman's Dragon's Kiss and Jason Becker's Perpetual Burn." - Allmusic Guide
    $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
  • "I am somewhat torn doing this review as it is one of my favorite Metal cd's, which in itself is a very brash statement and also it is Rob Halford "without" one of the greatest Metal bands in the world..... Judas Priest.During those few very sad years back in the early 90's when Halford left Priest,he formed a band called "Fight" which I think surprised everyone(including your's truly) with it's raw power and brutal almost Thrash-like Metal riffs.This was definatley not some some lame Priest cover band but it was a new way for Rob to showcase that incredible voice of his.The cd opens up with what was a staple of Mtv's Headbanger's Ball back then with the song "Into the Pit" which was a fast and furious tribute to the "Mosh Pit".The music continues to grab you by the throat and choke the life out of you and never let's you come up for air.Some of my other favorites are "Nailed to the Gun", "Life in Black" the title track "War of Words" and two absolute Thrash classics, "Contortion" and "Kill it".There is also the (Dare I say hit single..."Little Crazy").Sadly, Fight put out only one other cd but it did not even come close to the power of it's predecessor and shortly after that the band called it quits. Over the next few years Halford tried a few other projects but none of them had the "Balls" of "War of words".A few years laterHalford and Priest resolved their differences and Priest was reborn,Badder than ever.I strongly recommend this cd to any "real" Metal fan,especially the younger one's which may not have known that Rob Halford was ever in another band besides Judas Priest.Without a doubt this cd "War of Words" scores a very HEAVY....10." - The Metal Pit
    $7.00
  • New 2CD edition features the 2007 Charlie Bauerfiend remix as well as the 2011 master of the original mix.
    $16.00
  • Raise The Curtain is the latest effort from the former Savatage mastermind.  Its quite different from the Jon Oliva's Pain project and in a surprising way.  The music has a strong 70s vibe blending elements of progressive rock, AOR, and metal.  Oliva plays all the instruments but he collaborated on the songwriting with Dan Fasciano.  From the opening roaring organ sounds you know you are in for something a bit different.  You can tell this is Jon Oliva - there are parts that will remind you a bit of Savatage but you will also think in terms of Kansas, ELP, Alice Cooper.  A mash up of styles for sure but quite well done.  A friend who heard an advance copy summed it up perfectly: "A fun album".  This is the first pressing that has one bonus track.  Grab it while we got 'em.
    $15.00
  • "The news of Angela Gossow stepping down as the front of ARCH ENEMY is still fresh as the band launches their latest album, "War Eternal". The new record features THE AGONIST's Alissa White-Gluz on the mike and former ARSIS guitarist Nick Cordle, who gets his first album representation following the 2012 departure of Christopher Amott.Change often sucks, but hardly in this case. The new blood in ARCH ENEMY has propagated a tremendous creative spark in Michael Amott. Simply put, "War Eternal" is the best ARCH ENEMY album in years. Though Angela Gossow held her post with honor, the songwriting under her tenure fell into a script that's observed on occasion here, but stepped well beyond."War Eternal" captures immediate attention with an overture opening featuring harpsichord and choral lines, "Tempore Nihil Sanat (Prelude in F Minor)" before ripping straight into "Never Forgive, Never Forget". The latter yields the same structuring as most ARCH ENEMY songs during the Gossow years with bombastic thrash-grind lines melded with modified slowdowns. Overall, the song is a scorcher and it comes with guitar solos that are dealt at a zillion notes they're worth backing up.Afterwards, the title track jumps in with an excellent shredded intro and retains a harmonious curve all the way through its mid-tempo stamp. This and the gloriously anthemic "You Will Know My Name" are the closest "War Eternal" get to accessible and the strident focus of the band puts these songs at peaks of near-perfection, once again bringing active, detailed solo sections full of jerked strings and fret dances. The solo on "War Eternal" needs to be shaved by about ten seconds, but otherwise, that track is one of the most affecting tunes ARCH ENEMY's written in some time."As the Pages Burn" is completely savage on the verses, but the stepped-back choruses that make an attempt at neoclassical-based melody does the headstrong thrash a slight disservice. Still, the song's a cooker. Speaking of neoclassical, Michael Amott and Nick Cordle lead and fill the steady crusher "No More Regrets" with scales galore and the fret garnishments assume a stately flair beyond the song's gruesome double hammer and fierce breakdown. By this point, it's evident Michael Amott and ARCH ENEMY mean to outdo themselves on this album.The brief guitar interlude, "Graveyard of Dreams", is a nice set-up for the heavy thrust of "Stolen Life", which the shredding lines and Alissa White-Gluz's spit-flung delivery keep the energy level of the album from faltering. The lullaby opening to the massive "Time is Black" is the perfect opener as the song rolls through a symbiosis of classical lines and progression that jack up in both intensity and elegance.Suffice it to say, the concentration upon Bach and Mozart behind Michael Amott, Nick Cordle and Sharlee D'Angelo's intricate lines becomes a theme on "War Eternal" and the method elevates the band beyond their powers. Once more incorporating harpsichord and symphonic strings for the intro and the fills of the headbanging groove on "Avalanche", the opportunity for auxiliary grace is capitalized intuitively.The band's tireless performance on "War Eternal" is comparable to a veteran baseball team with a powerful batting lineup giving a new pitcher a seven run lead to break in with. Blue-coiffed Alissa White-Gluz can rip esophagi with them best of them and she's a natural fit for ARCH ENEMY. She possesses excellent pentameter even in ralphing mode and she sounds like a demoniac on "As the Pages Burn". It doesn't hurt to have her predecessor looming in the background as the band's new manager. Gossow must be feeling proud, if bittersweet that ARCH ENEMY hits a higher level of craft on "War Eternal" than they have in a long time. There are transitional moments in a band, but this is a veritable catharsis." - Blabbermouth.net
    $11.00
  • "2013 live album from the German guitar hero Axel Rudi Pell has been releasing product for over 25 years, but hasn't released a live album since 2002's Knights Live. On the second leg of his Circle Of The Oath tour in Cologne, Germany, the band decided to let the tapes and cameras roll and capture the action."
    $17.00
  • "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
  • "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