The Q Music Sessions

As a promotion leading up to the band's 15th anniversary concert, Within Temptation partnered with Q Music Belgium and Netherlands.  They released a series of cover tunes - 15 in all.  This CD includes 11 of them all done up Within Temptation style:

‘Grenade’ (BRUNO MARS)
‘Titanium’ (DAVID GUETTA ft. SIA)
‘Let Her Go’ (PASSENGER)
‘Summertime Sadness’ (LANA DEL RAY)
‘Radioactive’ (IMAGINE DRAGONS)
‘Crazy’ (GNARLS BARKLEY)
‘Dirty Dancer’ (ENRIQUE IGLESIAS)
‘Don’t You Worry Child’ (SWEDISH HOUSE MAFIA)
‘Behind Blue Eyes’ (THE WHO)
‘The Power Of Love’ (FRANKIE GOES TO HOLLYWOOD)
‘Apologize’ (ONE REPUBLIC)

There is no US release scheduled at this time.

 

 

 

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  • "The story gets kind of complicated, so stick with me. In 2010, then-Iowa-based psych/prog five-piece Mondo Drag released their Alive Naturalsound debut, New Rituals (review here), which was full of ’70s-style lysergic serenity, open spaced guitars and heady vibes. It was, in short, a winner. The next year, Mondo Drag‘s labelmates Radio Moscow — who also have their roots in Iowa — imploded. It was the stuff of viral video. Radio Moscow bassist Zack Anderson and drummer Cory Berry moved home shortly thereafter, to Iowa, and got together with Mondo Drag vocalist/keyboardist John Gamino, guitarist Nolan Girard (also synth), and guitarist Jake Sheley. At the same time they were recording as the new rhythm section of Mondo Drag, Anderson and Berry were also putting together Blues Pills with Swedish vocalist Elin Larsson. That band took off, and the bass player and drummer moved to Sweden as a result, but not before Mondo Drag had recorded — mostly live — the seven tracks of their self-titled sophomore outing, which also found Gamino taking the vocalist role, using a host of vintage gear and analog tape to further play into a classic feel. After the departure of the rhythm section, the remaining three members of Mondo Drag picked up and headed for the West Coast, where swing-drummers and warm-toned bassists looking for psych rock acts to join rule the land, and in Oakland, California, they met up with bassist Ventura Garcia and drummer Andrew O’Neil, who along with Gamino, Girard and Sheley, comprise the current lineup of the band.Got all that?When you whittle down all the complexities of comings, goings and relocatings, what you’re left with is the fact that Mondo Drag‘s Mondo Drag (released on wax by Bilocation Records) captures a very special moment in the life of the group. It’s a credit to Mondo Drag that it exists at all, and not just because Anderson and Berry would go on to attain a higher profile in Blues Pills (Berry has since left that band as well), but also for the cohesion they managed to make out of all that flux. With ultra-organic atmosphere across the board — guitar, bass, keys, drums, vocals — the seven-song/35-minute run of Mondo Drag is gripping on side A, hypnotic on side B and wonderfully progressive throughout. Later moments like the penultimate instrumental “Pillars of the Sky” call to mind a wash of keys Astra might be able to conjure, but the analog spirit of the recording is relentless, and the album winds up with its own character, warm and welcoming. No need for pretense here, whether it’s the key-led fade-in and shuffle of “Zephyr” or the organ-soaked build of side A closer “Plumajilla,” which comes brilliantly to an instrumental head after swinging verses and choruses that foreshadow the sleazier side B finale “Snakeskin,” the guitars providing a highlight solo to transition into the quiet start of the build. Second cut “Crystal Visions Open Eyes” brings Gamino‘s vocals forward to create an immediately memorable impression, moving quickly through verses of subtle intricacy toward a descending instrumental finish in an early showing of how well the guitar and synth work together throughout, and of course how well that work rests atop the rhythmic foundation of the bass and drums.Some jabbing starts and stops pervade the three-minute “The Dawn,” but nothing about its garage psych roll is abrasive or interrupting the overarching flow, a boogie solo and run emerging in the midsection to help ease the way into “Plumajilla”‘s two-movement run, which in linear form — i.e. digital — makes a fitting centerpiece solid transition into the second half of the record, which slips into more exploratory material with the tense undercurrent of synth and bass on “Shifting Sands” and the interwoven lines of keys and synth on “Pillars of the Sky,” which follows, taking the best of pre-noodling progressive heavy psych and topping it with a bluesy-but-not-overdone plotted guitar lead. A peaceful mood emerges, the song in conversation with the back half of “Plumajilla,” and the richness of Mondo Drag‘s layering becomes a hook unto itself, despite no actual chorus present. Closer “Snakeskin” arrives quietly but unfolds a Doors-style throb given bluesy fervor not unlike the echoing output of Maryland’s The Flying Eyes, but perhaps more atmospherically dense. A final reaffirmation of swagger at the heart of Mondo Drag‘s Mondo Drag only makes the album more impressive, both in the actual listening experience and in context when one considers how quickly such fluid chemistry emerged between the five players involved, two of whom would soon enough be gone. As Mondo Drag was recorded in 2011/2012, and since the band has moved to the fertile psych ground of the West Coast, one can’t help but wonder what conjurations they may have come up with since these songs were written, and when those might appear and follow-up the lush but humble resonance of this self-titled. More important right now, however, is the achievement Mondo Drag managed in capturing this fleeting incarnation of the band, which will be plainly evident to any among the converted whose ears it reaches." - The Obelisk
    $14.00
  • Second album from Greece's answer to Joe Stump. Mike Dimareli is a neoclassical shredder that can keep up with the best of 'em. No idea what the Artical thing means but apparently it's part of the group name. Luckily this isn't an instrumental album - Dimareli saw fit to enlist Phantom Lord vocalist Bill Aksiotis who acquits himself nicely. Firewind keyboardist Bob Katsionis is on board offering his fair share of pyrotechnics as well. I thought shred was dead but apparently not.
    $14.00
  • Sleepmakeswaves is an Australian quartet from the Bird's Robe collective. Their stock in trade is a hybrid of post rock and post metal. All instrumental in nature the music shifts between ebbs and flows of sheets of notes. At times the music is crushing but others its languid and beautiful. Musically similar to bands like Explosions In The Sky and Long Distance Calling but with the occasional heavy outbursts that evoke Pelican and Isis. Cutting edge progressive music from an Australian band that shows signs of breaking out of Oz and trying to take over the world. Check out these guys now before they break and you can make fun of your friends for being late to the dance. Highly recommended.
    $15.00
  • What a great singer Ian Parry is. This guy simply doesn't get the recognition he deserves. He's the prototypical metal singer - great control and range. This is his fourth Consortium Project album. The lineup eschews the previous three's all-star approach. The core band is Ian Parry on vocals, plus Joshua Dutrieux on guitars as well as Ivar De Graaf on drums. There is an assortment of singers and musicians filling in the musical nooks and crannys. Dutrieux and De Graaf are the primary songwriters as well. Children Of Tomorrow is a futuristic concept album. The music is pure melodic metal/AOR. It has a real epic feel. Stick Parry's voice in front a choir and you can't help but get a big sound.
    $3.00
  • "'Symphony For A Hopeless God’ is the third album from French Symphonic Metal band Whyzdom. After two successful albums relying on the power of Symphonic Orchestra and Metal riffing, as well as on the beauty of female voices, they push their own “Philharmonic Metal” concept one step further with this eleven track release, adding an even more cinematic edge to their songs. The orchestra has never been so powerful, choirs have never been so haunting, riffs have never been so compelling and the vocals have never been so intense, ranging from pure and fragile melodies to harsh growls, all provided by mezzo-soprano Marie Rouyer. Six tracks here run in at over 6 minutes (with one over 7) and there is only one under the five minute mark, so one gets their monies worth here. This is dynamic mind blowing metal at its finest and most compelling, and I believe to be their best release to date. Tracks like the opener 'While The Witches Burn', the pounding and catchy 'Let's Play With Fire' and the bombastic and ever so slightly Progressive 'Theory Of Life' will leave you breathless and wanting more, the latter seeing vocalist Marie let rip! Whyzdom was always knocking on the door of major league female fronted metal, they have now been allowed in big time. Produced by Vynce Leff, being recorded, mixed and mastered at Powermania Studio, Paris, this is one helluva Symphony For A Hopeless God and as a consequence, is a must buy." - Ravenheart Music
    $14.00
  • 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.
    $15.00
  • Blow out price for this double live CD recorded in Karlsruhe, Germany. You get two bonus tracks from an acoustic jam. CHEAP!
    $8.00
  • Amplifier are a trio from Manchester. They are also one of the bands at the forefront of the contemporary progressive rock scene. The Octopus is their third album - an expansive 2 hour epic spread out over two discs. The band's first two albums (and EP) were on SPV. They are now working on their own. While their last album, Insider, was a bit more commercial, The Octopus finds the band in their full blown progressive/space rock mode. Pink Floyd and Porcupine Tree come to mind - not in an overt way - more so in general terms of mood and feel. Some nice heavy guitar crunch mixes with dreamy tripped out passages for a solid dynamic listening experience. One of the best things I've heard in a long time. Highly recommended.
    $21.00
  • Third and best album from this Italian band that started out in a psych/proto-prog direction. Great example of "Rock Progressivo Italiano". Long suites filled with spacey keys and slashing guitar leads. The keys really make this album - 'tron, phat Moog sounds blast into the ether. Dynamic listening experience with quiet interludes and vocal harmonies interspersed with exciting outbursts of keyboard/guitar interplay. In that respect I'm reminded of Le Orme's Felona E Serona. I've seen this album get knocked on some prog forums and for the life of me I can't imagine why. To my mind this one is a classic and a must own. Highly recommended.
    $15.00
  • "This is Magnums 9th live album and is a fitting reminder of just how good last year’s studio release ‘Escape from the Shadow Garden’ is. If you missed the supporting tour then this is as faithful a reproduction as you are going to get, my venue on that tour was 53Degrees in Preston, but the less said about that venue the better.The first 6 tracks are taken from Magnum’s last three Studio albums, opening with ‘Live till you die’ a modern classic Magnum song in the making. The opening riff to The Visitation’s ‘Black Skies’ gives the band a edger sound, Bob is sounding as good if not better than ever and what can you say about Tony Clarkin, the man is a genius.‘Freedom Day’ and ‘Dance Of The Black Tattoo’ are defining Magnums new heavier sound and the band aren’t afraid to play them live with both five string bass player Al Barrow and drummer Harry James delivery a power house of a rhythm section. Pianist Mark Stanway’s playing is as fluid and complementary as ever especially on ‘Freedom Day’ the interplay between Tony and Mark is just sublime, a joy to watch and a pleasure to listen to.‘Blood Red Laughter’ is another strong track and deserves a place at the live table as well as the slow burning ‘Unwritten sacrifice’.The second half of the set see’s Magnum delivery the classics, but there are so many of them it must be hard to choose the set list.We get the mighty ‘How far Jerusalem’ the astonishingly moving ‘Les morts dasant’, the unexpected ‘Falling from the big plan’ as it’s taken from the Escape album, then it’s back to the classic’s with the anthemic ‘All England’s eyes’ and the uber catchy “Vigilante”.‘Kingdom of madness’, off course, rounds the set and the night off. My only critisim is that the running time and the gig is a little on the short side, another couple of tracks, both favourites of mine ‘Don’t wake the lion’ which hasnt been played live since 2010, or ‘Midnight’ has’nt been played since 2008, or countless other songs would have made a wonderful gig and disc. Still, can’t wait for the next tour.I have seen Magnum live many many times over the years and they never fail to impress, and this live release is no different, it is worthy of a place in your record collection." - PlanetMosh.com
    $18.00
  • "TEMPERANCE from Italy, I had no idea who they were. Steinmetal rose to the challenge to make me open up my mind, and I am continually grateful for it. I initially felt Deja Vu, postulating that the band from Sweden had reformed. As it turns out these masters of self-control are a classy Female Fronted act comprised of seasoned musicians who have composed a myriad of delightful songs which should appeal to any fan who enjoys the soprano siren sound.I do not have too much information on individual band members, but let us assume that Marco is the one who provides the clean and harsh dual vocals. He has quite a range when he truly sings as evidenced on the closer “Relentlessly” or “Stronger” - a beautiful ballad or lullaby elevated by the lullacry of Chiara. As I mentioned there are many aspects of the Metal milieu made present. You have the “Beauty And The Beast” approach with tracks like the heavier opener “Tell Me” or “To Be With You” evoking the precedent established by NIGHTWISH, EPICA, AFTER FOREVER, THEATRE OF TRAGEDY and perpetuated by LEAVES' EYES. There are also plenty of poppy and commercial hits like “Heaven's Above”, “Hero”, “Scared And Alone”, “Lotus” and the like, all in the vein of  HALESTORM or AMARANTHE, but with just enough power and promise to also please fans who support AMBERIAN DAWN, DAWN OF DESTINY,  EDENBRIDGE, etc.Chiara's cadence is quite impressive, with a strong or impassioned enunciation and crystal clarity. Her intonations often remind me of the late Pay Lee – the soul that never dies – from Taiwan's SERAPHIM who passed in 2011. Clearly she emulates Sharon Den Adel from WITHIN TEMPTATION, as well as mirroring the magnitude of Floor Jansen. When the harsh vocals are added for effect I am reminded of Japan's BLOOD STAIN CHILD or Cleveland's soulless CELLBOUND but also the early days of the enchanting Kari Rueslåtten from Norway's own THE THIRD AND THE MORTAL. I dare you to dance to the keyboard characterized motion spray of the “Fourth Season” and see if you do not agree.Power Metal fans that relentlessly support the likes of Lady DORO, BATTLE BEAST, EDGE OF ATTACK, SINERGY, etc. will also be captivated by the lotus like mellifluous melodies of well-crafted musicianship which have plenty of orchestration, as well as modern production. The delightful ”Deja Vù” is a mesmerizing epitome' of this.So breathe in the sweet rhythms, the mellisonant merriment, the bon mot motivated lyrical suggestions, the passion, and the pleasant pageantry. Heavens above! This self-titled release is much stronger than I had anticipated." - Metal Temple
    $15.00
  • Tesseract are an incredibly talented djent metal band out of the UK. Smart guys too. There was a tremendous buzz building around the band but they bided their time, waiting to sign with a label. In the meantime they fine tuned the formula, hooking up with vocalist Dan Tompkins and took their material to the next level. The band signed with Century Media, who will release their full length debut ("One") in 2011. As a stop gap release the band put out this 27 minute suite and its a monster. The music is melodic but has a strong technical element. Tompkins sings mostly in a clean style but throws in some barking as well. Think in terms of Sikth or Periphery (but with better vocals). There is even a bit of Zero Hour tossed in there as well. This release will only add fuel to the fire of anticipation. Highly recommended.
    $6.00
  • "Temperance is back with the sophomore release “Limitless” and as predicted/foreshadowed, the album takes a more distinctive directional turn towards Amaranthe, but fortunately, with enough Delain and Italian songwriting/musicianship to balance. Over the year since the release of the debut from the musicians who were once known as Bejelit, I began padding my mind with enough psychic cushion to soften the distraction of glitzy "popcore" keyboards while straining to hear what lies beneath. Pushing aside the glitz will reveal the heart of Italian power/progressive still beating – one that produces excellent songwriting, fantastic solos and a vocalist who can actually sing rather than belt out "Cavalleria Rusticana." If you can bear the glamour and core style vocal distractions, in many ways “Limitless” is superior to its predecessor. Unfortunately, even a strong will may not be able to overcome.Let's get one thing straight - a band should not be faulted for trying to make a living. What many call “selling out” is akin to deciding that every band must cater to the whim of every listener, with no care towards the lives musicians try to lead – especially in this day and age. Temperance has molded its sound in a way to make itself globally appealing, keeping an ear to the trends that will allow the group to circle the globe and realize a dream. This doesn’t mean everyone has to like that style, just look around – there are thousands of bands that can garner one’s attention. The same can be said for Amaranthe, which has cracked the U.S. market, sadly something that Olof Morck’s incredible fantasy power metal act DragonLand has yet to do. Temperance recently cracked the U.S. market and “Limitless” will only widen the door to hopefully an east coast run.What “Limitless” presents is a formula that is currently hot: the three singer mold – one female, two male (harsh/clean) - and elements of symphonic, pop, core, Scar Symmetry-esque modern metal, all creating a symbiotic relationship. It all boils down to whether you find it palatable or not. Apparently, this works and finds appeal with a large fanbase – where fans can bounce and have their fun. I’m sure hordes of teenage fans will fall for tracks like “Here & Now” and “Save Me.” Temperance plays it so well and is actually superior to bands like Amaranthe because rarely do the Italians completely abandon their roots. Patience and endurance will reveal that the heart of Bejelit still beats. You may take the renaissance out of Italian metal, but you can never take away that neo-classical training. It still shines…just buried beneath overbearing modernization.You can hear it in songs like “Side By Side” and “Burning,” two of the best songs the band has written, the former being the favorite. Marco Pastorino is among Italy’s best guitarists (with a voice to boot) and his riffs, solos, and melody lines are as great as ever, even if they are completely slathered by techno/dance style keys. Chiara is as uber talented as she is super attractive. However, if it were up to me, nixing the keyboards completely along with the harsh core vocals would allow the real music to breathe, but surely that would undermine what the band is trying to accomplish here. Bottom line…we don’t always get what we want. Other notable tracks include the Delain inspired tracks “Amber & Fire” and “Stay," "Mr. White," and the gorgeous piano driven “Goodbye.”As far as production, “Limitless” sounds top notch and expertly mixed. You can take Simone Mularoni’s name as your stamp of auto-perfection. For fans seeking bands with supercharged pop, core, modern influenced styles along the lines of Amaranthe, Temperance plays it with more style and grace than all of them. For fans of the classical influenced power/progressive style of Bejelit – it really is still there, only entombed behind a wall of glitz for which it will take “limitless” concentration to block the distractions." - Metal Underground
    $15.00
  • "Heavy metal dudes and fools! Prepare to kneel down in obedience. Benedictum returns with the fourth album, expecting you to Obey. Yet the new album comes with some changes and also revisits earlier albums. The band introduces to new members with drummer Rikard Stjernquist (Jag Panzer) and bassist Aric Avina (ex-Tynator). Jeff Pilson (Dokken, Dio, Foreigner), who produced the first two Benedictum, returns to the nobs for this one.What has not changed one iota is Benedictum's commitment to classic American heavy and power metal. The character of their metal has always had a heavy and dark feeling due mostly to the lyrical content, deep rhythm section, and Peter Well's thick, working class, riffage. Yet these things are balanced by Benedictum's natural bent to weave melody and harmony into each song.Then, of course, there's vocalist Veronica Freeman's vocals which can range from somberness as on Cry (featuring Tony Martin (Black Sabbath ,et al)) to raging metal as on the title cut or Scream. That last song is a good example of where Freeman's vocals are on point becoming the pivot on which everything turns. Another is Evil That We Do, where the vocal arrangement has a choral quality. It's also a song where Benedictum brings more rock groove and general catchy accessibiliity.Otherwise, Obey is pretty much straight American heavy metal from the start to finish. Most time the pace is swift as with Apex Nation or Fracture; sometimes more moderate as with Die to Love You, likely my least favorite song here, and the finishing longer epic feel of Retrograde. Fundamentally, it you liked everything about their previous releases, especially the first two, you'll dig Obey and should add it to your collection. If you expected something more novel or progressive, rather than constant, then you'll be disappointed. Recommended to 'true metal' dudes everywhere." - Dangerdog.com
    $18.00