Restless & Wild ($5 SPECIAL)

SKU: EK39213
Label:
Epic
Category:
Power Metal
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"Accept's creative breakthrough, 1983's Restless and Wild, begins with one of the most unexpected, surprising, and hilarious mock intros ever recorded. Untold thousands no doubt furrowed their brows in confusion at the perky German folk song emanating from their speakers, only to be rudely interrupted by a scratching needle and Udo Dirkschneider's incomparable shriek, as the band launch themselves into the stunning violence of "Fast as a Shark." Not just a thrilling, light-speed juggernaut, the song was probably the last thrash metal prototype waxed in the pre-thrash era (officially inaugurated by Metallica's Kill 'Em All a few months later). Though nowhere near as frenetic, the title track and "Ahead of the Pack" are just as fierce, and despite a sudden stumble with the mediocre "Shake Your Heads" (an overtly cheesy, Judas Priest-style metal anthem, and the album's only stinker), the dramatic "Neon Nights" ends side one on the upswing once again. As for the album's second half, it's pretty much beyond reproach. Introduced by the solid "Get Ready" (another nod to Priest with its "Living After Midnight"-inspired drum intro), it builds from strength to strength with increasingly mature and melodic (though lyrically obscure) tracks such as "Flash Rockin' Man," "Don't Go Stealing My Soul Away," and the colossal "Princess of the Dawn." The latter closes the album as it began, in unexpected fashion, when its extended outro is abruptly interrupted mid-verse. The bottom line here is that this, like its successor Balls to the Wall, is an essential heavy metal album, and any fan worth his salt should own them both. But for the sake of first-time visitors, Restless and Wild is the slightly grittier, less melodic of the two. Whichever you chose, you can only win." - All Music Guide

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  • Last copies of the Brazilian digipak."Veterans in the Power/Progressive Metal scene, Brazil’s ANGRA set the world on fire right out of the gate on their debut album “Angel’s Cry” – at the time in 1992 a throwback to the classic Kiske-led HELLOWEEN era with its “Keepers of the Seven Keys” uplifting melodies and speed/ guitar harmony attack. Since that time they’ve blazed their own trail, surviving key member changes in the vocal and drummer departments as well as expanding their musical template into more of an original, Progressive Metal sound. Their eighth studio album “Secret Garden” will be another barometer test for their fans, as RHAPSODY OF FIRE vocalist Fabio Lione steps in the singer slot – and drummer Bruno Valverde slides into the percussion position. What does this mean overall for ANGRA? Will it be a step into the past- or a move into the future?After a solid 20 playbacks, this will probably be one of the favorite ANGRA records in their discography due to the quality and dynamic diversity for these 10 tracks. Those who expect Fabio to soar to high heavens solely on this record, well expand your minds because he truly delivers one of the best performances of his career – stretching out his lower and middle registers more so on this record than ever before. Check out opener “Newborn Me” and the serene ballad “Silent Call” for new facets to his range – emotionally connecting like never before. Musically you can hear a lot of the South American nuances plunging head first into more New Age/ jazz-like Progressive textures on highlight “Upper Levels”, something I would appreciate more from DREAM THEATER and helps ANGRA achieve that surprise element necessary beyond their obvious instrumental talent level.Those who desire the fast paced, double bass, scream to the sky Power anthem material, well “Black Hearted Soul” or “Perfect Symmetry” should give you the fist-pumping adrenaline workout you crave. Special guests include EPICA’s Simone Simons on the dramatic, Symphonic-laden title cut ballad and early Metal icon Doro Pesch who does a vocal duet with Guitarist Rafael Bettencourt on the heavier, bouncier “Crushing Room”. Add in a conceptual storyline that features a fictional account of a scientist seeking happiness after dealing with the tragic loss of his wife in an accident and stunning production values where all parts shine (including the bass heroics of Felipe Andreoli) and I’m sure this 49 minute record will receive consistent airplay for not just 2015, but an eternity as the best albums should.“Secret Garden” could be ANGRA’s best album to date: rich in Progressive Metal highlights but also remembering the right balance in terms of individual songwriting and melodic/hook aspects, this should be a benchmark for other bands to study and up their creative game. A great start to 2015 for sure." - Metal Temple
    $14.00
  • ""Return to Desolation" is the third album from Canadian band Moonlyght. The album features 9 tracks of progressive dark metal with folk elements, melody, symphonics & lots of atmosphere. Clocking in at 71 minutes this is Moonlyght's grandiose masterpiece! There is literally something for every metal fan on this album. For fans of Barren Earth, Ensiferum, Ne Obliviscaris, Amorphis & Wintersun!"
    $14.00
  • Not sure what needs to be said about this album - I get weepy eyed just thinking about the first time I heard it. One of the greatest progressive rock albums of all time - residing in my all time top 10. The best album Pink Floyd never made. Extraordinary, expansive space rock journeys that will transport you to another place and time. This long awaited remaster comes with two non-lp bonus cuts: "Child Migration" and "Let The Sun Rise In My Brain". Essential listening!!!Please note this disc incorporates EMI copy control technology which seems to allow you to do whatever it is you would normally do with a CD but you can't rip it. Bummer.
    $13.00
  • Second album from this Danish band that blends European and US power metal influences all whipped together at a breakneck pace.
    $10.00
  • I've always been disappointed that Avalon broke up. Eurasia was one of my favorite Sensory releases and vocalist Chity Somapala was one of the main reasons. After kicking around with a number of projects he has put together a new progressive metal "supergroup" of sorts that has the earmark to be something really special. Red Circuit was put together by keyboardist Markus Teske, a producer who has worked with Vanden Plas in the past. He enlisted Chity to sing. The music is a great blend of melodic prog metal that will appeal to fans of Vanden Plas. Special guest guitarists include Patrick Rondat (Elegy), Stephan Lill (Vanden Plas), and Stephan Forte (Adagio). This will be one of 2006's best prog metal releases.
    $6.00
  • "S.U.E. finalized their 2nd effort, "Anima", which is a strong follow up to the debut, showcasing the band from their finest side. The album was recorded by Charles Massabo during the summer of 2006 in Coxinhell Studio Studio and Kallaghan Studio in France and was mastered at Jailhouse Studios in Denmark by Tommy Hansen, giving the music of S.U.E. the extra powerful touch that is needed in today's music market. Artwork was this time around handled by Bjoern at Killustrations Media in Germany (www.killustrations.com). The album was released in May/June 2007 by Replica Records in France and through Sensory Records in the rest of the World. 2007 also saw the band open the ProgPower Scandinavia festival, which took place in Copenhagen, Denmark. The response from this show was so great that ProgPower USA festival decided to book the band for their edition, and in October 2008 the band hit the stage in Atlanta, Georgia, where they also introduced the audience to the newest SUE member, drummer-extraordinaire Christophe Briand. With some successful gigs under their belt, the band found time to write and record their third album, "Unreal", which will be released worldwide May 19th 2009 by Sensory Records. The new album sees the band adding another notch to their already spectacular music, which best can be described as technical and melodic metal, possessing a top-notch progressiveness, that can be compared to bands such as Dream Theater, Pain Of Salvation and Fates Warning, but filled with an incredible intensity and an original identity of their own."
    $13.00
  • "Three years after Ai, Taiwanese symphonic power metal band Seraphim is back in strength with the well-titled Chinese language record Rising, which was also released with English lyrics to the international market one year later. A lot of things have changed between the third and the fourth (and up to now, last) records from the band. Guitarist Lucas Huang, drummer Simon Lin, bassist Jax Yeh and even singer Pay Lee left the band for numerous reasons. Band leader Kessier Hsu was responsible for guitar and bass duties on this release. The new singer Quinn Weng had joined the band back in 2004, and new drummer Van Shaw completed the trio in 2005. Bassist Mars Liu only joined the band shortly after the recordings in 2007, while second guitarist Thiago Trinsi from Brazil came to the band in 2010.Despite all these changes, the fourth record is typically Seraphim, with all the trademarks that distinguished the first three records, and only a few minor differences. The clean male vocals and death growls are less present on this release, and the music focuses on the vocal duties of new singer Quinn Weng. She had quite a difficult task in replacing the unique and powerful voice of Pay Lee, but does a very solid job. Her vocals are very grounded, but nevertheless variable. They are less operatic and spiritual than those of her predecessor, but I think she appeals to a wider audience, as her vocals rock more and fit more neatly into the power metal genre. This being said, the new record has less symphonic elements and focuses on more power metal sounds. The songs have become faster and heavier than ever before, and the drumming in particular is a killer on this release. Just listen to an energizing song like “Spring Wind” and you will understand what I mean. The music makes me think of the Liechtenstein gothic metal outfit Elis or Germany’s Xandria at times.The softer tracks are much less prominent on this album, but once they finally appear they are very strong. “No More” is a dreamy and transcending rock ballad with some commercial potential (and I mean this in the most positive way). The track has an amazing guitar solo, but it’s the calm parts that make me think of a symphonic new age epic. Let me add that Quinn Weng gives her best performance of the record on this track, truly equaling Peggy Lee. She sounds almost as heavenly as her predecessor did, but adds her very own touch upon this track that sends shivers down my spine. This song is definitely one of two highlights of this release, and also one of the strongest tracks in the band’s entire discography, as far as I’m concerned.My personal highlight of the record is nevertheless an epic symphonic piece that goes back to the style of the previous records and takes it to a new level of greatness. The stunning title track “Rising” is easily among the best of Seraphim’s catalog. In almost ten minutes, the song never gets boring, and features very elaborate song writing with catchy parts and diversified changes, as well as folky passages and heavier instrumental parts with tight riffs. This track is a firework of diversity and an absolute must-hear anthem for fans of gothic, power, and symphonic metal alike.In the end, this record is generally much heavier and obviously power metal-oriented than previous releases. Gone are most of the heavenly symphonic elements, but Rising is a lot faster and really rocks. Despite this new direction, old and new fans alike should be kept happy, and funnily enough, the two most outstanding songs are the ballad and the self-titled epic. The new line-up sounds fresh and promising, and I still hope for a new fifth release that might arrive in coming years. The band members are now living all around the world in Canada, Iceland, and Taiwan, but they are bound to meet again this year, and will hopefully work on new compositions. I will certainly keep in touch with Seraphim, and suggest that you do so as well, as well as (re)discover their back catalog while we wait for new things to come!" - Black Wind Metal
    $13.00
  • Let me preface my observations of the CTTE remix by saying that I don’t put these classic albums on a pedestal.  If they can be sonically improved while remaining faithful to the original mix and maintaining musicality and the emotional content then I’m all for it.  In general I liked what Steven Wilson did with the King Crimson catalog.  I was particularly impressed by his reconstruction and resurrection of Lizard.  When I heard he was tackling the Yes catalog I was hopeful because if there was ever a band that could use some sonic wizardry its Yes.  Eddy Offord was never able to bring the magic to their mixes that he was able to give to ELP.So how did Steven Wilson do with CTTE?  I can only use one word to describe the new mix: “transformative”.  CTTE was an album cobbled together from various bits and pieces.  Its widely acknowledged to be the band’s best album (its certainly my opinion) but in terms of sonics it fell victim to the “too many cooks” syndrome.  The original mix was a bit of a mess.  Its all changed now. The one thing that is immediately apparent is the foundation provided by Chris Squire’s bass.  It reaches the pits of hell and if Mr. Wilson is going to take this approach with TFTO and Relayer he’s got my vote.  In general there is a veil of schmutz that has been wiped away.  All the instruments have more clarity and focus in the soundstage.  “I Get Up I Get Down” was chilling.  I found the soundstage consistently extended beyond the boundaries of my speakers.  The mix is warm, involving and there is a balance among the instruments that I found lacking in the original mix - primarily because of Squire’s bass being given a shot of adrenaline.  Jaw dropping stuff.  The bonus track of “America” had exceptional, dare I say audiophile sound.So the obvious question is - what sounds better - this mix or the SACD?  I dunno.  I can’t find my bloody SACD to compare…but here is my memory of the SACD.  When I got it I played it through.  It didn’t overwhelm me or disappoint me.  My thought was “its fine...it is what it is - this is the best it will ever sound in the digital domain”.  I was wrong.  BUY OR DIE! FORMAT: 1 x CD/1 x DVD-ACD:1  Close to the Edge2  And You And I3  Siberian KhatruBonus Tracks:4  America5  Close to the EdgeDVD-A:– Album mixed in 5.1 Surround from original multi-track sources.– New Album mix – Original Album mix (flat transfer)Both in High Resolution Stereo– America original & new stereo mixes & 5.1 & in High-Resolution+ further audio extras• Close to the Edge is the first in a series of remixed & expanded Yes Classics• The classic album has been mixed for 5.1 Surround Sound from the original studio masters by Steven Wilson (Porcupine Tree) & is fully approved by Yes.• CD features a completely new stereo album mix by Steven Wilson• CD also features a new mix of America• CD also features an early mix/assembly of Close to the Edge• DVD-A (compatible with all DVD players & DVD Rom players) features a 5.1 DTS Mix and High Resolution Stereo mixes.• DVD-A players can, additionally, access a 5.1 Lossless audio mix (24bit 96khz).• DVD-A features the new album mix in High Resolution stereo• DVD-A also features the original album mix in a hi-res flat transfer from the original stereo master tape source.• DVD-A also features numerous audio extras in high-resolution stereo including single edits & studio run- throughs.• Original artwork by Roger Dean who has also overseen the artwork for this new edition• Presented as a 2 x digi-pack format in a slipcase with new sleeve notes by writer Sid Smith along with rare photos & archive material.“Close to the Edge” is the first in a series of expanded Yes editions including 5.1 Surround mixes, new stereo mixes & High-Resolution stereo mixes of the original music along with a wealth of extra material. Acclaimed musician/producer Steven Wilson has produced the new mixes with the approval of the band, while Roger Dean reprises his role as art director/designer of the newly issued edition, making this the definitive edition of the album.When Yes entered the studio with Eddie Offord to record the band’s fifth studio album in mid-1972, their second with this line-up, the band was on something of a roll. “Fragile”, the band’s previous album, had taken Yes to a new level of international popularity with Top Ten chart placement on both sides of the Atlantic & yielding a hit single in the USA with ‘Roundabout’. The band was now established in the major music markets to an extent that was, perhaps, unexpected given the complexity of the music Yes performed. But with that popularity came a confidence that the expansive material of the two previous albums could be taken a stage further with the new recording. Rather than consolidating, Yes chose to innovate.Recorded during lengthy sessions at London’s Advision Studios, “Close to the Edge” is that rarity in recorded music, the sound of a band & its individual members writing, playing and recording at the peak of their collective abilities. The album was issued in Autumn 1972 reaching chart highs & platinum sales status of  4 in the UK, 3 in the USA & 1 in Holland, though such statistics only hint at the worldwide popularity of the album over a period of more than four decades. The three pieces of music, the title track which spanned the entire first side of the vinyl album with ‘And You And I’ & ‘Siberian Khatru’ on side two, have remained concert favourites since release, with the 2013 Yes line-up currently in the middle of a world tour stretching into the middle of next year that sees the album performed in its entirety.The album remains the favourite among many of the band’s legion of fans, a defining recording both for the band & for the progressive rock movement. It is also one of the most successful British rock albums ever released.Since this release of “Close to the Edge” was confirmed, the various websites dedicated to Yes, Progressive rock & high-resolution audio have been very active with discussions among fans keen to hear the new mixes & the existing material in its purest audio presentation. 
    $20.00
  • "‘Luna Park Ride’ is a documentation of TARJA's solo live skills and is definitely a collector's piece. TARJA performs her songs sovereignly live on stage, whether they are solo songs like the powerful ‘I Walk Alone’ and ‘I Feel Immortal’ or even some NIGHTWISH songs like ‘Stargazers’ or ‘Wishmaster’ - she always gets the crowd going with her flesh-crawling voice and this record might be also of interest for old NIGHTWISH fans who still mourn her leaving of the popular Finnish symphonic metal band as she remained in a similar field musically, being more rock and less epic than the band that made her famous, though.If you're looking for new material you're barking up the wrong tree but if you've ever been to a TARJA live show and loved it, this is a great way to keep the memories alive. ‘Luna Park Ride’ consists of two CDs, featuring a recording of her live show in Buenos Aires' Luna Park and recordings of various festivals she performed at in Europe. It was mixed by Tim Palmer who has found the perfect balance between keeping the recordings organic and polished." - Reflections Of DarknessCD101. Dark Star02. My Little Rhoenix03. The Crying Moon04. I Walk Alone05. Falling Awake06. Signos (Soda Stereo Cover)07. Little Lies08. Underneath09. Stargazers10. Ciaran's Well11. In For A Kill12. Where Were You Last Night –Heaven is a Place on Earth – Livin' On a Prayer13. Die Alive14. Until My Last Breath15. WishmasterCD201. In For A Kill @ Masters of Rock 201002. I Walk Alone @Master of Rock 201003. Archive of Lost Dreams @ Master of Rock 201004. Crimson Deep @ Masters of Rock 201005. I Feel Immortal @ Summerbreeze 2010106. The Siren @ Summerbreeze 201107. Until My Last Breath @ Summerbreeze 201108. 500 Letters @ Ekaterinburg 201409. Damned & Divine @ Ekaterinburg 201410. Neverlight @ Ekaterinburg 201411. Anteroom of Death @ Wacken 201412. Never Enough @ Summerbreeze 201413. Die Alive @ Summerbreeze 201414. Victim of Ritual @ Summerbreeze 2014 
    $15.00
  • "Power metal has always been as fun as it is ridiculous. I may be overstepping my bounds, but if any bands care to disagree, let their dragons smite me where I stand. Dark Moor has been around since, what feels like, the beginning of time. Actually, it was closer to the late '90s when _Shadowland_ was released. Since their glorious debut into the golden halls of classical influenced power metal, the band has gone through serious line-up changes, including the 2003 departure of vocalist Elisa Martin. I would say that Dark Moor has changed drastically since 1999, but then again I would be overstepping my bounds. Fans have been divided over Martin led Dark Moor versus the new line-up with rich tenor Alfred Romero taking vocal duties. _Ancestral Romance_ is the band's eighth album, continuing the tradition of making music which sounds like battle themes for "Final Fantasy" games. _Ancestral Romance_ travels down well worn paths dug and paved by Blind Guardian, Helloween and Stratovarius. In fact, Dark Moor does nothing which breaks tradition with European power metal as well as previous releases. Despite its conceptual shortcomings, _Ancestral Romance_ does everything it should, at the right time and with the level of energy which soars straight through a vaulted roof.Stark realism hasn't always been a popular subject for power metal, as most albums are dedicated to high fantasy and various forms of speculative fiction. _Ancestral Romance_ deviates slightly with its pastoral paintings dedicated to Spanish folklore. If I could describe a song as framed and gilded in ornate gold, I would. While there is some historic truth to many songs, the level of fiction present is enough to make Rhapsody of Fire blush. Everything is inspired by actual events, and those events have been dramatized, exaggerated and heavy diffused. There are some obvious Spanish songs, such as the Don Quixote ballad " Tilt at Windmills", while others are more specific, like the Rodrigo Díaz de Vivar centered "Mio Cid". The Spanish Golden Age is usually not a popular period of inspiration, however, "Ah, Wretched Me" and its tribute to Pedro Calderón de la Barca says otherwise. _Ancestral Romance_ reads like the syllabus to a grad level Spanish literature class. It's exclusivity and somewhat obscure subject matter makes this portion of the record a highlight and selling point.There are, however, downfalls such as the middle selection entitled "Just Rock". I would try to brush this song off as a poor translation, but anything named "Just Rock" has one unfortunate conclusion. The congratulatory nature of "Just Rock" and masculine celebration of music in general feels silly as a midpoint pep rally which no one asked for. I am not pointing any fingers, but "Just Rock" may or may not have the lyrics "You feel the beat, you get a shock / when your soul harmonized with rock". This song completely disrupts a perfect afternoon with a coerced battle hymn. Dark Moor interrupts your picnic by dragging their muddy feet on the blanket. Luckily, after this shipwreck, the album moves along swimmingly until the end._Ancestral Romance_ could also be praised for its position on tempo. Speed, for Dark Moor, isn't necessarily the end goal as with most power metal. While the ferocity of DragonForce and Sonata Artica is fun, it is sometimes treated as a technical checkmate. Dark Moor coasts at midspeed while still showing off technical prowess and unnecessary bass solos. The cruising speed of Manowar's _In Glory Ride_ and Iced Earth's _Night of the Stormrider_ worked fine in the past and works again for _Ancestral Romance_.It is hard to fault a band for doing everything with textbook style and predictable grace. Dark Moor has made it apparent they intend on skipping forward with little to no change. There is some admiration granted to an artist working through a style over the course of eight albums. Each album is another step in becoming folk heroes or possibility having their faces engraved on coins. _Ancestral Romance_ , for better or worse, is everything you expect it to be and nothing more." - chroniclesofchaos.com
    $6.00
  • "With contemporary music often looking to dissolve artificial boundaries and cross-pollinate with abandon, it shouldn't comes as a surprise to hear progressive rock groups using the same tack. On one hand, expectations often drive them to stay close to home— Yes may release new music periodically, but its live shows draw more from the classic 1970-1977 repertoire than any other. Then there's King Crimson who, while looking back to some extent, are more interested in pushing forward and creating live sets reflective of that aesthetic. New groups aren't anchored down with the dilemma of evolving while, at the same time, pleasing longtime fans interested in hearing their favorite songs. Mahogany Frog suggests, perhaps, one possible future of progressive rock, bringing together elements of electronica, ambient, industrial and jazz into the more familiar terrain of detailed, long-form writing, odd meters and neoclassicism. DO5 demonstrates what might happen if Radiohead and Sigur Rós were put into a blender with Pink Floyd, Yes and Genesis, then dropping the vocals. The end result sounds like none of them, though markers run throughout DO5—Mahogany Frog's fifth album, but its first for a label with widespread distribution. "G.M.F.T.P.O." opens the nine-song, 45-minute disc with a high energy, guitar-driven anthemic melody, propelled by drummer J.P. Perron's visceral beat and Scott Ellenberger's thundering bass. But a mere thirty seconds into its brief ninety-second duration, it enters space-rock territory, with electronics entering the picture as a series of punctuating shots segue into the eleven-minute "T-Tigers & Toasters." Ambient sounds from a variety of analog and digital keyboards, played by Graham Epp and Jesse Warkentin, build into a deceptively unsophisticated three-chord change that morphs into alt-rock as they pick up guitars for a high volume, heavily distorted power-chord theme. The simplicity turns complex, however, during the second half as odd meters and unexpected twists and turns are introduced, along with sudden dynamic shifts from ear-splitting to a near-whisper. One thing is certain, however: Mahogany Frog is a band best experienced with the volume control turned up to eleven. It only helps to make the quieter passages even more dramatic and the symphonic tinges of "Last Stand at Fisher Farm," with Epps and Ellenberger picking up trumpets for its potent theme, all the stronger. Mahogany Frog isn't a group that relies on solos to impress, but Perron nevertheless stands out, his playing on the knotty "You're Meshugah!" especially frenetic and captivating. The brief, riff-driven "I Am Not Your Sugar" may be a head-banger's delight, but it's one that expects the metal-head to pump his fist while searching desperately for the "one." Accusations of bombast tend to follow progressive rockers around, and there's no shortage of turgidity to be found on DO5. Still, it's a guilty pleasure that fans of the alt-rock scene, looking for something more challenging, may well gravitate towards. For longstanding progressive rockers who believe in emphasis on progressive, Mahogany Frog hits all the right reference points, yet is as contemporary as it gets, breathing new life into what is mistakenly considered by some to be an outdated genre. They couldn't be more wrong." - All About Jazz
    $8.00
  • Snapper edition of the classic album from 1973.
    $12.00
  • European only 2CD greatest hits set. The 2 CDs features remastered versions of classic tracks plus you get 3 unreleased acoustic tracks recorded in 2000 by Jon Oliva.
    $14.00
  • Far From Forgot is the first part of a proposed trilogy from former Enid guitarist Francis Lickerish.  He left The Enid in 1981 and wasn't heard from again until the Secret Green project from a few years ago.  This is more or less an extension of that album.  The music is very similar to The Enid - epic scope symphonic music with a rock infusion.  Lickerish plays guitar along with Jon Beedle, Hilary Palmer sings and plays flute.  There are a whole range of musicians filling out the soundscape.  What Lickerish has created is something very much akin to Mike Oldfield's Celtic influenced period.  Quite a beautiful album.  Highly recommended.
    $18.00