Till We Have Faces (Digipak)

This is Steve's full on forray into Brazilian music. He worked with local Brazilian musicians coming up with an interesting blend of progressive rock and world music flavors.  New digipak edition comes with bonus mp3 tracks.

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  • Its been almost 4 years since the band's phenomenal debut.  Since that time the duo of Mariusz Boniecki and Marcin Kledzik have expanded into a live gigging quartet.  I'm pleased to say that in terms of their music the band has not lost any momentum.  The same influences are still present - you will hear the imprint of Porcupine Tree and King Crimson.  The title of the album is a bit of a giveaway - this is not uplifting music.  It is filled with noir-ish, melancholy atmosphere.  Emotion filled vocals ride on top of Crafty guitarwork.  The technicality is there but you have to listen for it.  Think of a head on collision between In Absentia and Discipline and then take it one step beyond.  Clearly Pinkroom does it again.  BUY OR DIE!
    $13.00
  • "Riot has always been ahead of the curve, be it their powerful riff machine, or their unapologetic status as pioneers in the speed metal genre. I would like to take an opportunity to differ once again with the common viewpoint here, this is not “almost” Painkiller 2 years before; it is its doppelganger, at least in terms of kick ass aggressiveness and image. It is a more musical and complex answer to the thrash genre that it fathered; its spirit is that of a triumphant warrior cutting down its foes. While the heroic Painkiller soared through the sky putting fear into the hearts of his enemies, Thundersteel’s half-cyborg/half-tank body stood tall to face them on the ground.In 1988 metal was mostly known by its image, and if you judge these guys by that alone, they look like the bastard sons of Motley Crue and Judas Priest. But when Tony Moore blasts his high banshee voice into the microphone, he sounds like a crazed Viking Berserker ready to behead an army of frightened Romans. Mark Reale, the only remaining originator of this outfit, wields his guitar like a battle axe and challenges the likes of K.K. Downing, Dave Murray and Ross the Boss. Bobby Jarzombek, who is well known for his work with Rob Halford’s solo project, as well as several other bands, gives the performance of his life on here. Don Van Stavern keeps the bottom end solid and has a wicked bass intro in “Johnny’s Back”.There is never a dull moment on this album, from start to finish it grabs you by the throat and commands you to praise the Gods of Metal. Be it the fast as hell title track, which rivals anything Judas Priest has ever put out, or the more moderated Deep Purple riff monster “Sign of the Crimson Storm”, it screams metal. You’ve got an anthem of rebellion and non-conformity at warp speed like “Johnny’s Back” in the running, or the Manowar inspired heavy ballad “Bloodstreets”, which gives Heart of Steel a run for its money. “Fight or Fall” and “Flight of the Warrior” have memorable choruses and plenty of amazing lead work, all done by the original speed metal riff man Mark Reale, while “On Wings of Eagles” is a better produced version of something you might find on Kill Em’ All.We’ve got two highlights on this album, both of which are a good bit different than the lion’s share of speed driven songs on here. “Run for your life” is an upper mid-tempo crusher with tons of great lead guitar work, but it’s true charm is the chorus, which reminds me a bit of the high/low vocal interchanges that you hear on Dio’s early material. “Buried Alive (The Tell Tale Heart)” is actually a bit reminiscent of Crimson Glory’s work on Transcendence, which came out the same year that this did. You’ve got a rather odd spoken intro with a clean and somber guitar line, followed by some brilliant twin guitar soloing (all done by one guy, just the same way Tony Iommi did it). After 3 minutes of mind-blowing, we get a slow and evil sounding groove that grows into a brilliant homage to the NWOBHM, names like Iron Maiden and Angel Witch come to mind.In conclusion, this is a piece of metal history that demands to be listened to. If you are a power metal fan who lives for speed and melody, get your tight jeans wearing ass to the store right now. If you’re a holdover from the glory days of traditional metal and you don’t have it, get it now or risk having your credentials as a metal head questioned. If you love thrash with attitude, this gives the bands that carry that label a run for their money. Fans of Judas Priest, Manowar, Helloween, Running Wild, and Iron Maiden in particular will love this. There is a new power alive in the distance, carrying a fully charged plasma cannon, followed by an army of true metal warriors, and his name is “Thundersteel”." - Metal Archives
    $7.00
  • Volto is a new (but long gestating) project from Tool drummer Danny Carey and Pigmy Love Circus guitarist John Ziegler.  The quartet is rounded out by noted keyboardist Jeff Babko and session bassist Lance Morrison.  The quartet have been together for some time playing cover tunes.  They finally decided to cut some original music.  To that end they recorded all analogue and had the album mastered by Bob Ludwig.  Expect great sound.This is a blazing all instrumental effort that fits squarely in the fusion genre but with strong overtones of progressive rock...and maybe just a touch of metal.  Chops from hell are the order of the day but this is highly melodic and never seems to suffer from "toomanynotes" syndrome.  At times Ziegler turns up the crunch factor to good effect and Babko lays down some wonderful solos.  Carey is Carey...awesome!!  Highly recommended.
    $14.00
  • Remastered edition with one bonus track."A telling thing about Robert Plant at his peak is how he would sneak on-stage with Rockpile and sing Elvis songs, or how Swan Song signed Dave Edmunds when his retro-rock was about the furthest thing from the monolithic Zeppelin of Physical Graffiti. Plant always harbored deep, abiding love for early rock & roll, a fact that was often obscured by his restlessness, too, a side that he indulged on his first two post-Zep solo albums -- glistening, modern albums with a heavier debt to Robert Fripp than Little Richard. Two albums in, he switched tactics for the EP detour The Honeydrippers, Vol. 1, an unabashedly retro-rock project that hauled out five golden oldies from the pre-Beatles era and served them up authentically, or at least as authentic nostalgia. There is a certain sense of pastiche here, particularly in how "Sea of Love" is drenched in oceans of strings, far more than on the Phil Phillips original, which manages to evoke the era of lily white pop covers in a way that no straightforward cover could, but that's part of the charm of the record. Some may find this kind of pastiche a bit distancing, even campy, but there's a genuine warmth in Plant's performance, and his ad-hoc group of Honeydrippers -- including Jeff Beck and Jimmy Page in uncredited cameos -- have a great time running through these handful of oldies, particularly "Rockin' at Midnight." It may not be much more than a lark, but it's truly fun, even if it might have been slightly more fun making it than it is listening to it." - Allmusic Guide
    $6.00
  • Third album from this New Jersey symphonic rock band.  All of the band's albums are conceptual pieces based around literary works.  In fact the band's name is derived from a Ray Bradbury story.  On A Dark And Stormy Night is based on Madeleine L'Engle's fantasy novel of the same name.  The album is a wet dream for any fan of symphonic prog.  As I make my way through the album I'm frequently reminded of some similarities to Glass Hammer.  This is very keyboard driven music with a healthy amount of guitar leads.  There are even some nice Mellotron sounds popping up now and then.  These guys dream big and hit the mark.  Highly recommended.
    $11.00
  • In 1974, Jethro Tull announced plans for WarChild, a multi-faceted project that was to encompass a feature-length film, a soundtrack album, as well a new album from the band. In October of that year, Tull released a 10-song album that would climb to #2 in the U.S. and the top 15 in the U.K., but the film and accompanying soundtrack were shelved. To commemorate the 40-year anniversary of this ambitious experiment, Parlophone revisits WarChild.WARCHILD: THE 40TH ANNIVERSARY THEATRE EDITION will be available as a limited edition 2-CD/2-DVD set on November 25 2014.Highlights from the set include:- Original album and bonus tracks (three previously unreleased), remixed in 5.1 surround and stereo by Steven Wilson.- 10 orchestral pieces (nine previously unreleased) written for the film s soundtrack, 4 of which are remixed in 5.1 surround and stereo by Steven Wilson.- Flat transfers of the original LP mix at 96/24, and the quadrophonic version (with 2 bonus tracks) in 4.0.- The Third Hoorah promo footage, and footage from a January 1974 photo session/press conference where the WarChild project was announced.- An 80-page booklet featuring an extensive history of the project, a film script synopsis, track-by-track annotations by Ian Anderson, plus rare and unseen photographs.
    $45.00
  • "In 2013, Norway's ever mercurial Motorpsycho released Still Life with Eggplant, with second guitarist Reine Fisk added to the fold. It was a collection of "other songs," those written for previous albums but not recorded. Those five cuts, despite their random sources, did have another connecting thread: they reflected some of the band's earliest explorations into hard rock and neo-psychedelia as displayed on records like Demon Box and Timothy's Monster. The way forward for Motorpsycho was apparently through the lens of the past. Behind the Sun marks the band's 25th anniversary, and once again, they journey further into that back catalog of unrecorded material. Produced by bassist and vocalist Bent Sæther, Motorpsycho once more employs Fisk as well as violist Ole Henrik Moe and violinist Kari Ronnekleiv. These nine tracks are as focused as those on Eggplant and often more adventurous. Opener "Cloudwalker (A Darker Blue)" begins as something of a Baroque psych tune and unwinds into a taut dynamic rocker with the strings and multi-part vocal harmonies adding texture and force. "On a Plate" is furious, riff-driven guitar rock that recalls the unhinged energy of the band's earliest sound. Rumbling tom-toms and pulsing synths introduce the instrumental "Kvæstor (Incl. Where Greyhounds Dare)," but are quickly joined by the twin-guitar attack of Hans Magnus Ryan and Fisk. A throbbing bassline and strings drive the front as the guitars sing, churn, and shape-shift between intensity and melody. The "Hell, Pts. 1-3" is a suite that began on Eggplant. It continues here with "Hell, Pts. 4-6: Traitor/The Tapestry/Swiss Cheese Mountain." Over nearly 13 minutes, it commences as airy, twisting prog rock with blended acoustic and electric guitars, synths, and strings, all buoying Sæther's urgent vocal. While a fingerpicked vamp holds the center, tension begins to ebb and flow as stinging guitar solos, dreamy keyboard interludes, and cymbal washes gradually erect an architecture of transcendent, anthemic rock. "Entropy" reveals Motorpsycho's more subtle dimensions. At over seven minutes, it gradually unfolds with a lyric bassline, lush, layered vocal harmonies, shuffling drums and skittering cymbals, and breezy keys and guitars, all contrasting sharply with its melancholy lyrics. "Hell, Part 7: Victim of Rock" closes the set with a screaming solo guitar and drum assault over a frenetic bassline. Unhinged sonic psych effects -- loads of reverb, backmasking, etc. -- frame this labyrinthine, careening rock ride that sends Behind the Sun off on stun. After more than 20 records, Motorpsycho remain inexhaustible in their creativity, fully, energetically, in command of a musical vision that is boundless." - Allmusic Guide
    $18.00
  • "As suggested by its title, 'II' is the second album by multi-national band Corvus Stone. They continue with their merry blend of various musical influences, for an explosive cocktail of colours and sounds. Drummer Robert Wolff is now an official member of the band, while vocal duties were shared between several recording artists of Nick Katona's label, Melodic Revolution Records (later shortened in MRR). Sonia Mota, the biggest David Bowie fan on earth, was involved again for the artwork, as enchanting as on the first album.As announced in preamble of this review, this album is a festival of musical sounds, as diverse as the origin of the musicians involved. While music in general is in the field of progressive rock, it's easy to notice that the band doesn't care about labels. Progressive rock is a means to sublimate their influences rather than an end in itself. Therefore, you will hear pop (the baroque echoes of the harpsicord in the opener with beatlesque vocal harmonies, the pastoral accents of "Eternal universe"). Other popular forms of music are also represented. Let's start with blues-rock. First with the cover of Murky Red's "Boots for hire", where the virile voice is provided by none other than Murky Red's frontman, Stef Flaming, yet in a context slightly different from the original version, through its spacey keys and arabesques. Then, the blues influence is also obvious in the languid "Mystery man", with its eerie keys and reminiscences of The Beatles' "I want you (she's so heavy)" in the closing section. Rock'n'roll is there as well with the hellish "Purple stone" and a short wink to Deep Purple's "Highway star". Folk music, highlighted by the use of finnish in the lyrics ("Campfire"), has also its place in this monumental album. On the other hand, "Uncle Schunkle" with its groovy rhythms and its vintage hammond, recalls the golden age of jazz-funk. And obviously, since Corvus Stone are regarded as a progressive rock act, the instrumental "A stoned crow meets the rusty Wolff" is a piece that goes in this direction, with many rhythm changes and colourful keys. The title of the song is a pun on the drummer's name but might also be a reference to Happy The Man's humorous piece "Stumpy Meets the Firecracker in Stencil Forest". Besides those influences, some dances are honoured throughout the record: salsa ("Scandinavians in Mexico"), cha cha cha ("Mr Cha Cha"), waltz ("Early morning call" with echoes of Stranglers' "Golden Brown"), bolero ("Camelus bactrianus"), flamenco (Colin's guitar opening to some tracks). Moreover, some neo-classical interludes intersperse the album, be it in a mozartian way ("Lisa has a cigar"), or romantic fashion ("Dark Tower"). More surprising is the pastoral symphony in four movements "Moaning Lisa" (two movements in the tradition of british songs of the elisabethan era, separated by a mouth organ-lead boiling instrumental movement, and a final waltz closing the symphony).Besides the lack of interest for any specific label, the band deals with a lot of humour, never grotesque, always delivered with profesionalism. This is made possible thanks to a wide range of keyboard sounds and versatile guitar soloing, among other factors. In fact, keyboard sounds are very diverse, ubiquitous and tasty. While guitar gently weeps with touching short spastic licks, it can also turn aerial, fiery or even delve in a classical spanish realm as seen before. The presence of drummer Robert Wolff on all tracks is an improvement over the previous album. In fact, his play blends the elegance of Barriemore Barlow and the punch of John Bonham, and is instrumental in the support of the music's humorous and eclectic flavours. Vocals are diverse this time, as singers from several MRR acts were invited for the project. Blake Carpenter's high-pitch and sense of derision is tempered by more seriously delivered vocals from his mates of MRR, the whole adding to the versatility of the work.Corvus Stone are a band that don't take themselves seriously, and this aspect should be taken into account when reviewing their works. Thanks to their experience in music, a great musicianship and a sense of humour, they deliver a music that is heartfelt, not dictated by any trend of the moment, and that will put a smile on your face and certainly make your day." - ProgArchives
    $12.00
  • "ALLEN/LANDE (or ALLEN-LANDE) is a Melodic Hard Rock/Heavy Metal super group / band project formed in 2005 by guitarist Magnus Karlsson (PRIMAL FEAR, STARBREAKER) with two highly acclaimed metal vocalists - vocalist Russell Allen (SYMPHONY X) and former MASTERPLAN vocalist Jørn Lande. The band released such albums: "The Battle" (2005), "The Revenge" (2007), "The Showdown" (2010) and "The Great Divide" on 17th October 2014.Opening track “Come Dream With Me” takes listeners on the journey through the Melodic Rock & Metal world where you can find stronger melodic guitars with wonderful vocals, clear rhythmic section, catchy chorus with an impressive guitar solo which makes goose-flesh, and little PRIMAL FEAR echoes. Powerful drums and mega energetic guitar riffs in “Down from the Mountain” are truly kick-ass with amazing vocals in climate of BLACK SABBATH, AXEL RUDI PELL and memorable refrain in high style. All tracks have similar sounds to GAMMA RAY and TIMO TOLKKI songs. The energetic atmosphere of “Dream About Tomorrow” is caused by heavier riffs, SCORPIONS echoes, great solo, and keys in Power Metal style.My favourite song on the album is “Lady of Winter”, which has everything that is the best in Hard Rock and Metal music – so gentle piano opening, then heavy riffs, clear drums, fabulous memorable high chorus, and perfect worked guitars full of melody. Stunning track with rockin sounds, mid-tempo, perfect bass, slower climate, and totally in the style of JORN. Stronger riffs with gentle keys and massive JORN vocals in pathetic melodic refrain in track “Solid Ground” is perfect, also with a massive and brilliant guitar solo!The band proves that they are on high-class level in powerful “In the Hands of Time” where keys and melodic guitars have STRATOVARIUS echoes. The energetic “Reaching for the Stars” with gentle keys in the background with memorable refrain and massive sounding “Hymn to the Fallen” with mixing Heavy Metal sounds together with rockin style.Also I like very much the ballad titled track “The Great Divide” with beautiful strong voices of singers, calmer guitars, keyboards, and passionate guitar work and chorus in high style with choir in amazing slower tempo – what a wonderful sound! Another ballad “Bittersweet” has a slower rate, clear drums, piano, and brilliant singing together with climatic stronger high riffs. Sounds total perfect!ALLEN/LANDE, again, proved that they are Kings of Rock and Metal. They connect different kinds of sounds – Hard Rock, Heavy Metal with doses of melody. The band creates music with passion. Every track is a masterpiece and in each sound the experience of musicians is hear able. ALLEN/LANDE is simply a fantastic band, and their fresh CD “The Great Divide” is more than highly recommended to every lover of Melodic strong sound!" - Metal Temple
    $16.00
  • CD/DVD digipak version.  The DVD contains a "making of" documentary."It feels like it’s been longer than two years since Lacuna Coil’s last release, Dark Adrenaline, but where that album fell a little short, Broken Crown Halo feels like a true return to form for the band and this is perhaps one of the band’s strongest releases to date.Broken Crown Halo begins with Nothing Stands In Our Way, which slowly builds up into an absolute earworm of a tune and it’s no wonder that this was the track chosen to represent the album because it just has everything – fantastic vocal performances from both singers with a small hint of heaviness amongst the melody, and this wonderful heavy tone to the guitars atop of crushing drums.It’s not just the opener that will get stuck in your head however; with this album it really does feel that Lacuna Coil have crafted a whole collection of wholly memorable tracks. There’s Zombie, which features one of the best vocal performances from Andrea to date, with him seamlessly blending harsh and clean vocals together, and then there’s Die And Rise which begins with an introduction so catchy it’ll be stuck in your head for days. In all honesty, there isn’t a single track on the album that stands out as being bad.In essence, Broken Crown Halo is an exceedingly strong release from the band. It’s adventurous and fresh, whilst still retaining the classic Lacuna Coil ‘sound’ – and it’s excellent." - Soundscape
    $6.00
  • "Why was David Fricke, Senior Editor at Rolling Stone, seen wearing a huge grin on his face at 2014's SXSW festival in Austin, Texas? Well, he happened to be digging the pummeling, ecstatic vision of Norway's Hedvig Mollestad Trio at the time. Double-tracked with a ghostly haze of background fuzz, Hedvig's lightning-rod guitar blazes a trail that comes in the wake of the heaviest guitar giants -- there's Hendrix, Black Sabbath's Tony Iommi and Led Zep's Jimmy Page swirling around the cauldron, but also the exploratory, disciplined free-play of Pete Cosey, John McLaughlin and Carlos Santana buzzing out of her fingertips. Born in the Norwegian town of Ålesund in the early '80s, Hedvig Mollestad Thomassen has been steeped in the guitar since fooling around with her mother's nylon-string acoustic at the age of 10. Together with drummer Ivar Loe Bjørnstad and bassist Ellen Brekken, and recording with an 8-track tape machine, her Trio turn the full force of heavy rock and electric jazz to demonic purposes. It can be sledgehammer sludge, stoned to a crawl as on "Arigato, Bitch." Or it's nimble as a phantom on "Rastapopoulos," a dizzying churn that's named after the archvillain of Hergé's Tintin cartoons. And for the Mollestad Trio at its intuitive, ESP-connected finest, check "Liquid Bridges." "Laughing John" gestures towards the great Mahavishnu Orchestra guitarist as well as a music teacher, named Jon, who heavily influenced Hedvig's development. The album's fine balance between looseness and control follows a year of world touring, and tracks reflect such odd venues as "La Boule Noire," a former Portuguese disco in Paris whose walls are studded with bullets from a gangland shootout. Enfant Terrible follows the Trio's previous Rune Grammofon releases, the Spellemann (Norwegian Grammy) nominated All of Them Witches (RCD 2141CD/ RLP 3141LP) and Shoot! (RCD 2115CD/ RLP 3115LP) and, like label-mates Bushman's Revenge, Elephant9 and Grand General, represent a thrilling new progressive wave of Norwegian avant-rock/free-metal energy. Don't be fooled by the deceptively innocent portrait of Hedvig herself on the front cover -- a rare example of designer Kim Hiorthøy working with classic black and white photography, and an unusual departure from Rune Grammofon's familiar digipacks. Enfants terribles are a disturbance of the peace. But the regular enfants terribles make changes, they are creative, they force you to think differently. This Enfant Terrible is one of those."
    $18.00
  • This is the second album in the live series documenting the band's residency in Tokyo in April 2014.  This is a complete performance of Per Un Amico.  More in the series to come...
    $19.00
  • Produced by Nick Mason. Forerunner album of the entire techno/trance scene.
    $13.00
  • Fans of the Original Album Series box sets, rejoice: we bring unto you our latest effort, this time spotlighting five albums from the late ’70s / early ‘80s period of Jethro Tull’s discography. You will please note that this spotlight shines strictly upon the band’s studio output, which is to say that you’ll have to look elsewhere if you’re interested in obtaining a copy of their 1978 live album, Bursting Out. You may also wish to recall that there are some critics who would argue that this timeframe will literally provide you with the highest of Tull’s creative highs as well as the lowest of their lows, but, hey, everybody’s got their own opinion. (Personally, we find that there are merits to all of the albums included in the collection...but, of course, that’s just the sort of thing a label would say.)If you don’t happen to have the Jethro Tull discography memorized, here’s the quintet of albums that you’ll find in this Original Album Series set:Songs from the Wood: You’re not likely to find many fans or critics who won’t deem this to be the crown jewel of this particular collection. Although strong through and through, the album’s single, “The Whistler,” was a chart hit in the U.S., hitting #56 on the Billboard Hot 100, while the title track, always a fan favorite, found additional life after its inclusion on the band’s 1985 compilation, Original Masters. Frontman Ian Anderson has said that the album was felt by Tull’s full membership to be “a reaffirmation of our Britishness,” and it proved to be the first in what would prove to be a trilogy of folk-rock albums by the band, along with Heavy Horses and Stormwatch.Heavy Horses: Another effort which was well-received across the board, Heavy Horses was a bit harder on occasion than its predecessor…or perhaps “more enthusiastic” is a better descriptor. Either way, it’s a strong album full of lovely melodies, but it proved to be the final Tull recording featuring John Glascock on all tracks, which – given that Ritchie Blackmore once called him the best bassist in the business – proved disappointing for all parties concerned.Stormwatch: Given that Glascock was suffering from a cardiac infection while contributing to this album, an infection to which he would soon succumb, it’s no wonder that Stormwatch proved to be arguably less effective than the first two albums in the trilogy, but tracks like “Dark Ages” and “Warm Sporran” continue to have their fans, as does the album’s closer, “Elegy.”A: Let us first begin with the acknowledgment that this was originally intended to be an Ian Anderson solo album and only saw release under the Tull moniker by request of the band’s label. Once you know that, then consider the sound of Anderson’s solo album, Walk Into Light, and you’ll appreciate better understand why A is so synth-heavy. That’s not to say that there isn’t still a bit of folking out – witness “The Pine Marten’s Jig,” for instance – but if you don’t think it sounds a heck of a lot like Tull overall…well, you’re right. But at least now you know the reason for it.The Broadsword and the Beast: Probably the album in this set with the most divergent opinions between critics and fans, this somewhat conceptual effort features some of Anderson’s favorite music by the band, and there’s semi-solid ground to stand on if you feel that it provides the most successful middle ground between the folk of the band’s late ‘70s work and the more contemporary instrumentation found on A. You might love it or it might make you cringe, but you can’t say that Jethro Tull didn’t try to evolve with the times.
    $22.00