Timeless

SKU: ECM1047
Label:
ECM Records
Category:
Fusion
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Classic mid-70s fusion album from ECM. Timeless features the trio of guitarist John Abercrombie, Jan Hammer on keyboards, and Jack DeJohnette on drums. This is non-stop firepower that will satisfy any Mahavishnu Orchestra fan. Jan Hammer goes off his nut on Mini-Moog and Hammond organ. Essential.

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  • "Marked by an evident Crimso vein, both in the harmonical geometries and in general for the sound, the band proposes an instrumental formula that ranges over ethereal atmospheres and granitic tangles, a perfect synthesis of electric and electronic, in an ongoing game of references between guitars, keyboards and the sax of Leo Aries (Akinetón Retard, from Chile as well). Thanks to a solid technic and solo skills, Abrete Gandul shows the possibility of a genuinely eclectic and perfectly recognizable approach." References: King Crimson, Magma, Akineton Retard
    $18.00
  • MY BROTHER THE WIND is an improvisational cosmic rock collective consisting of members of widely known Swedish acts Makajodama, Magnolia, Animal Daydream and most notably Anekdoten, one of the more widely recognized names in the 1990s prog rock revival.Recorded live in the studio with no overdubs during a single day in January 2013, Once There Was A Time When Time And Space Were One captures the collective's progressive soundscape qualities with incredible analogue studio production. The band utilized 6 and 12 string acoustic and electric guitars, Mellotron, flute, bass, drums, congas and more to complete the task. Expect 45 minutes of the band's most succinct material to date, recorded deep in the snowy, forested, Swedish wilderness.In 2013, MBTW expanded into an even wider fanbase, having been invited to play the mighty Roadburn Festival in Tilburg, Holland, as well as at Duna Jam in Sardinia.  At the invitation of Opeth’s Mikael Okerfeldt, guitarist Nicklas Barker returned to Roadburn to perform an improv set with Dungen guitarist Reine Fiske.Those who frequent the works of Popol Vuh, Amon Duul, Sun Ra, Träd, Gräs Och Stenar, Albert Ayler, Ash Ra Tempel, Gong, Pink Floyd and other visionary, psychedelic rock artists are advised to investigate this act. "Lush and instrumental for its duration, My Brother the Wind‘s third full-length, Once There was a Time When Time and Space were One (released by Free Electric Sound/Laser’s Edge), rolls out of the speakers much easier than its title rolls off the tongue, though both title and the work itself satisfy rhythmically. The Swedish four-piece — they now seem to be a bass-less trio with Nicklas Barker (Anekdoten) and Mathias Danielsson (Makajodama) on electric/acoustic 12-strong guitar and Daniel Fridlund Brandt on drums, but Ronny Eriksson plays bass on the album — reportedly recorded live to two-inch tape on a vintage machine, and the passion they put in bleeds readily into the nine-song/45-minute outing, fleshed with liberal splashes of Mellotron courtesy of Barker to play up a ’70s prog feel in a piece like the 12-minute “Garden of Delights.” That’s hardly the only point at which those sensibilities emerge, but even more than that, the primary vibe here is one of gorgeous heavy psych exploration, the band adventuring and feeling their way through the material as they go.On peaceful moments like the title-track, which arrives as the penultimate movement before “Epilogue” leads the way back to reality — accordingly, “Prologue” brings us in at the start — that exploration is positively serene, the 12-string complemented by spacious electric tones spreading out across vast reaches, but Once There was a Time When Time and Space were One offers more than drone and psychedelic experiments. Subtly pushed forward by Brandt‘s drums, pieces like “Into the Cosmic Halo” and even “Epilogue” enact classic space rock thrust, and even “Song of Innocence Part 1,” the first part of the journey after the backward atmospherics of “Prologue” introduce, has some cosmic feel amid its echoing solos. Its subsequent complement, “Song of Innocence Part 2,” swells to life on an even more active roll, waves of amp noise up front while drums and bass groove out behind, waiting for the guitars to catch up, which they do in a suitably glorious payoff, relatively brief but masterfully engaging, setting a momentum that continues well into “Garden of Delights,” a focal point for more than its length.Because the songs flow so well one to the next, some directly bleeding, others giving a brief pause, and because later cuts like “Thomas Mera Gartz” — named in honor of the drummer for ’70s Swedish proggers Träd, Gräs och Stenar — and the title-track have a quieter take, it’s tempting to read some narrative into the shifts of Once There was a Time When Time and Space were One, but with the material not being premeditated, I’m not sure that’s the intention so much as a signal it’s well arranged. In any case, the album offers an immersive, resonant listen, with tonal richness to spare and the presence of mind to keep a sense of motion even in its stillest parts and a balance of organic elements — Danielsson‘s recorder and Brandt‘s percussion on “Misty Mountainside,” the 12-string, etc. — amid a wash of effects and swirling psychedelia. This attention to sonic detail makes Once There was a Time When Time and Space were One more than just a collection of jams, and adds further purpose to the already worthy cause of My Brother the Wind‘s thoughtful musings, wandering and not at all lost." - The Obelisk
    $13.00
  • "When Tosin Abasi released his debut solo album under the moniker ANIMALS AS LEADERS in 2009, few would have predicted the band’s meteoric rise to the apex of the progressive rock/metal world. Although Abasi earned acclaim as the lead guitarist in the Washington, D.C.-based metalcore act Reflux, it was still a long-shot that an instrumental album of progressive metal with jazz, electronic and ambient flourishes would develop anything more than a cult following.Fast-forward two-plus years to Weightless, the group’s sophomore effort, and ANIMALS AS LEADERS is revered worldwide as a trailblazing pioneer of modern heavy music. The group’s genre-defying compositions have earned extensive praise — Steve Vai called the band “the future of creative, heavy virtuoso guitar playing.” Guitar World Magazine also featured Abasi on the cover twice over the course of this album cycle, further cementing his legendary status within the current progressive scene.Now in 2014, ANIMALS AS LEADERS delivers what is quickly going to be hailed by fans and media alike as the group’s career defining release that will ultimately redefine the progressive world as we know it. This third full-length release is a bombastic, dynamic and innovative explosion incorporates elements spanning across the entire musical spectrum. It also marks the recording debut of drummer Matthew Garstka, whose technical proficiency and unique style allows Abasi and guitarist Javier Reyes the room to push their boundaries to previously unthinkable heights.Reyes states: “I think some of the new tracks are some of AAL’s strongest and musical material yet and extremely happy with how the album came out. Everyone who took part with this album (Misha Mansoor (Periphery), Adam Getgood (Periphery), Diego Farias (Volumes), and Navene Koperweis) is extremely talented and I think we’ve done a great job of capturing it onto what is now the third ANIMALS AS LEADERS album.”"
    $12.00
  • Latest in the 40th anniversary series featuring remixes by Steven Wilson.  Here is what you get:CD contains a new stereo remix plus 3 alternate mixes.  The DVD contains 5.1 remix of the album, a 24/96 and 24/48 stereo remix, the original album mix and alternate takes and mixes in 24/48.  The video content is the complete Beat Club performance and is worth the price alone.  
    $20.00
  • Limited edition import 2CD set with 7 bonus tracks!"When you made the impact that Bigelf did in 2010 with their fourth album ‘Cheat The Gallows’ and the subsequent tour, it’s inevitable that people expected the highly rated band from Los Angeles to hit hard in 2011. But instead we got an astonishing silence. However, all that is about to change with the arrival of ‘Into The Maelstrom’, a new album of melodic prog-doom that eccentric frontman Damon Fox believes will take Bigelf to new heights. “I have been reflecting on the band and pondering what it would take to get us to the next level, I believe we have accomplished this task on the new record.The last three years for Fox have been confusing and difficult, to say the least, as he found the band he’d worked so hard to establish suddenly dissipated. “I’d call our break a spontaneous hiatus. I did genuinely feel that we’d go into 2011 with an album out early in the year, and then we’d build on what we had achieved up until that point. Instead, we came to a standstill. The momentum had vanished, and it halted the band. So, I was forced into an introspective state of hypersleep and had to contemplate my future. I love the other guys in the band as brothers, and I am extremely grateful for they contributed to help get Bigelf this far. I was heartbroken when that line-up came to an end but change nonetheless was upon the band.“Forging ahead, I didn’t feel that I could get it done on my own”, Fox admits. Thankfully, he found a kindred spirit in famed drum god Mike Portnoy, with whom he’d bonded with in 2010 when Bigelf toured with Dream Theater. “We hung out a lot back then, and got very close. Mike and I discussed how similar our situations were with our respective bands going through our ‘Let It Be’ phases. This was around the time when Mike had his dramatic press-laden departure from Dream Theater. I knew Mike loved Bigelf, and he told me not to give up on it and to keep the band going. His encouragement really helped me to carry on through dark times.”"Getting the songs fully realized was something of a laborious experience", Fox explains. “In the past while I had written most of the material, I always had a incredibly gifted band to bounce ideas off of and we would often jam out to fully realize the song . But this time, I had to write, arrange and envision everything on my own. Once I got the selection of songs together, I sent the demos to Portnoy (who had agreed to play on the album). Mike is the busiest man in Prog, so the next time he was in LA, we laid down the drums at Linda Perry's studio, Kung-Fu Gardens where we did ‘Gallows’. I also wrote a song with her for the new album. The rest of the sessions and instrumentation were recorded at my home studio ITM.“I feel this album is going to prove to a lot of MP haters that Portnoy can really lay down a groove and has a serious vibe as a drummer. It’s not just about his chops and his pyrotechnic style, for which he’s known for, especially with Dream Theater. The feel and emotion in his playing on this record is really unique and it’s unlike anything else he’s done before in my opinion” Lovable lefty bassist Duffy Snowhill, who’s been with the band since 2000, is bringing his thundering Viking bass tones to the recording of ‘Into The Maelstrom’. Luis Maldonado is also climbing aboard the Elf vessel for his first trek. “Luis is a close friend who I’ve known for many years. He has his own band, Into The Presence, and works with a lot of established artists as well. Luis is a phenomenal guitarist, he delivered some really blistering leads on the new album. I'm supplied all of the rhythm guitar tracks and managed to squeeze in a few leads as well too. People usually associate me with keyboards – and there are copious amount on the album, to be certain – but originally Bigelf was founded around my guitar riffs, and it was really rewarding to be able to play guitar again from a nucleus standpoint.”‘Into The Maelstrom’ was produced by Fox (who also handles all the vocals), and believes this album proves that Bigelf are now exploring alien musical landscapes. “There’s a fresh aura and energy on there that’s completely different to our previous releases, but it also sounds like Bigelf. I view this album as being very psychedelic cinematic. It has a ‘Mad Max’ post-apocalyptic feel – a futuristic world that’s rather dirty and desolate filled with chaos and despair. The bludgeoning Sabbath guitars and “Karn-Evil” keys are still there, but the modern setting is what makes the record have a creative edge.While ‘Into The Maelstrom’ isn’t a concept album as such, Fox does reveal that there is a theme that links much of his lyricism. “It’s about traveling through time into one’s past and into the future, to experience and examine your pain and fears, in order to move forward in life. A lot of my baggage from the my travels provides the cathartic inspiration. Deep, personal feelings like the tragic death of my best friend and former Bigelf guitarist A.H.M. Butler-Jones. And my fears of mankind eventually destroying itself a la, ‘Planet Of The Apes’. I suppose the opening song, ‘Incredible Time Machine’, sums it all up.”Fox is clearly inspired and reinvigorated by the new focus Bigelf have made here. For him it’s not just about how the album sounds, but also the process involved in getting there. “Making the record has been a certain kind of journey. A few years ago I had to completely let go of Bigelf, which was painful but it came back with force and vision. As such, the music began to shape from a different perspective and I have been able to see an alternative way of accomplishing my goals. To me, ‘Into The Maelstrom’ is a genesis, a bridge between the band and a larger audience. Strap yourselves in ladies and gentlemen, you're in for a wild ride.”"
    $15.00
  • Four mammoth length drugged out tracks that will blast you off to the deepest part of the cosmos."The fifth instalment of the Cosmic odyssey on Paradigms. As as you will surely now expect, it's a potent kraut mammoth of the highest order. Four towering psych beasts inhabit this album, commanding 74 blissful minutes. You can hear one of them below.Only previously available on cassette, 'The Inner Sanctum' is now available as a luscious, limited digi-pak album, laden with glorious artwork and some of the band's hardest cuts. Only 500 of these wonders are available. THE COSMIC DEAD on top of their freak-out game, right here.."
    $16.00
  • "Once upon a time there was a guitar god who had grown bored with all his fame, riches and glory. He longed for something more than another multi-platinum selling record. He desired not simply acclaim, but respect. He knew to get it he would have to walk away from the distinctive style that made him popular and wealthy. It was a risk to confuse his band and his fans by making a radical change in his musical direction. But he did it anyway and broke up the classic version of his band, alienating much of his audience in the process.It must have seemed worth it at the time to Carlos Santana. Appearing at Woodstock had announced to the world there was a new guitar hero on the scene, a skinny Mexican who fused elements of rock, Latin, jazz and funky R&B in one soul-stirring stew. Santana delivered on the promise with a trilogy of terrific albums.The initial effort in Santana's amazing adventures in fusion, Caravanserai (Columbia, 1972), is the sound of a band uncertain of its music and its leader equally uncertain of the direction he wants to take them. Following Santana III (Columbia, 1971), it must have puzzled executives at Columbia when Santana presented it to them. While it has its definite highs, the low points of Caravanserai are very low.Gregg Rolle was skillful on the organ, acceptable as a vocalist and totally out of his league trying to fake it as a jazz musician. Rolle simply lacked the feel for this dense, hook-free tunes and soon would leave to form Journey, taking guitarist Neal Schon with him.The record is disjointed as Santana can't fully let go of the Latin rock that made him wealthy and famous. Never the strongest vocalist, Rolle sings on three unmemorable songs. The songs aren't strong and neither is the playing. You can almost feel Santana's frustration. If he were going to succeed in this new path he was on he would need something conspicuous in its absence from Caravanserai.He would need better musicians to play the way he wanted and better music for them to play. Carlos took the first step when he joined with guitarist John McLaughlin for Love, Devotion and Surrender (Columbia, 1972). Santana brought along members of his band and teamed with McLaughlin's Mahavishnu Orchestra to produce an eclectic electric guitar summit that perplexed fans, critics and record executives.Welcome solved both problems. David Brown (bass) and Michael Carabello (percussion) were already out by that time and Rollie and Schon were eyeballing the exit sign as well.Santana has always fused the spiritual with the secular and Welcome is as close as the guitarist has ever come to the former with no regard for the latter. Welcome yielded no hit singles and was never conceived as an album rock radio would play. This is Santana's John Coltrane/A Love Supreme moment: creating transcendent, reverent, passionate music conceived and executed by a virtuoso artist without the slightest trace of concern for commercial considerations.The opening drone of the two organs on "Going Home" played by Tom Coster and Richard Kermode build gradually and soar high with grandeur. Santana lays out here and frequently fades into the background entirely. He is finally secure in his own playing and doesn't have to take the lead. His new-found confidence comes from knowing he finally has a band capable of delivering the goods and they do. Welcome is every bit as much of a classic as the first three Santana albums. It sounds great nearly 40 years after its release.The only comparable rock guitarist who altered his sound as drastically as Santana did with Welcome is Jeff Beck, with his career-altering Blow by Blow (Epic, 1975). The critical difference is Beck was taking the next step after a series of unremarkable bands and records that had flopped. Santana was at the peak of his fame when he drastically altered course and followed the path of A Love Supreme in seeking to make music that satisfied his soul, not a record company's ledger sheet.Even Robert Christgau, the noted (and notorious) rock critic/curmudgeon, and former music editor of The Village Voice smiled upon Welcome."More confident and hence more fun than Caravanserai, this proves that a communion of multipercussive rock and transcendentalist jazz can move the unenlightened—me, for instance. Good themes, good playing, good beat, and let us not forget good singing—Leon Thomas's muscular spirituality grounds each side so firmly that not even Flora Purim can send it out the window."Not everybody completely "got" Welcome in 1973. It wasn't slightly different like Caravanserai, with one foot still in rock and another with a toe dipping lightly into not only jazz fusion, but even free jazz. The signature sizzling guitar solos were there, but more restrained and at times even submerged within the collective of the group.The secret weapon is Michael Shrieve's energetic drumming and the dual keyboard attack of Coster and Kermode. They push and pull Santana to go beyond and stop holding back. Some have called the album disappointingly thin and self-indulgent, but that's a harsh assessment. There are no hit singles or any concessions made to radio here. Maybe an adventuresome jazz station would play "Samba De Sausalito," but even the vocal tracks, "When I Look Into Your Eyes" and "Light of Life" feature Leon Thomas' vocals. Alternating between soulful singing and off-the-wall yodeling, Thomas is perhaps the most polarizing of the many Santana vocalists.The other unique aspect to Welcome band was the band's first female member, Wendy Haas, a vocalist and keyboard player Santana plucked from Azteca, the same band he found a hot-shot 17-yr-old guitarist named Neal Schon, the future guitarist of Journey.If Welcome is the summit of Santana's jazz fusion era, Lotus (Columbia, 1974) and Borboletta (Columbia, 1974) are the sound of that era falling off a cliff. Lotus was a mammoth three-record live set that was only available as a high-priced import, but in 1991 Columbia released it domestically whittling it down to two CDs. It's brilliant, messy and at times, total overkill in overlength and Thomas is inept trying to front Santana standards such as "Black Magic Woman." Borboletta showcases a sullen Santana fronting an equally lethargic band and cursed by the ugliest cover art ever to appear on a Santana record. It's the splat of the band finally hitting the proverbial wall.frustrated by tepid record sales, Santana ditched his dalliance with jazz and returned to Latin rock glory with Amigos (Columbia, 1976). Though he was still billed as "Devadip" Carlos Santana he was drifting away from his guru, Sri Chimoy, and would leave both him and jazz behind for the rest of his career. Blues For Salvador (Columbia, 1987) won a Grammy for Best Instrumental and Santana Brothers (Universal/Polygram, 1994) is good, but these are primarily instrumental recordings and not really jazz.The Swing of Delight (Columbia, 1980) pairs Santana with trumpeter Miles Davis' classic quintet colleagues Herbie Hancock, Tony Williams, Ron Carter and Wayne Shorter, with Santana's blistering guitar leads replacing the lonely fire of Davis' trumpet, but the result isn't as incendiary as might have been hoped for. Most of the songs on The Swing of Delight are merely star-filled jam sessions lacking the structure and passion of Welcome.Santana has continued to release instrumental albums, but they aren't jazz and since the 15 million-selling Supernatural granted him late career superstar status on him in 1999, he has wasted the better part of a decade chasing similar success minus similar results. The bottom of the barrel is Guitar Heaven, which sounds like the name for a video game but is a pandering mess of classic rock covers.At this point in his life, Santana should be financially secure and has married his second wife, jazz drummer Cindy Blackman. In May he released the 22nd Santana album, Shape Shifter (Starfaith, 2012). With the exception of one vocal track it is a recording of instrumentals exclusively, with just the man and his band and no awkward guest stars crow-barred in except his son Salvador playing keyboards.In an interview, Santana explained why he was taking a break from his overly commercial direction of the past decade."In a lot of ways, yes, because I don't need to accommodate lyrics, and I don't need to accommodate artists. I say this in a funny way, but it's more about letting a Mexican play the guitar, you know?""I'm never going to wait so long to brew 'em like this anymore. I'm going to make sure that I do one album like this and then another kind. I remember reading that John Coltrane would do one Pursuance album, and then he'd do a ballads album where he'd hardly play a solo—he'd just play the melody verbatim."Shape Shifter may be a slight retreat for Santana from pop music and a return to pulling power chords from his guitar, but it's not going to be "Welcome: The Sequel." That was a different man making different music in a different time. The Santana of 1973 is not the Santana of 2012, but that man would not be the one he is now had he not chased his inner Coltrane and made a record as bold, brave and eternally beautiful as Welcome."- All About Jazz
    $7.00
  • "Forming in 2008, the floodgates appear to be wide open creatively for releasing full length product for this UK progressive metal act. Two albums within two years, as well as a prime support slot for the Devin Townsend Project across 12 countries in Europe during 2011 leads us to the third record Enigma. Filling out as a quintet with new keyboardist Shaz, the nine songs on this effort illustrate the ability to siphon the old, complex template with a modern, semi-staccato meets djent guitar style in shorter, compact arrangements.Aeon Zen isn’t afraid to add a light, jazzy horn break during the tranquil section of the somber “Seven Hills,” which contrasts the conventional Dream Theater-like musical montage that opens the record instrumentally entitled “Enter the Enigma.” Drummer Steve Burton is adept at death metal blasts just as he is twisting tempos at will- check out the Opeth-esque “Divinity” for his double bass maneuvers, lightning fast fills and impeccable sense of timing.Alongside the professional skills of vocalist Andi Kravljaca (Silent Call), three other vocalists appear to add their own texture to the band’s cause. Atle Pettersen (Above Symmetry), Jonny Tatum (Eumeria) and Nate Loosemore (Lost in Thought) give Enigma a deeper emotional platform, as the clean and extreme deliveries match the mood of each arrangement.It’s a younger generation who seem willing and able to push parameters and use technology to deliver a wider scope of feelings, emotions, and contrasts. Much like the peanut butter and chocolate argument of whether each is better separate or together, Aeon Zen has no qualms about loving Symphony X, Threshold, and Megadeth as much as Periphery or Between The Buried And Me- and making it work within their output.Melodic, modern progressive metal that should grab a wide scope in audience enthusiasm - Enigma could be a sleeper hit if these gentlemen land the right touring situations. " - Blistering.com
    $8.00
  • Lots of changes in the Mangala Vallis camp with this new release.  Bernardo Lanzetti is out, replaced by the great Rob Tiranti aka Rob Tyrant.  Many of you know Rob from his work in the metal world with Labyrinth but he has alway worked with New Trolls so he knows how to dial it back.  Great, great set of pipes.  The music has changed a bit too.  Its not as overtly retro although at times the keyboard sounds harken back to the 70s.  Definitely more of a contemporary neo feel.  Its a concept album about a hacker who infects the world with a virus that will destroy all the digital files on the planet.  Good times!
    $16.00
  • "Rock in a Hard Place is the sound of Aerosmith at their most "out of it." Not to say it's a horrible album by any means -- in fact, there are more than a few pleasant surprises -- but without the guitar team of Joe Perry and Brad Whitford, it didn't possess the magical chemistry of their '70s classics. Jimmy Crespo and Rick Dufay filled in for the departed duo, and it turned out to be the group's most studio-enhanced and experimental record up to this point. To keep up with the then-current musical climate, vocoders and synthesizers can be subtly detected, as heard on the space-age "Prelude to Joanie" and in the beginning to the otherwise tough rocker "Lightning Strikes," which served as the album's lone single/video. "Jailbait," "Bitch's Brew," "Bolivian Ragamuffin," and the title track showed the band could still rock out despite their three-year layoff between albums, a cover of "Cry Me a River" showed their gentle side, while the psychedelicized "Joanie's Butterfly" was the album's surprise highlight. But it didn't take an expert to know that Aerosmith was not the same after the loss of the aforementioned members. And so did the band, who welcomed Perry and Whitford back into its ranks two years after Rock in a Hard Place." - Allmusic Guide
    $5.00
  • Since the release of 2013’s In Crescendo, Kingcrow toured North America in support of Pain Of Salvation, and headlined a European tour.  Kingcrow kept busy in 2014, touring Europe with Fates Warning and at the same time crafting the material that would become Eidos.“Eidos” is a new conceptual album about choices, consequences, dealing with regret and disillusion. Their earlier album Phlegethon dealt with childhood and In Crescendo about the end of youth.  Eidos can be considered the third part of a trilogy about the path of life. Musically it sees the band exploring new territories and pushing the extremes of its complex soundscape with a darker atmosphere and a more progressive attitude.Describing the band today is quite a difficult task, but one could state that the influence of such artists as Porcupine Tree, Riverside, Opeth, Anathema, Radiohead , King Crimson and Massive Attack are all present in the music of Kingcrow.With each release Kingcrow has taken a step further away from their original roots as a classic metal band and is now one of the most personal and exciting bands that Italy has to offer.
    $13.00
  • "SAUROM is a folk melodic metal band from Spain with sound influences of Iron Maiden, Helloween and Blind Guardian. SAUROM have a unique medieval sound and are well known for the strong Celtic feel to their music. Their music is compared with the popular Spanish band MAGO DE OZ with a heavier sound. Vida is their 6th album, full of melodic riffs, melodies, catchy choruses and medieval sounds."
    $12.00
  • "Dangerdog has been inundated with female led metal bands since the beginning of the year. Here's another one: A Sound of Thunder, from Washington DC, with Nina Osegueda at the microphone. Out of the Darkness is their second release.Thankfully, Ms. Osegueda and the band don't fall into the operatic symphonic metal category, nor the weepy melancholy of gothic metal, although I'm sure she could easily do both. And, believe it or not, there's no moron offering death growl accents. This is pure, no bullshit, classic American heavy metal, equally vital in the Eighties as much as it's need today.For Nina's part, think a mix of Dickinson, Halford, and Dio in metal diva form. Or for something more outlandish, imagine if country singer Faith Hill went metal. (Listen to the opener, The Day I Die, and you may hear what I mean.) Osegueda will probably laugh at that comparison.Otherwise, from start to finish, Out of the Darkness kicks serious metal ass. It's an unexpected pleasure of traditional metal genius. ASoT can be fervent and blistering as on Murderous Horde, epic and inspiring as on Calat Alhambra, or unexpected and glorious on Discovery. Then they bring the groove (and psychotic girlfriend) on the catchy and fun, Kill That Bitch. Throughout Osegueda shows her effortless vocal strength, control, and range; take note of how easily she dials it down on the ballad, This Too Shall Pass. Look out boys, the next great metal singer is here.A Sound of Thunder's Out of the Darkness is premium, kick ass, classic heavy metal. " - DangerDog.com
    $13.00
  • Latest release from Crippled Black Phoenix is marketed as an EP but at 45 minutes in length its anything but.  Longtime vocalist Joe Volk is gone, replaced by John E. Vistic.  The core sound is intact, an expansive, cinematic blend of post rock and early 70s Pink Floyd.  The 12 minute tune "How We Rock" sounds like an instrumental soundtrack piece Floyd would have recorded for a Sergio Leone film.  As far as I'm concerned these guys can do no wrong.
    $16.00