Earn 1 Loyalty Point With Every $1 Spent!

Page not found

The requested page "/node/11053?events=addtocart" could not be found.
Laser Pic

customers also bought

SEE ALL
  • "Showtime, Storytime" contains NIGHTWISH's entire August 3 performance at the Wacken Open Air festival in Wacken, Germany. The show, which was played in the front of 85,000 screaming metalheads, was directed by Ville Lipiäinen, filmed with seventeen cameras and has a total running time of 85 minutes. The second disc consists of a 120-minute tour documentary, "Please Learn The Setlist In 48 Hours", also directed by Ville Lipiäinen, with no shortage of drama or overall madness. Also, there is a 16-minute NIGHTWISH Table Hockey Tournament, filmed on tour. In addition, there are two music clips: "I Want My Tears Back" (live at Hartwall Arena in Helsinki, Finland) and "Ghost Love Score" (live in Buenos Aires).The Wacken Open Air appearance was the first of the three final shows of NIGHTWISH's "Imaginaerum World Tour", which saw the band and their Dutch singer Floor Jansen (REVAMP, ex-AFTER FOREVER) playing 104 concerts in 34 different countries, with a total audience of over 1.5 million fans around the globe.Commented NIGHTWISH mastermind and keyboardist Tuomas Holopainen: "Our darling flying Dutchwoman, Floor Jansen, has been nothing but incredible during her time in NIGHTWISH on this tour, so this is a perfect opportunity to immortalize the current vibe of the band on film!"NIGHTWISH's setlist for the Wacken Open Air performance was as follows:01. Dark Chest Of Wonders02. Wish I Had An Angel03. She Is My Sin04. Ghost River05. Ever Dream06. Storytime07. I Want My Tears Back08. Nemo09. Last Of The Wilds10. Bless The Child11. Romanticide12. Amaranth13. Ghost Love Score14. Song Of Myself15. Last Ride Of The Day16. Outro (Imaginaerum)
    $24.00
  • "Recorded live over 3 nights in October 2003 (17th-19th).In the summer of 2003 Cardiacs were charged with the unenviable task of casting a wincey eye back.Way back to before Sarah hung up her little saxophone, before Tim Quy broke the nausea rule, before THE CONSULTANT and Miss Swift held the reins. Way, way back.For that coming October’s ‘Special Garage Concerts’, Cardiacs were expected to wipe the grime of the dusty archive from thirty-two tunes everyone had long since forgotten about. Cardiacs dutifully frittered away the waning days behind locked doors, exhuming songs from clanking, obsolete machinery and reams of faded manuscript. Music from the band’s conception in 1976 to their ‘coming of age’ in 1983 was given the dressing down THE ALPHABET BUSINESS CONCERN had always wisely insisted it deserved.With the arrival of autumn the songs had somehow taken on a raw, definitive bent. Haphazard approximations you may have previously heard performed by wide-eyed, puny youths were given deftness, muscle and swagger by the four grizzled and worldly-wise men proudly standing their ground under the Cardiacs banner today.This nostalgic arsenal was duly recorded over three consecutive nights at London’s sizeically challenged ‘The Garage’ concert venue. Privileged witnesses described the spectacle as "one-fifth loving recreation, two-fifths exercise in futility and four-fifths sheer brute force."Cunningly encrypted on to two Compact Discs, as never they were meant to be, Volumes One and Two are a unique testament to pure bloody mindedness and musical irrelevance.Both volumes contain music that has never previously been recorded and re-workings of other tunes that many of the faithful claim to have ‘insider knowledge’ of.They don’t have a clue."
    $34.00
  • "I am somewhat torn doing this review as it is one of my favorite Metal cd's, which in itself is a very brash statement and also it is Rob Halford "without" one of the greatest Metal bands in the world..... Judas Priest.During those few very sad years back in the early 90's when Halford left Priest,he formed a band called "Fight" which I think surprised everyone(including your's truly) with it's raw power and brutal almost Thrash-like Metal riffs.This was definatley not some some lame Priest cover band but it was a new way for Rob to showcase that incredible voice of his.The cd opens up with what was a staple of Mtv's Headbanger's Ball back then with the song "Into the Pit" which was a fast and furious tribute to the "Mosh Pit".The music continues to grab you by the throat and choke the life out of you and never let's you come up for air.Some of my other favorites are "Nailed to the Gun", "Life in Black" the title track "War of Words" and two absolute Thrash classics, "Contortion" and "Kill it".There is also the (Dare I say hit single..."Little Crazy").Sadly, Fight put out only one other cd but it did not even come close to the power of it's predecessor and shortly after that the band called it quits. Over the next few years Halford tried a few other projects but none of them had the "Balls" of "War of words".A few years laterHalford and Priest resolved their differences and Priest was reborn,Badder than ever.I strongly recommend this cd to any "real" Metal fan,especially the younger one's which may not have known that Rob Halford was ever in another band besides Judas Priest.Without a doubt this cd "War of Words" scores a very HEAVY....10." - The Metal Pit
    $7.00
  • Recorded during the band's live performance residency in Tokyo, this is a complete rendition of the first album, Storia Di Un Minuto."To celebrate the 40 years anniversary of "L'isola di niente", PFM have recorded an incredible series of live albums, where they play the original first 5 LPs tracklist in its entirety for the first time ever. This energetic new version it is called "Un minuto" features the first historic LP "Storia di un minuto" with all its fantastic tracks including, for the first time, "Grazie davvero", never played live before.Released in CD papersleeve, "Un minuto" is part of a series which includes the first PFM's five albums reproduced live, to be collected in an elegant box called "Il suono del tempo"."
    $16.00
  • When seven Greek charlatans get together, the musical visions that springs from their minds, can only be described as a true freakshow.Back in late 2004 the idea of a band that could develop a theatrical attitude and combine different musical elements with the dynamics of metal and rock sound, brought DAKRYA to life ....Following the usual demos and local live shows, the band released its debut album "Monumento" in the spring of 2008. Receiving great reviews and good support from both the media and the fans in and around Greece, DAKRYA started touring on a broader scale, supporting such bands as MOONSPELL.In 2009 the band began to work on new material; the main goal was to put even more emphasis on the 'theatrical' style of DAKRYA, and in January 2010 the band entered the studio with engineer George Bokos (Rotting Christ) to record their sophomore album, "Crime Scene".Come March 2010 the band find themselves sitting in a studio in Sweden mixing the album together with Pelle Saether (Diablo Swing Orchestra, Draconian, Madder Morten), followed by a trip to other Swedish sound-guru Göran Finnberg (Opeth, Dark Tranquillity, In Flames, Arch Enemy) for the mastering of the disc.CRIME SCENE is actually a metaphor about the world we live in. So simple and so complicated at the same time. A person has to change so many faces in order to obtain a “socialized” and “normal” image, that if you think about it a little bit… we all look psychotic. In CRIME SCENE we improvise against reality! Snapshots taken from our everyday lives.From the opener "The Charlatans", over the obvious hit of "The Urban Tribe" to the final notes of the closing soundscape "A Dreadful Sidescene", the album is a one-of-a-kind musical experience. Ranging from the psychotic and cinematic melodrama heard in bands like Diablo Swing Orchestra and Unexpect to the orchestrated gothic metal comparable to Therion and Theatre Of Tragedy, DAKRYA paints their mark all over the canvas.
    $4.00
  • Ninth album from this Swedish band.  Katatonia's music shares a kindred spirit with that of Opeth and Tool.  Very much emotion driven with a dark vibe through out.  It doesn't come more melancholy than this one... "Despite being into their third decade, gloomy Swedish progressive metallers Katatonia are still producing fine work. 2009’s Night Is the New Day was heralded as the band’s finest ever album, and with prog’s increasing influence evident across the more facile end of the metal spectrum, this band is doing better than ever. Dead End Kings marks another progression for this outfit – in terms of album structure, anyway. While their previous effort was a sumptuous effort with a sum greater than its parts, this ninth album is a collection of fantastic, searching songs that stand alone as well as they do together. It’s still completely and utterly miserable, though… so very, very miserable. The cellos in opening track The Parting add solemn layers to music that is already laden with sorrow and introspection. It’s a multifarious affair from then on in. The slightly sinister Hypnone adds strength before the album succumbs to the mellow, emotive The Racing Heart. Buildings is the most resolutely metal track here. Its humungous riffs are positioned at exactly the moment where the listener may have been lulled into a false sense of security, bludgeoning guitars swelling the song’s belly with a fiercely charged beauty. There are other moments of grandiose, majestic beauty breaking up the murkiness, but Buildings is the only piece of metal you’re going to get.Dead Letters is massively reminiscent of Tool – and while the American prog-grungers remain at work on their overdue fifth LP, it’s a very welcome sound. It doesn’t last though. As with everything Katatonia do, the song wanders off into another direction, atmospheric moments splintering into sparse orchestration, Jonas Renkse’s murmured voice flying across the top throughout. <br><br>The closer is certainly the finest standalone song here, bringing Dead End Kings to a glorious and complex end. There’s no grand climax. It just fades to dust, allowing you to reflect upon yet another excellent album from Katatonia." - BBC
    $12.00
  • One of the great hard rock albums of the 70s.  After Uli Jon Roth left the band he was replaced by Matthias Jabs.  His guitar technique was far removed from the neoclassical stylings of Roth, taking a more traditional hard rock/melodic metal approach.  Returning to the fold is Rudi's brother Michael Schenker.  With streamlined songwriting it all comes together.  A non-stop killer.
    $7.50
  • The debut album that sent shockwaves through the progressive underground. Particularly amazing album when you put it into the context of it's recording date - 1970. While far from the best Magma album - in fact the signature sounds are not even in place - it's one smoking jazz rock fusion album owing much to Miles Davis and Soft Machine. 2 cd set.
    $32.00
  • "Formed in 2008 under the (thankfully dropped) name Rightdoor, Within silence are a melodic power metal band in the vein of Blind Guardian. As such you can expect huge swathes of guitar, souring vocals and banks of keyboards all vying for space amidst the pounding rhythms and heroic soloing. Growing steadily, the band have taken their time to draft their debut offering, the gleaming ‘gallery of life’, and it appears that it has been time well spent because the rehearsals, the time spent writing and then honing material on the road with the likes of Blaze Bayley has paid off with this confident and powerful album.Opening with a short, choral ‘intro’, ‘gallery of life’ immediately sets out its stall as an ambitious body of work designed to be heard as one contiguous piece. The intro builds nicely to the powerful guitars of ‘silent desire’. A perfect opening song, ‘silent desire’ immediately highlights the fact this is a production that oozes quality. The guitars are razor sharp, the choruses soar memorably and the playing is ultra-precise. It shows that Within Silence will settle for nothing less than perfection and there’s a sparkling ambition here that is impossible to ignore. ‘Emptiness of night’ is a fast-paced rocker with blazing guitars and a full-on vocal performance that is both powerful and brimming with confidence. There’s a strong Iron Maiden influence underpinning the cracking pace and guitar work, and it’s clear that the band have nothing less than world domination in their sights. Keeping the energy levels high, ‘Elegy of doom’ is another taut rocker with a rampaging riff and just the right amount of keyboard to add atmosphere without overpowering the song. It’s an early highlight of the record and make no mistake, within silence are a band who like to rock! It’s a trend that continues on the equally stunning, ‘The last drop of blood’, a full-on belter of a track that sounds like the band channelling Metallica, Maiden and Judas Priest all at once. It’s one of those adrenalin packed tracks that will get the blood pumping no matter what, and it must surely be a live favourite with its brutal riffs and memorable chorus. The track reaches its peak, however, with the excellent extended solo that runs wild over the second half of the song. Showing a lighter touch, ‘Love is blind’ keeps the energy levels maxed out but offers up a more pop-infused side of the band than found elsewhere, and whilst it still remains on the metallic side of the musical spectrum, it shows that Within silence have both the talent and confidence to fully explore their genre.The band briefly slow their pace for the more subtle opening strains of ‘anger and sorrow’, although the song does not take long to explode into a typically multi-stranded beast complete with extended solos and deft changes. Representing Within Silence at their most commercial sounding, ‘Judgement day’ is the sort of rollicking heavy metal ride that would have been all over the radio back in the eighties. Powerful and driven by a chorus that is only slightly less addictive than crack, ‘judgement day’ is a beast of a track. Next up, pounding drums lead us into ‘the world of slavery’, a song with a strong folk influence. Another track that benefits from some stunning guitar work, ‘the world of slavery’ is a metal epic that only gets better with repeated listens. The album concludes with ‘road to paradise’ which dips into ‘seventh son…’ era Maiden for inspiration. Another epic length track, it is a last chance for the musicians to spread their wings and soar, something which they duly do in impressive fashion. A short ‘outro’ sees the disc spin to a halt with choral voices echoing in the dark. It is a suitably dramatic ending for a CD that takes the listener on a wonderful journey from start to finish.Power metal can be, all too often, a genre where the keyboard elements overshadow the metallic elements. Thankfully, Within Silence, perhaps because of their lengthy time spent out on the road, keep their sound hard-edged throughout and the result is an album that packs a similar punch to the classic Maiden albums of the early eighties. There are crunchy riffs galore, endless solos and the sort of huge, soaring choruses that have made Blind Guardian such a powerful force. Talented, oozing confidence and with a wonderfully powerful set of songs, Within Silence have arrived and metal fans had best sit up and take notice, because these guys have the skill and the burning ambition to go far." - Sonic Abuse
    $14.00
  • "Recently reissued on the Cd format by the great ProgQuebec team, this album (and its predecessor) had been all too long ignored and denied a second life by the Harvest label. Oddly enough with the bulk of reserve material still waiting to be released back then, the CD reissue offers no bonus track, but the album alone is much worthy by itself. The last paragraphs are dedicated to the review being re-written after its reissue.Old review: How to describe this absolutely masterful and orgasmic music? Except for this lone LP where one number is sung, Maneige is an instrumental group that lets you know right from the start that they will take full advantage of this and will not allow you one second of inattention. The group mixes acoustic and electric instrument with such dexterity that they make it look easy and sound simple. NOT SO!!! Although people will classify this group in the fusion section , this is only partly correct as there is some jazz & folk , but there is an uncommon percentage of classical music but nothing stolen from the historical composers.This album and the debut as well as the recently released live 74-75 are highly indescribable melange of all sort of academic musics. If I must name one band of this site to come close to Maneige, I will tell you a cross between Univers Zero and Gentle Giant for the construction complexities but Maneige is so much more melodic and harmonious to your ears, that GG is rather distant cry from them."Why have you not heard of this band before?" you ask. My theory is that they got black listed because of their Quebecois origins at the time when Quebec was overtly menacing of separation from the rest of Canada because of the English compatriots refusing to recognize Quebec as a distinct society. This made Quebec groups unable to play freely in the rest of their country along with Harmonium (a little success), Pollen (just one superb record and disband), Aquarelle (I am not even sure they released something outside Quebec) and even the Franco-Ontarian band Cano, so they had real problems of exposure. This lasts still today except for Harmonium that does get international recognition. Is the best proof of this not that only three albums of this great band are on CD? As they are still relative unknown, your hunt for the vinyls should not be that difficult or expensive, but man, it is definitely worth it. Max: can you give a sixth star just for the sake of it?New review: The 19-min+ title track suite (written by wind player Bergeron) is grabbing by the throat from the first notes, and never letting it go of its grip through its six movement, with its constantly evolving composition and so many different acoustic instruments taking over the previous one and even a rare sung section, whose lyrics were reprinted in a weird fashion on a loose sheet alongside the inner sleeve. The first side closes on a short symphonic (a quartet really) piece that is not as inspired as the rest of the album. Indeed, La Grosse Torche sounds out of place on the Cd (this was less evident on the vinyl).The flipside starts with Saxinette and Clarophone's wild adventures and the opening minute could make you think of Genesis' The Lamb on the second disc But this is quickly forgotten as the two instruments share literally everything mixing blood, trading licks, making love to each other. Bergeron's sax and Langlois' clarinet are not just the stars of the show, they eclipse the sun for the duration of the track from shining so hard. Vincent (Jerome's brother) Langlois' electric piano solo draws chills in your back, until a weird animal meows like an elephant and the tracks veers into a wild goose chase ending in a chaotic crowd and dying a slow death! Du très grand art, monsieur!! The closing track Chromo is a much funkier track that will indeed remind what was coming ahead in NV.NN, which would be a much jazzier album.The amazing thing is that obviously at the autumn of the group's first career (the Jerome Langlois years, if you wish), the group had loads more music that was still waiting for a proper studio recording and release. Most of these tracks can be found throughout the three live albums that have been released since 98. And from these albums, it's easy to see that Maneige's first line-up could have released a third album that would have easily matched their debut and Les Porches. So as Chromo sort of announces the new Maneige, Jerome Langlois will leave the group to concentrate on the long-standing project that he had tried to get of the ground with his previous group Lasting Weep. Le Spectacle de L'Albatros would then see the light of day in early 76 with both Lasting Weep and Maneige playing alongside, but this is another superb ProgQuebec chapter of the marvelous musical adventures of Progresson." - ProgArchives
    $15.00