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  • "If we ever needed any further evidence of how thrash lifers Testament completely rule, look no further than this two-disc live album (how often can you say that?), which draws heavily upon their recent releases. And it does rule — hard. With a fun, energetic, raw production sound, the band's enthusiasm shines through loud and clear, and while it's always excellent to hear a few old classics, and here they sound as good as ever, what comes out of this declaration is that the new material is just as memorable, just as thrashing and heavier than ever. Check out songs like the amazing "Native Blood," delivered in an off-the-rails fashion, the blast beats that sounded a bit awkward on the album sitting just right in this context. Dark Roots of Thrash is a shining example of a band that are, surprisingly, at the top of their game late in their career, playing the songs they want to and delivering them with pure thrash metal glory. It's rare to love a live album this much, but such is the power of Testament." - Exclaim
    $16.00
  • Hyperdrive marks a new era for Knight Area.  The long running Dutch progressive rock band had previously released four studio albums and toured Europe and USA extensively, performing at all major prog rock festivals.  1n 2012 the band welcomed guitarist Mark Bogert as well as legendary bassist Peter Vink (Q65, Finch, Ayreon) into the fold. With these newcomers onboard, Knight Area introduced a heavier element and fuller sound to their repertoire.  All the classic symphonic rock traits of their previous albums are still clearly evident but the songs on Hyperdrive are more immediate and concise.The band invited noted prog guitarist Arjen Lucassen (Ayreon, Star One) to participate as a special guest on one track.  Joost van den Broek, who is known for his production work with Epica, Mayan, and After Forever, mixed the album.   Rounding out the package is startling artwork by Gustavo Sazes.
    $6.00
  • "I've always been rather impressed Mastercastle, the Italian melodic metal band created by expert guitarist Pier Gonella and fronted by the powerful vocals of Giorgia Gueglio. They return with bassist Steve Vawamas and newcomer the respected drummer John Macaluso (Ark, Yngwie Malmsteen, and James LaBrie). The strength of the band has always been the ability to create great sounding melodic metal songs with a rock groove, besides merely showcasing Gonella's amazing fret work.That's what you get on their fourth album, On Fire. It's a worthy title: every song here will burn up your speakers with rocking melodic metal. That's not to say that Gonella doesn't get his turn. There's two instrumentals, The Final Battle and Almost A Fantasy, where he displays his significant guitar skills. And they're in the other songs as well.You'll note that the other songs have some metal or reference to metal in the title. Lyricist Gueglio intended to write a concept album around metal, metallurgy, and alchemy. But she discovered that the words turned more sentiment and emotion, "the passion of making music in a difficult world." Considering the strength and pure entertainment value of these songs, any band could use a bit more of her passion. The songs with that burning rock groove leap from speakers with huge melodies and vocal arrangements. Notable are Silver Eyes, Leaden Roads, Platinum, with Giorgia's most haunting vocals, and the hugely addictive Chains (watch and listen above). Leaning more to the heavy metal side of things are Titanium Wings and the speedy Quicksilver. It's all good: some of the best songs Mastercastle has ever written. On Fire is strongly recommended." - Danger Dog
    $13.00
  • "Getting your head and ears around an Andromeda album can be a challenge. It's not that their music is perplexing, but it is often varied and eclectic. Consider the first two songs on their fifth album, Manifest Tyranny. Preemptive Strike is a short introductory piece of mostly heavy and thrash metal. The following Lies R Us slows the pace offering a melodic, yet heavy in parts, prog piece with a great melodic vocal arrangement. It's quite accessible. Okay then ...Expect more than a little intrigue throughout Manifest Tyranny. Stay Unaware offers an abundance of riffage, but also noticeable synth layers and solo. False Flag, the longest cut here, seems a moderation, like heavier prog rock (also noticeable on Survival of the Richest), but shifts and moves with the clever ease you expect from progressive music. Then there's simply some strange stuff. Chosen by God has a muted ethereal vocal arrangement, lots of riffage and synths, which evokes a lighter atmospheric motif. Then there's the integration of words (speeches) from political leaders. (This occurs throughout the album, often to the point of distraction.)The nuance of progressive rock returns later in Go Back to Sleep. It offers a lighter blend of electric and acoustic guitar, with a later synth solo, and some disturbing lyrics. Of note, this song displays David Fremberg's supreme vocal talents. Allowing some more convention and accessibility, Asylum offers complexity but provides a hard rock edge in the guitar solo. Play Dead and Antidote find Andromeda simply offering an arrangement of, sometimes heavy, but certainly complex and delectable progressive metal.With Manifest Tyranny, Andromeda continues to challenge and entertain. This is what a fan of progressive metal should expect: intrigue and enjoyment, and the need for more than one listen. Fans and critics will wonder if it's equal to, or better, than their critically acclaimed first outing Extension of the Wish (2001). Perhaps this is a question left to the fans or, perhaps, those who are braver than me. Strongly recommended." - Dangerdog.com
    $9.00
  • "SILENT VOICES is a relatively unknown band hailing from Finland, nevertheless they had already published many recommended albums such as their debut in 2002 “Chapters Of Tragedy” or 2006’s “Building Up The Apathy” or the great “Infernal” (2004), the line-up team is also composed by ex-members of REQUIEM and also share some musicians with SONATA ARCTICA like Henrik Klingenberg as keyboardist and bass player Pasi Kauppinen (WINTERBORN / KLINGENBERG SYNDROME). It’s been a while since the last SILENT VOICES album was out in the streets, it had occurred a lot of things in their lives, lots of turmoils, hassles -you name it-, the band was on deep winter sleep and they lost their vocalist, the great but rather inconstant Michael Henneken (SENTIMENT / ADAMANTRA) was gone for good.While they were in quest of searching for a new perfect singer they opted for the trick that consist to have different famous vocalists at the same time in order to increase their creativity and the band’s polyvalence, it’s also a good marketing move but the risk is to weakened the impact, to have a dilution of the personality of the music with each guest singer's specificity but finally the idea works pretty well, I believe.Now the new permanent singer for SILENT VOICES is known as Teemu Koskela from WINTERBORN’s fame (their 2008’s release “Farewell To Saints” is warmly recommended). But the album contains, beside the impressive vocals of Mr. Koskela in the very first song (which is a killer), nothing more than four guest vocalists such as:Mats Leven (ex-TREAT / ex-SWEDISH EROTICA / ex-ABSTRACT ALGEBRA / ex-RISING FORCE / ex-SOUTHPAW / ex-THERION / ex-ADAGIO / ex-AT VANCE / ex-FATAL FORCE / ex-SABBTAIL / DOGFACE), Michael Vescera (ex-LOUDNESS / OBSESSION / ex-RISING FORCE / ex-FATAL FORCE / ex-DR SIN / ex-REIGN OF TERROR / ex-KILLING MACHINE / WARRION / ANIMETAL USA / SAFE HEAVEN / MVP), Tony Kakko (SONATA ARCTICA / ex-NOTHERN KINGS) and Mike DiMeo (PHENOMENA / THE LIZARDS / ex-RIOT / ex-ILLIUM / ex-MASTERPLAN).Swedish citizen Mats Leven is absolutely stunning within the songs “No Turning Back” & with “Burning Shine”, his vivid interpretations, his deep implication and his voice leaves no hope for another contender, his signature vocalizing are clearly unbeatable, he is the king. Those songs are very well composed , maybe a little more direct than before but with still some intriguing arrangements and great orchestrations plus as always some acrobatic playing.Mike Vescera from USA delivers also a very solid performance, within the third track that is quite reminiscent of the SILENT VOICES old style, with an amazing display of virtuosity in the solo section, that’s funny that they opted for the titled “Reign Of Terror” with Vescera singing on it. Tony Kakko is the weakest of all the hired vocalist, the track is quite good but don’t fit with the thin voice of the SONATA ARCTICA’s mastermind, I believe that Teemu Koskela could do a better job with that particular one.“Black Water” is an instrumental number that allows to each member to shine a little more, a fine demonstration of agility. New York City very own Mike DiMeo is doing a fine rendition of this song called “Through My Prison Walls” but I still think that Teemu is able to sing even better, the long epic cut itself  is a good mix of past and fresh Prog Metal , with some amazing musical parts and many twists and turns.Only little disappointment is the length of the disc itself, after seven years in the making I had wished for one more song with Teemu, a remake of an old song could have been a good ide. Maybe this is their best album, I don’t know only time will tell, but it surely can compete with their great back-catalogue, easily. " - Metal Temple
    $9.00
  • " Living Madness, available everywhere June 16, is VANGOUGH's crowd-funded live CD that was recorded while on tour with Pain of Salvation last fall. Topping just over 40 minutes with seven tracks; Living Madness is a testament to VANGOUGH's unhinged and dominating live performances, which touched down in such cities as New York City, Toronto, Seattle and San Diego among others.Taking a cue from their 2013 album Between the Madness, VANGOUGH have upped the ante in terms of ferocity as is displayed here on their live release. Featuring tracks from across the band's career, including a medley from 2009's debut Manikin Parade, fans will be very pleased to hear their favorite tracks in a new way. "Seeing as this was our very first tour, we wanted to capture all the raw energy and emotion you'd expect from a first-time touring act."Recorded by guest guitarist Cameron Conyer, Living Madness was then mixed back in Dallas by long-time collaborator and producer Sterling Winfield. "I love working with Sterling and always trust him to produce a killer mix." The band also connected with famed album artist Travis Smith for the cover. "We felt like it was time to further shift the artwork into a more brooding and disturbing direction as is befitting of where we're headed. Travis' vision fit perfectly with ours.""Most importantly, this album was made possible by our amazing fans who backed us via our Kickstarter campaign. We are truly humbled by their show of support and hope that this album is a reflection of how hard we work to bring you the very best that VANGOUGH has to offer.""
    $10.00
  • Deluxe digibook edition with one bonus track.  Please note - other versions will be available shortly."Previewing their tenth album "Beyond the Red Mirror" with the previously-released "Twilight of the Gods" EP, German power-symphonic metal maestros BLIND GUARDIAN capitalize on a long break with an encompassing and magical effort. For "Beyond the Red Mirror", the band worked with three different worldwide choirs from Budapest, Prague and Boston, along with two full-scale orchestras bearing 90 members apiece. The results are as larger-than-life as the band intended, fleshing out a sci-fi and fantasy piece bridged to their 1995 album, "Imaginations from the Other Side".As "Twilight of the Gods" (one of only two songs to clock in beneath five minutes) proved to ring like a broad-scoped, QUEEN-esque musical sonnet, the rest of "Beyond the Red Mirror" is simply massive. Beginning and ending with two epics that roll at 9:29 each, this album plays like BLIND GUARDIAN's reach for a masterpiece, and they practically hit it.You couldn't ask for a more breath-stealing intro with the gusting chorus opening the expansive "The Ninth Wave", a song stuffed as much with electronica buzzes and defined guitar lines as there are swarming voices. Hansi Kürsch, one of the best metal vocalists in the business, is nearly secondary to the enthralling choral tides that introduce and conclude the track. This could've been a near-ten-minute EP unto itself, that's how conclusive and meticulous the song is structured.The decorative harpsichord setting off "Prophecies" is a delicious intro for André Olbrich and Marcus Siepen to plow through successions of IRON MAIDEN-derived chords and marching progressions. Why BLIND GUARDIAN gets away with it is due to the incredible vocal outpourings around them. Again, the majestic theater aspect of QUEEN plays into this track as much as IRON MAIDEN and it's the proficiency behind the delivery that makes "Prophecies" sing instrumentally on top of the wondrous voices around it. Equally enchanting is "At the Edge of Time", which keeps a frolicking back beat and spritely orchestral accompaniment behind Frederik Ehmke's gradual stamp. The delicate measures BLIND GUARDIAN puts behind the thrusting march of "At the Edge of Time" are astonishing to behold, no matter how many symphonic metal albums you've been exposed to.The swift "Ashes of Eternity" gusts on the heels of Frederik Ehmke's fluid pounding, the breezing guitars and Hansi Kürsch's vocals, which toughen to full snarls at times, but never fail to exhale with full conviction. The gorgeous backing vocals add to "Ashes of Eternity"'s tireless drafts. Even more vigorous is "The Holy Grail" thereafter, which does HELLOWEEN and GAMMA RAY proud, much less HAMMERFALL and MANOWAR with its hurricane-speed tale of valor. Let the musical echoes of battle always sound this powerful.The 7:56 "The Throne" is a metal opera unto itself while serving the album's overall goal in sweeping the listener from one riveting plane to another, transitioning the twenty years between "Imaginations from the Other Side" and this album. "The Throne" works a little harder to find its spark as the band and orchestral pieces thicken up the longer the piece rolls, but Hansi Kürsch valorously leads the way and put to the stage, this piece should sound even bigger, so long as all of its recorded parts are presented live.What can be safely assumed is that the album's carnival-esque finale, "Grand Parade" will make it to their live forum. Cited by André Olbrich as the best song BLIND GUARDIAN has ever written, there's substance to this claim as it rolls, romps and cascades with all the gala these guys can load up. "Grand Parade" is a cheerful promenade for much of the ride with a thundering chorus ushering it along until a dramatic change in tone arrives with the first guitar solo, altering the course toward a valiant and clamorous bang. A return to the battle front with power metal thrusts and cinematic orchestration ram the song back to its original celebratory cavalcade for a triumphant finale. Indeed, this is the best song BLIND GUARDIAN has conceived. Phenomenal.With no disrespect intended to their contemporaries, BLIND GUARDIAN delivers symphonic metal of the highest art on "Beyond the Red Mirror". How far these guys have come since "Battalions of Fear" is not only remarkable, it's tremendous. As Hansi Kürsch has described the story behind this album, the red mirror is a representative, lone-standing portal to purported salvation and it must be found at all costs. What BLIND GUARDIAN has found with this album is inspirational and it's inexcusable the Grammy committee has long kept a sightless eye toward these virtuosi of metal music." - Blabbermouth
    $19.00
  • Third album from this Dutch progressive band is a conceptual work.  This one has strong political leanings so it might bother some of you out there.  It basically deals with changes in the geopolitcal climate since the late 90s.  While the band's first album was squarely in the metal camp, the subsequent albums find them moving more and more into the prog rock arena but maintaining an underlying heaviness.  Plenty of keyboards featured throughout the mix in a way that complements the guitar driven heaviness.  For me the stand out is vocalist Dennis Binnekade.  He has a stunning voice and I noticed that this time around someone coached him on his pronuciation. Rock solid contemporary prog. Highly recommended.
    $14.00
  • French female fronted band with an extreme metalcore sound similar to compatriots Kells. Vocalist Candice Clots mixes up the clean and harsh vocals with the former dominating. Produced by Fredrik Nordstrom (Arch Enemy, In Flames). This is the international English vocal version.
    $15.00
  • Bulgaria doesn't immediately come to mind as a hot bed of musical activity but that is where Sensory made their latest discovery. In 2000, the band created their calling card to the progressive metal world a demo that was well received in the underground press. Affter a series of lineup changes the band set about recording their debut "Shade of Fate". The result is a tour de force of progressive metal that will appeal to fans of Dream Theater, Vanden Plas and Queensryche. Pantommind use gorgeous symphonic soundscapes as a backdrop for intricate keyboard solos, crunch-filled guitar riffs and pure soaring vocals. This is a band poised to capture the imagination of progressive metal fans around the world. Sensory's release of "Shade Of Fate" also features two exclusive bonus tracks.
    $6.00
  • "Celebrating their 20th anniversary and 10th release, Boston's BOTM return with Petrophonics, their first in 5 years! Featuring the same personnel as Dancing On A'A, but with some changes in their sound, this record features electric guitar, acoustic grand piano, synthesizer, saxes/flute & electronic percussion/programming. The band have built on their past work; they have definitely brought something new to the table for this release. Their sound, which combines rock, modern classical, punk, minimalism & free-form sound, is impossible to describe and immediately identifiable!"
    $15.00
  • "This is a really impressive release. It blew up my mind from the first time I listened to it, and still gets priority in my music listening sessions. What we've got here is Rage at their best, playing it loud & proud in the 90s, which was possibly the worst decade for metal, even though some bands like Running wild, Blind Guardian or Metal Church were still hanging on... in the balance!The album starts kicking ass from the first moment, with heavy and powerful guitars, and goes like that until the end of the release. POWER!!! That’s what this album transmits. Generally mid-paced songs predominate this album, this is not as fast as their 80s work. It keeps the musical line that started with "Trapped" but, it's generally darker, slower and begins the musical style developed during the next albums (we could say it’s the borderline). It also has some atmospheric details, just some hints here and there, that would be more frequent of their "XIII" or "Ghosts" works. Nevertheless, there are also fast songs (hey, it's Rage) that scream "Speed Metal rules, and if you don't like it dieeeeeeeeeeeeeee", like "Under Control", which starts fast and raw as hell and never slows down. "Higher than the Sky" is also a fast one (by the standards of this album), but more melodic than the previous one, and possibly with a chorus as catchy as “Don’t Fear the Winter”. The title track is also a fast and powerful one, (did I mention power before?) catchy and with an amazing solo.Rage has changed a lot during its history. One of the most remarkable improvements is Peavy’s performance, which is much better than his 80's efforts when he used to shriek. And the shrieking was fine for raw Speed Metal, but now that the band plays more Power/Heavy Metal, the deeper and more melodic vocals fit better. In this album he transmits perfectly the song moods to the listener, and good examples of this are the dark-depressive style ballad "Fading Hours" (that's one of the best songs to be found in here) and the mid-paced "Deep in the Blackest Hole". The first starts with an orchestrated atmosphere (reminds to “Overture” in “XIII”), a piano and Peavy's voice, and is maintained this way for 2 minutes and a half. Then the rest of the band comes in for a minute revealing what’s going to come after. Piano & violin alone again for a while and then the band comes back. And just then, when you think that the song is not going to change in any way, comes the solo part of 4:53 with the backing vocals and the piano: THAT MOMENT FUCKING OWNS YOU. After saying that, I still have to remark that the song is mainly driven by Peavy's vocals, and wouldn’t be half good if he didn’t perform so brilliantly. The latter song has also a depressive mood and the whole band does a very good job making you think they are "Deep in the Blackest Hole".Another excellent point of this album is that you never have the “I heard this before” feeling. Even though, it manages to sound as a whole in the “conceptual album” sense. That’s just fucking brilliant. Every song is memorable, with brilliant solos and catchy melodies, which none of them can be classified as filler material (I know this sounds a bit/lot like a “fanboy”, but this album really deserves being praised). If you liked "The Missing Link", "Trapped" or (especially) "Black in Mind", you will certainly like this one, which is slower but still an absolute winner.The only flaw in this release is that sometimes you've got the impression that Peavy is singing 5 miles away from the microphone, creating a strange echo effect. There's also the fact that the drums are a little bit loud and just average, nothing outstanding, and the bass is barely audible (I don't miss it much, but I know there are many bass-maniacs out there)." - Metal Archives
    $11.00
  • Digipak edition with one bonus track"Fans of gothic metal, rejoice! Tristania, one of the genre’s true pioneering bands, has just released their seventh studio album entitled Darkest White. The Norwegian powerhouse act has a storied fourteen year history stretching back to their 1998 debut – and they haven’t lost a step thanks to some much needed lineup stability. Darkest White contains all the near-theatrical arrangements, darker moods, and diverse tones that fans of the band would expect – delivered with a solid three-singer attack and technically tight musicianship. After numerous line-up shuffles, the now stable group has really hit their stride again, producing an album that clearly outshines their previous effort (2010’s middling Rubicon).Tristania has always focused on delivering solid vocal performances, and continue on with the duet of the angelic Mariangela Demurtas and the theatrical Kjetil Nordhus. Demurtas has a silky, clear voice and she remains her own singer rather than pushing towards the operatic stylings of other Gothic bands. Nordhus delivers with great emotion and depth, whether singing softly and clearly or doing some Broadway-style emoting. Guitarist Anders Høyvik Hidle now contributes a good amount of growled / death metal vocals, giving the band a bit of “beauty and the beast” sound at times. Overall, Tristania continues to deliver the clear and precise metal that has won them a worldwide following. Excellent musicianship backs up the great vocal harmonies, delivered by guitarists Hidle and Gyri Losnegaard, keyboard player Einar Moen, and bottom end Ole Vistnes (bass / backing vocals) and Tarald Lie (drums).“Number” opens the release with growled vocals and a kicky drum line, intense bass and great guitar hooks. Demurtas and Nordhus also contribute well done duet vocals making this track the quintessential example of the rebuilt Tristania. The heavy and intense “Darkest White” showcases the male vocalists. This track has a more conventional heavy metal feel to it, with strong contributions from guitars, bass and drums. “Himmelfall” is a slower, darker rock tune with hooky guitars and a great rolling rhythm line, and theatrical vocals by all. “Requiem” is a sweeping, epic soft track – very different from the previous songs. Demurtas’ voice is at its best here, and the softer keys and guitars combined with multi-layered vocal harmonies make it arguably the best track on the album. The languorous vocal lines of “Diagnosis” contrast nicely with the high speed rhythm lines, and both carry emotional intensity.“Scarling” starts off as almost an old school rocker, but becomes a moody progressive / Gothic track driven by vocals and drums. The vocal chorus, and interplay amongst the three leads is quite impressive. “Night on Earth” features great growl vocals over a simple but effective guitar riff and a real head banging rhythm line. The haunting “Lavender” is a major contrast, filled with soft guitars and mellow, soft vocals – the epitome of dramatic rock. “Cypher” is a somewhat gloomy sounding rocker with very well done male vocals and a brooding rhythm line. “Arteries” wraps up the CD, and features great back and forth between growl and clean voices along with top notch drum and bass.Darkest White is a very good release from a veteran band. The returning lineup now has a good deal more experience working as a team and has gelled into something special. Although the band’s technical abilities were never in doubt, they have addressed the weaknesses apparent in their last album – the song structure is better, the lyrics and themes more consistent, and the members of Tristania now seem more comfortable working together. They are tight and confident, once again pushing musical boundaries. Diversity in song style, tempo, and tone highlight the band’s superb use of multiple singers, and keeps the album interesting throughout. The excellent production values and strong engineering allow the many subtleties and great depths of the music to flow without seeming forced or unnatural.Highly recommended for fans of the genre." - Hard Rock Haven
    $13.00
  • Virtuoso keyboardist Vivien Lalu has created a new progressive metal epic featuring an all star cast:Band [A-Z]---Martin LeMar (Mekong Delta) - VocalsMike LePond (SymphonyX) - BassSimone Mularoni (DGM) - GuitarsVirgil Donati (PlanetX)- DrumsVivien Lalu (Shadrane) - KeyboardsGuests [A-Z]---Jens Johansson (Stratovarius)Joop Wolters (Shadrane)Jordan Rudess (Dream Theater)Marco Sfogli (James LaBrie)Mike Andersson (Cloudscape, Fullforce)Peter Wildoer (Darkane, James LaBrie)Born of Noelle and Michel Lalu, musicians from the ‘70s French progressive act Polene, Vivien Lalu has released a surplus of recordings through an array of different bands and projects since 1997, as the keyboard player for underground black/doom band Time For A Change. At the turn of the millennium Lalu played keys for two underground progressive metal bands from Paris, Sad Warden and then Mind’s Orchard, and in 2002 was hired by Hubi Meisel (ex-Dreamscape vocalist) to compose and record the keys for his solo album EmOcean, the following year doing the same for Meisel’s sophomore album Kailash, both of which were released by Lion Music.It was at this time Vivien Lalu begins recruiting his own associates from major prog and metal bands — some of which he shares time composing music alongside in progressive metal act Shadrane — and forms his own solo project, LALU. The first full-length Oniric Metal was released on Lion Music in 2005 and began an entirely new chapter for this composer and his insatiable need to create mind-expanding, cinematic music.These accomplishments helped Lalu to begin securing score and soundtrack work for film and television; over the last few years he’s written many cues for the orchestral soundtrack for the Warner Bros movie Seuls Two, for the show Science X made in association with Lucasfilm Ltd. Additionally he joined the production team behind Laszlo Jones in order to assist the recordings and production of Banana Nation (Universal Music Group). He’s composed many soundtracks for French television, music and sound effects for Neko Entertainment, worked as a sound designer for Ubisoft Entertainment and much more.After collaborating with Shadow Gallery for a song on their Digital Ghosts album, and working with Canadian drummer Chris Nalbandian for his Paralysis of Analysis solo album — recording all keys and sharing solos with Derek Sherinian and Alex Argento — Vivien finally settled in and began work on the second LALU opus. Handling all composition and songwriting duties, as well as all keyboards on the massive production, Vivien weaved the cloth of the new album with vocalist Martin LeMar (Mekong Delta), bassist Mike LePond (SymphonyX), guitarist Simone Mularoni (DGM), drummer Virgil Donati (PlanetX), the album’s parts recorded in several countries including the United States (Los Angeles and New York), Germany and Italy, produced by Lalu in his own studio, and mixed at Boumbox Studio in Paris by Yan Memmi (Dio’s Lock Up The Wolves, Marcus Miller’s The Sun Don’t Lie, etc.). Additional contributions from Jens Johansson (Stratovarius), Joop Wolters (Shadrane), Jordan Rudess (Dream Theater), Marco Sfogli (James LaBrie), Mike Andersson (Cloudscape) and Peter Wildoer (James LaBrie) were also carefully built into the album, the final product boasting over fifty minutes of exceptional, massive  cinematic, atmospheric metal Lalu has dubbed, Atomic Ark. 
    $5.00