Earn 1 Loyalty Point With Every $1 Spent!

Access denied

You are not authorized to access this page.
Laser Pic

customers also bought

SEE ALL
  • Woodpecker is the debut release from singularly named Swedish vocalist AnnaMy (her spelling not mine).  Its a gorgeous album.  This is beautifully recorded gentle, melodic psychedelic folk.  Plenty of electricity here - most notably on electric guitar courtesy of Reine Fiske.  Undercurrents of flute and organ spice up the mix but the focus is on AnnaMy's stunning voice.  The overall sound pays homage to the greats of the 70s.  Think in terms of Trees, Mellow Candle, Caedmon, and Vashti Bunyan.  This one is a real grower.  Highly recommended.
    $16.00
  • "This is not a new Lost Horizon record.There, we got that sorted out. The good news is that Daniel Heiman is finally back where he belongs: in metal. For its third outing, Harmony tapped this fan-favorite singer, but unlike recent, however successful, hijack jobs (think Michele Luppi with Secret Sphere, or further back, Urban Breed with Bloodbound), this is still one hundred percent a Swedish, religious power metal experience.After a promising start with Dreaming Awake, and a superior sophomore effort in Chapter II: The Aftermath, Chapter III at last gives us the Harmony record that I always knew the Swedes had in them. Retaining the band’s signature solemn style and subtle sense of melody, Theatre Of Redemption is bigger, better, and an overall top contender for 2014’s album of the year.Just how much has this to do with Heiman himself? Of course, hiring a man of his not inconsiderable talent is certain to lend your work that extra flavor. This isn’t to say that Henrik Båth held the band back (about as much as Mikael Dahl did/does in Crystal Eyes), but that Heiman touch is fan-favorite for a reason. The superhuman wails, the natural emotion, the unrivaled raw power, all of that bigger and better than before as well. In whatever dark corner of the music industry this man has been lurking in for all these years, he’s picked up a thing or two. A tender and soulful performance like the one on “What If” could simply not have come from him in his Lost Horizon-days. Goosebumps, ladies and gentlemen, entire flocks of geese.Logically, even Daniel freakin’ Heiman can only thrive when the songwriting is there to support him. Harmony stepped up its game considerably in this department, opting for shorter, tighter material here. Theatre Of Redemption is trademarked by sharp and poignant riffs, simple but gripping melodies, and an overdose of class. “Son Of The Morning” and the title track sound like the basic but effective kind of songs that Kamelot used to churn out in its heyday, boasting oriental effects, a mystic atmosphere, and an ominous chorus. “I gave it aaall – for – NOTHING!” More geese and whatnot.Not all of it is down and plodding, though. Introspective opener “Window Of My Soul”, the celebratory “Crown Me King”, and self-referencing closer “In Search Of” root Harmony firmly in the national style. Anyone attempting to chronicle the rich history of Swedish power metal should do well to include them. For filler tracks, to conclude, look further, because Harmony wastes no time making every single song one worthy of remembrance and appreciation.This is not a Lost Horizon record. Instead it’s the best album Harmony has ever released, and one of the best this year has seen so far. Daniel Heiman returns gloriously to be crowned as king (only to disappear, as he’s only a guest on this album), and aids Harmony in releasing its full potential. Fans of Heiman, Harmony, and (Swedish) power metal in general should purchase this blindly." - Black Wind Metal
    $10.00
  • This is the second album from the Polish band Believe. The band was formed by former Collage guitarist Mirek Gil. I have to be honest - I hated this band's first album. It was an incoherent mishmosh of styles and simply didn't work. Thankfully Gil has righted the ship and he's come up with a work that is far more substantial and worthy of your attention. Gil tends to de-emphasize keyboards (but they are still present). Primarily the music revolves around his languid guitar work that reminds a bit of David Gilmour. His musical foil is violinist Satomi. She lends a nice counterpoint to the guitar lines as well as an exotic Eastern tinged feel. Vocals from Tomek Rozycki are accent free and on the mark. Musically speaking, Believe is far removed from Collage. Where that band was clearly defined as "neoprog", Believe opts for a more contemporary approach that evokes some of the moods that Riverside explored on Out Of Myself. Highly recommended.
    $15.00
  • Following two highly successful tours with established Progressive metalists PAIN OF SALVATION and two years of exacting work, DARK SUNS have finished their third album "Grave Human Genuine.""Grave Human Genuine" – this unconventional title was chosen with care and purpose, as it represents the three characteristic elements of this work: "Grave" signifies darkness, the sinister force, and the inevitable fate. "Human" is synonymous with the music’s inherent soul-depth, while "Genuine" means "real" or "authentic" and hence refers to DARK SUNS’ uncompromising approach to music.But what about the music? DARK SUNS don’t merely pick up where the successful predecessor "Existence" (2005) left off, they present themselves as many-facetted as never before. A clear nod to Doom, complex polyrhythms, unusual and diverse instruments and, last but not least, drummer NIKO KNAPPE’s characteristic yearning vocals comprise the album’s cornerstones. The variety of sounds stretches from angular Metal riff attacks via atmospheric ambient soundscapes and Techno reminiscences to Avant-garde influences – despite this complexity, an accomplished musical mosaic of enormous expressiveness.Exciting nuances are created by the incomparable bass of Pain Of Salvation’s long-time member KRISTOFFER GILDENLÖW, a friendly turn that resulted from the tours mentioned above, and DISILLUSION’s SCHMIDT’s guest vocals in "Flies In Amber."With "Grave Human Genuine," DARK SUNS have created a haunting album full of autonomy and instrumental class, self-consciously charting new musical territory. In this, the band from Leipzig embodies the essence of every true progressive band: compositional genius coupled with advancement. The dark suns radiate: gloomy, human and egregiously genuine.
    $6.00
  • "It's a strange thing, but hardly uncommon in the Internet age. I had to find out about Pennsylvania's Mindaze through a German promotion outfit distributing promotional packages for Swedish label Inner Wound Recordings. Mind you, Mindmaze's roots are in Allentown, a mere hour drive from Dangerdog HQ. Here we have their sophomore effort Back From The Edge, soon to get more and better interest thanks to this international promotion.Mindmaze works from the roots of traditional melodic heavy metal, and then throws in female lead vocals with a good mixture of progressive power metal. The band is essentially a trio, led by siblings Jeff and Sarah Teets, with guests filling the bass guitar chair. For the album session recording that duty fell to Symphony X's Mike LePond. They get additional support from Stratovarius keyboardist Jens Johansson (Moment of Flight), Pharaoh guitarist Matt Johnsen (The Machine Stops), and Lord guitarist Lord Tim (Onward Destiny Calls II).Keeping good company with talented musicians is one thing, but delivering the heavy metal goods is another. And Mindmaze does. I was particularly impressed at the depth of the songwriting and arrangements. All the songs are thick with groove, harmony, and melody, yet sufficiently intriguing thanks to shifts and twists from tempo to instrumentation. Significant to the latter is Jeff Teets' impressive guitar lines. His riffs and leads are rather rather large, rousing and entertaining. So much so, one might call this a guitar-oriented metal album. If you like sharp guitar work, you will definitely enjoy this album. As for sister Sarah's voice, her vocals are essentially straight foward, easily in the range of hard rock and heavy metal. What she's not is some crazy operatic singer trying to impress you with her range and pierce your eardrums. She reminds me of A Sound of Thunder's Nina Osegueda, but not as screamo. With that reference, I would suggest that, if you like ASoT, you're going to love Mindmaze.As for individual songs, I won't bore you with minutae. You can listen to a few tracks below. I was immediately pleased with Dreamwalker, Moment of Flight, and The Machine Stops. The latter two having perhaps the most 'proggish' moments of the album. Not so much for Consequences of Choice. It's not a bad song, but just seems more riff driven and even-handed, with little intrigue. But it in no way diminishes the strength of the whole as Back From The Edge a fine listen from start to finish. Easily recommended." - Dangerdog.com
    $10.00
  • The band's fifth album was a brilliant amalgam of Beatles influenced pop and classically influenced progressive rock. I still get a rise out of hearing "Fire On High". This remastered edition comes with five bonus tracks which are a bit dispensible alternate mixes.
    $7.50
  • "Although Paradise Lost never really released anything that could even remotely be considered crap, In Requiem stands as one of their best works - and this is saying a lot. To be placed on the same pedestal as Icon, Draconian Times and One Second, the music on this record speaks for itself and it of interest to anyone considering themselves a fan of this band or of doom metal, gothic metal or any other melancholic type of metal." - Metal Storm
    $10.00
  • Third and final part of the trilogy of albums begun with Out Of Myself and continued on with Second Life Syndrome. Rapid Eye Movement is a conceptual work which has a common thread with the first two works - one of isolation and introspection. The main character becomes more emersed in his loneliness becoming further entrenched in an alternate mind state - what vocalist Mariusz Duda called a "reality dreamworld". A metaphysical journey through inner space - Rapid Eye Movement contains all of the band's characteristic musical traits - spaciness, heaviness, and pure emotion. Additional forays into the metallic world are present but so are some interesting Asian themes. The heavier aspects of the bands music should not deter their fans - they still spin around the same axis as Porcupine Tree, Anathema, Pink Floyd and Tool. Riverside continue to make deep, thought provoking progressive music that rocks. Rapid Eye Movement is a complete success!
    $15.00
  • Their first real prog effort. Killer keyboard excursions in an ELP vein.Japanese import.
    $17.00
  • "What do you get when you take a rough and ready Germanic power metal band and add two members of Blind Guardian? You get a better rough and ready Germanic power metal band. Sinbreed is that band and features the talents of Blind Guardian guitarist Marcus Siepen and drummer Frederik Ehmke, which gives them some instant musical credibility and clout. Their 2009 debut When World’s Collide was a rock solid slab of slick, but angry metal in the vein of modern Accept, Herman Frank and Paragon and Shadows improves on that template with even more raspy, Udo-like vocals and thrashy guitar lines. These cats don’t go in for the frilly aspects of Euro-power and prefer to pummel and attack with aggression while maintaining enough melody to hook you in. That makes Shadows a feisty, ill-tempered collection of speedy riffs, catchy choruses, and pissed off attitude, and when power metal is done this well, it’s pretty hard to resist. Not revolutionary, but it sure satisfies that need for edgy power sans pirate shirt.If you loved the last two Accept albums, songs like “Bleed” and “Call to Arms” will go down gangbusters. Lots of fast, in-your-face riffs and the excellently raspy roar of Herbie Langhans combine for some headbanging good times with all the Germanic flair you expect from acts like Grave Digger, but this is much better and more jacked up. It’s one speedster after another, each with a more than adequate chorus and ample nutsack. Sometimes they remind a bit of Steel Attack (title track), others times there’s a distinct Steel Prophet feel to the songs (“Leaving the Road”). Regardless of what influences they borrow from, they keep things straight-ahead, simple and rocking.Tunes like “Reborn,” ”Black Death” and “London Moon” have simple, memorable refrains and manage to be catchy without dialing back on the aggression. Most songs ride along on simple, but heavy riff patterns and rely on Herbie’s vocals to do the heavy lifting, pausing only for some satisfying, if typical power metal solos. It’s a simple approach, but it works for them, though there isn’t much difference from song to song and things do start to bleed together a little on the album’s back-end.Speaking of Herbie’s vocals, he’s a helluva good front man for this type of music. He has the raspy, gravely style down pat and reminds me a lot of new Accept singer Mark Tornillo. He has quite the powerful range and can hit all sorts of interesting notes when he so desires. He also has a bit of Bruce Dickinson’s flair and swagger hiding between his harsher approach (especially on “Standing Tall”) and it helps put the music over and make an impression. Marcus Siepen and Flo Laurin deliver the badass riffage required for this style and their solo work is pretty nifty (especially on “Broken Wings”). Nothing they do will make you fall out of a chair, but they manage to keep things moving for all ten songs and the album feels like it goes by quickly, which is a good thing.A typical dose of Teutonic terror, but a very good one, Shadows blasts away with all barrels, stays very consistent and checks all the required boxes on Yea Olde Power Metal Checklist. These guys are one of my favorite bands of this ilk and between them, Accept and Herman Frank, I get all the Germanic rage I can handle at my advanced age. If you need more muscle in your power metal, these guys have the iron injection ready to go. Go heavy or go home." - Angry Metal Guy
    $12.00
  • Redemption is one of the leading progressive metal bands in the world today.  Formed in Los Angeles, California in 2000 by guitarist / keyboardist / songwriter Nicolas van Dyk, the band features legendary progressive metal vocalist Ray Alder of Fates Warning, as well as guitarist Bernie Versailles (Agent Steel), and the phenomenal rhythm section of Chris Quirarte (drums) and Sean Andrews (bass).Redemption’s combination of heaviness not usually found in progressive metal, irresistible melodies and emotional urgency has created a unique and resonant voice for this band that sets them apart from the many clones in the genre, and which has gained them the attention of fans, critics and musicians.Through the band’s first three studios CDs (2002s self-titled first release, 2005’s The Fullness of Time, and 2007’s The Origins of Ruin), Redemption gained a loyal fanbase and garnered rave reviews worldwide from critics, who describe Redemption’s music as“one of the best progressive metal acts to emerge in the past decade” – DPRP“magical aura and incredible songwriting” – BLABBERMOUTH“it's powerful, catchy, enslaving, technical; it's the whole bunch” – LORDS OF METAL“the new star on the US prog-metal sky” – SQUEALER ROCKSAfter touring in support of Dream Theater and documenting at headlining show at tour’s end entitled Frozen in the Moment, the band returned to the studio to release 2009’s Snowfall on Judgment Day and 2011’s This Mortal Coil.Performing in support of that record, in 2012 Redemption co-headlined the world-famous ProgPower Festival in Atlanta, where the band recorded a unique show featuring nearly 80 minutes of material and staged with complementary visuals that drive home the compelling emotional impact of this band.   That performance is now being released as a CD/DVD set with additional bonus material through Sensory Records, the band’s original label.  From fan favorites such as the never-before-performed Parker’s Eyes to the crushing emotional weight of Stronger than Death, Redemption’s performance captured the special ability of its music to deeply connect with fans.  In the words of one concert-goer, Redemption’s show “was definitely the most exhausting, personal and emotional musical experience I’ve ever had.” 
    $17.00
  • Fourth album from this seminal US band. Deluxe remastered reissue also features detailed liner notes, 2 bonus tracks, original artwork and unseen photos.
    $12.00
  • 2021 remastered digipak with liner notes from Jim Gilmour."A Saga record is like a bottle of wine. When you buy a specific wine you know "almost" the taste it has, what you should eat with it. Here with this new Saga, House Of Cards, you know what to expect before pressing the play button; you know it is going to rock (not too much), that some progressive elements will be there, that solos are done by keyboards (guitar is of course not the mainstream instrument) and of course that this type of metal is quiet (progressive but not too technical fortunately).First two songs (God Knows & The Runaway) are excellent ... actually to good compare to the rest. The Runaway should have been placed farthest in order to give more equilibrium to the overall. Don't worry, the following 9 songs are not bad, they are simply one level below first two songs, which are typical Saga songs ("sounding" like nobody else).After many plays there is a band that comes to my mind, being dissimulated behind Saga's sound and this band is Queen. Yes, Saga sounds like Queen and even though this House Of Cards is not their best album, it will pleased their die-hard fans. Always There and Once in a Lifetime are also good song and highlight a perfect production. Nothing to say about the sound, it is crystal clear.For fans of Ruch, Marillion or Queen, check this one and if you don't know Saga, listen carefully before, because this band sounds like no other bands. They have created their own sound (from the very beginning back in the 80's) and lots of prog' bands recognize today that Saga has been for them an huge source of inspiration. Not their best shot ... but a great respect for this cult rock band." - Metal Reviews
    $13.00
  • "GAZPACHO was formed in 1996 by Jon-Arne Vilbo and Thomas Andersen and Jan-Henrik Ohme, later completed by the three others. They released six studio albums, which were well received. The Norwegian band is bringing out their seventh album, ‘March Of Ghosts’ which Vilbo describes as “a collection of short stories. The idea behind the album was to have the lead character spend a night where all these ghosts (dead and alive) would march past him to tell their stories. Characters include Haitian war criminals, the crew of the Marie Celeste, a returning American WWI soldier who finds himself in 2012 and the ghost of an English comedy writer who was wrongly accused of treason.”You might then expect quite a dramatic concept album with a lot of turbulent and heavy soundscapes or with the ghostliness some eerie and ethereal, thickly layered atmospheric songs, but with the mixture of ambient and folk elements into their post-art rock sound the music is more on the relaxing side. Though the layers and atmosphere are there, it’s rather straightforward and unpretentious and accessible. Many of the songs are dreamy, mostly evoked by Ohme’s vocal, take the first part of the ‘Hell Freezes Over’ songs, of which the second part, following the first, ups on the intensity, but it’s still pretty low key affair, reminiscent of MUSE. Added interest to this song comes with some bagpipe-y, Celtic sounds towards the end raising the oomph as it fades.‘Black Lily’ is enhanced by some unimposing and non-bombastic orchestra parts. Some compare GAZPACHO to ANATHEMA, PORCUPINE TREE and MARILLION, yet the sound so many times reminds me of the band I’ve previously mentioned – MUSE, this track in some ways is the most representative of it - with the vocals and the way the melody sways, lets go and intensifies with that nearly MUSE-like music diction. Guitar details and folk-ish elements in the ‘Gold Star’ change this tack somewhat and earn rather the comparison with MARILLION. The violin and dreaminess in the third part of ‘Hell Freezes Over’ and its melancholy create the best moment of the album together with ‘Mary Celeste’ which has this precarious steering towards heavier sound with some wonderful detailing going on with piano, and darker, moodier strings. The lyrical narrative stands out more here too.‘Golem’ has a most pronounced sense of experimentation woven together in an appealing way. Lyrically I especially enjoy how they’ve worked the legend of Golem into an interesting metaphor. The last part of ‘Hell Freezes Over’ is the hardest here, yet atmospheric and quite beautiful and the reference to ANATHEMA comes justified here. In fact within the last few sentences I have also written some of the adjectives that fit this album overall quite well - appealing, (very) interesting, beautiful, and also a multi-faceted and richly rewarding listen. " - Reflections In Darkness
    $8.00