Legend

Legend

BY Witchcraft

(Customer Reviews)
$13.00
$ 7.80
SKU: 2956-2
Label:
Nuclear Blast
Category:
Doom Metal
Add to wishlist 

This Swedish doomsters does an uncanny job of channeling 70s dark hard rock sounds.  Black Sabbath comes to mind instantly and you'll hear some similarities to bands like Pentagram and Candlemass.  This time around they have opened up their sound a bit - I distinctly hear more than a little bit of Zep inscribed in their genome.  Highly recommended.

There are no review yet. Be the first!

Product Review

You must login or register to post reviews.
Laser Pic

customers also bought

SEE ALL
  • Official (?) release of a live performance that has been circulating among tape traders for decades.  This was a live in the studio performance recorded for the BBC in 1973 in front of an invited audience.  Its a classic gig that features Wishbone Ash's Andy Powell on Ashes Are Burning along with Al Stewart.
    $14.00
  • It is extremely difficult to put one specific label on the Degree Absolute material. While having firm roots in progressive metal, DA strays from the path quite frequently, exploring the worlds of jazz and ambient music, as well as doom, thrash, and technical metal. If it was possible to compare the music of DA to the music of other well-known bands, one could say that it is based somewhere between Fates Warning's semi-progressive melodies and WatchTower's technical playing skills.The Degree Absolute project began when multi-instrumentalist Aaron Bell came to the conclusion that his song ideas and concepts could not be realized in a typical band situation. After attempting to bring his original material into different local bands with disappointing results, he decided that a new project, void of any of the compromises associated with a true band, was necessary.To fill the bassist position, Aaron immediately contacted Dave Lindeman. They had worked together in a local band, Chaos Game, and Aaron thought Dave would be perfect for the role. Dave is a graduate of the Berklee College of Music, where he majored in music synthesis. He has performed in various capacities as a bassist in the Boston area, both as a studio musician and in live settings.The addition of Doug Beary on drums completed the Degree Absolute line-up. Doug has been drumming with the melodic metal band, Defyance, since its inception 15 years ago. Since joining Degree Absolute, he has proven himself to be a perfect match as well as the final piece of the puzzle.Mixing of the debut recording was performed by noted producer Neil Kernon (Nevermore, Spiral Architect, Cannibal Corpse, etc.) at Sonic Ranch in Tornillo, Texas.
    $4.00
  • First time on CD (does any one know why?). This was the last album the band recorded for A&M. On the heels of Ghosts it came across as a bit of disappointment at the time although I think time treated it well. John Hawken had left the band and he was replaced by a series of keyboard session players including Rick Wakeman and Tommy Eyre. One of the players, John Mealing, became a member of the band. Tracks like "Golden Salamander" and "The Promised Land" are as good as anything the ever recorded and "Hanging In The Gallery" can still bring a grown man to tears. This long awaited release comes with 2 unreleased bonus tracks and the typical nice liner notes and attention from Mark Powell and crew. Highly recommended.
    $9.00
  • Airbag is a new young prog band from Norway. Their music has a dreamy quality that will have you floating in the clouds. If you are fan of Riverside's lighter moments you will spooge over this. Definite references to Radiohead and Porcupine Tree will spring to mind as you listen. The music never explodes - it takes the slow fire approach creating constant tension. Lots of beautiful melodies wafting through your skull from the first listen. The disc comes with a really cool die cut sleeve and booklet (check out the jpeg). Highly recommended. These guys could potentially break big.
    $15.00
  • Remastered with 2 bonus tracks."Over the course of their first three late-'70s albums, Foreigner had firmly established themselves (along with Journey and Styx) as one of the top AOR bands of the era. But the band was still looking for that grand slam of a record that would push them to the very top of the heap. Released in 1981, 4 would be that album. In producer Robert John "Mutt" Lange -- fresh off his massive success with AC/DC's Back in Black -- guitarist and all-around mastermind Mick Jones found both the catalyst to achieve this and his perfect musical soulmate. Lange's legendary obsessive attention to detail and Jones' highly disciplined guitar heroics (which he never allowed to get in the way of a great song) resulted in a collaboration of unprecedented, sparkling efficiency where not a single note is wasted. "Nightlife" is only the first in a series ("Woman in Black," "Don't Let Go," the '50s-tinged "Luanne") of energetic, nearly flawless melodic rockers, and with "Juke Box Hero," the band somehow managed to create both a mainstream hit single and a highly unique-sounding track, alternating heavy metal guitar riffing, chorused vocals, and one of the ultimate "wanna be a rock star" lyrics. As for the mandatory power ballad, the band also reached unparalleled heights with "Waiting for a Girl Like You." One of the decade's most successful cross-genre tearjerkers, it has since become a staple of soft rock radio and completely eclipsed the album's other very lovely ballad, "Girl on the Moon," in the process. And last but not least, the surprisingly funky "Urgent" proved to be one of the band's most memorable and uncharacteristic smash hits, thanks to Junior Walker's signature saxophone solo. Through it all, vocalist Lou Gramm does his part, delivering a dazzling performance that confirmed his status as one of the finest voices of his generation. Three years later, Foreigner would achieve even greater success on a pop level with the uneven Agent Provocateur, but by then Jones and Gramm were locked in an escalating war of egos that would soon lead to the band's demise. All things considered, 4 remains Foreigner's career peak." - All Music Guide
    $5.00
  • "Sometimes I like a little power in my heavy. Swiss band CRYSTAL BALL is a powerhouse that performs metal with a force to be reckoned with. Following a 6 year hiatus, a new album "Dawnbreaker" was finally released this year, and they bring with them a new energy. What makes this band especially interesting is their blend of classic Heavy Metal, euro-Rock and melodic Power Metal; some of the tracks sound like something off a EUROPE album; other times I am recalled back to IRON MAIDEN; and other times I hear RHAPSODY OF FIRE. Naturally, the musicianship is excellent, but keeping things from growing bland are the vocals; gruff and aggressive, not normally found on a melodic Power Metal album, and almost add a Lemmy-like atmosphere.The opener "Break of Dawn" is a through-and-through Heavy Metal track, with heavy and aggressive guitar-driven passages; even the vocals are percussive, putting particular emphasis on adding an extra axe blade to those of the chugging guitars. Immediately following is a strongly Euro-flavored track, "Anyone can be a Hero", with wailing guitar and vocal melodies and very, very 80's melodic progressions. A nice touch, I think; albums like this simply do not feel complete without the odd blast from the past. A song that stuck out like a sore thumb, for me, is "Skin to Skin"; at first, I thought it was an EDGUY piece, because it sounds like it could have come directly out of "Mandrake" or "Rocket Ride". A copy? Nay; a nice remembrance piece; mid-tempo but catchy, groovy, heavy and melodic.I hope this band is "Back for Good", or at least for a while. Another EDGUY-like track, complete with atmospheric synths, this is another rocking mid-tempo track that even, in terms of arrangement, reminds me a lot of STRATOVARIUS' "Kiss of Judas". Allow me to go on and on about the guitar solo; it is a damned fine work of art, and the twin harmonized solo is at a Scandinavian level. Next up, the band returns in a blaze of glory to the roots of melodic Heavy Metal in "Power Pack", which combines the aggressive grooves of METALLICA's peak era, and some additional Euro-style melodies. Lyrics are cliché as hell, but I do not care; essentially my favorite song on the album. The end track, "Bond of Love" proves that a Metal album does not need an over-abundance of guitar-shredding, blast beats and double kicks (of which this album has none) to be brimming with molten steel. Hell, I'm even noticing a few slight progressive touches here.I admire CRYSTAL BALL for not trying too hard to be Metal, for not being too cliché, and for effectively bring back to full force the essence of Heavy Metal into modern times." - Metal Temple
    $9.00
  • 2LP orange vinyl edition in a gatefold sleeve and one bonus live track.You know this band is like money in the bank. They don't get a lot of hype but they've never made a bad album. They change singers from time to time but they always come up with a great one. They tinker with the formula from time to time just to keep it fresh but you can always expect great harmonies, blistering leads of guitar and keys and melodies that stick in your head for days on end. Wounded Land was one of the first progressive metal albums I ever heard and really drew me into the genre. Critical Mass doesn't disappoint at all.
    $30.00
  • "Having morphed--some would argue devolved--into a predictable ballad machine by the '80s, it's good to be reminded of Chicago's original artistic ethos and vibrant promise. And what better place to start than their spectacular 1969 debut? This digitally remastered edition compiles the double album on a single disc that retains the original LP artwork and features a 16-page booklet with a retrospective essay (based on new band member interviews) by David Wild. Chicago weren't yet the '70s hit-singles factory they would shortly become, and CTA showcases a band whose muscular musicianship and creative restlessness fostered two LPs worth of music that was as aggressive and far-ranging as its singles were friendly and inviting. Tellingly, the hits showcased here--"Does Anybody Know What Time It Is?" "Beginnings," "Questions 67 and 68," and their rhythmically pumped cover of the Spencer Davis Group's "I'm a Man"--were often edited down from the original collection's suite-heavy structure. But those familiar cuts belie the downright progressive and angular nature of much of the rest, which fuses Terry Kath's neo-psychedelic guitar (which careens to noisy, feedback-laden Hendrixesque extremes on "Free Form Guitar") to one of rock's pioneering horn sections with enough experimentalism ("Poem 58") that it frequently overwhelms their undeniable genius with a pop song. Chicago would seldom sound so adventurous after this, one of rock's greatest debut albums." --Jerry McCulley
    $6.00
  • "Besides the SWF (German south-west broadcast) series with German bands of the Krautrock era, Long Hair start a new series with recordings form the vaults of Bavarian Broadcast Corporation (located in Munich). Volume 1 of the series is dedicated to Aera, one of Germany´s finest bands of this time and well known because of their albums 'Humanum Est' and 'Hand und Fuss' (vinyl version re-released on Long Hair, LHC43 and LHC44). On January 9,1975 Aera with the line-up (same as on 'Humanum Est') Muck Groh, guitar, Klaus Kreuzeder, sax and flute, Dieter Bauer, bass and drummer Wolfgang Teske, performed in an extraordinary setting-St. George´s Church in Freising, district of Munich. The idea of the concert was to open the church for contemporary music and to give the musicians the chance to interpret the Roman Catholic liturgy, the 'Holy Mass', with their music. Aera went a long with the five components of the holy mass and played two titles of their up coming album 'Humanum Est' and another three titles that were not included on any album. The titles presented during the second part of the concert were earlier versions of titles that were later released on the album 'Hand und Fuss'. Aera played more than 75 minutes. All titles were digitally remastered from original master tape. Booklets contains story and a review of the concert and rare photos. Highly recommended!"
    $18.00
  • ""In Debt" is a major collectable item with the folk-rock and psychedelic rock listeners and collectors. Today, original copies of this record fetch quite interesting sums when changing hands in record fairs or internet auctions.All tracks are original compositions, and the style is very personal. It's folk-rock, but many tracks are quite psychedelic too. But don't look close for influences, they will not come to mind that easily. Bill and Alan had their own psychedelic folk-rock style.Never reissued before in any format, now here we come with a splendid reissue. Remastered sound taken from the original mastertapes. A must!! "
    $9.00
  • "A while back I reviewed a “live” album that sounded like it was recorded in a pub in the middle of nowhere on a wet Tuesday, attended by one man and his dog.  It was awful.  If you’re going to produce a live album there are rules.  First, the sound has to be good, there’s no point if it isn’t studio quality.  Second, and this is vital, if you are recording an album in front of a live audience, the sound of that audience must make it onto the album.  If you can’t hear them cheering, clapping, singing along you’d have been as well staying in the studio.  After the disappointment of the aforementioned review, I was keeping everything crossed that Live With the Curse would reflect the electric atmosphere at Glasgow’s Classic Grand on that night back in November.  You see, I know the crowd was rocking that night, and I know the band sounded great, because I was there.So, I sat down today to listen to the album, hoping against hope that Eden’s Curse had got it right.  Man have they ever got it right.  I defy anyone to listen to this without feeling like they were actually there.  Mixed and mastered by Dennis Ward, who has worked with the band throughout their career, every bit of the live experience is included, from their onstage introduction by Tom Russell to the little chats with the crowd and the unholy racket the crowd made at every opportunity.Tom Russell, Godfather of Rock is a legend in these parts, he’s been presenting rock radio for longer than I’ve been alive (sorry Tom!) and having him announce you is quite an honour.  From that point on this album is relentless.  Nikola’s vocal never misses a note, Thorsten plays guitar like a man possessed and Paul, John and Steve bring it all together into something pretty close to perfection.  Nikola does a brilliant job of bringing the crowd into the show as well, introducing songs, explaining what they’re about and getting some crowd participation going.  It all adds to the atmosphere, which as I’ve already said is crucial to a live album.Highlights for me include opening track Symphony of Sin, which sets out the bands intentions from the very beginning.  This gig, this album is going to break you.  The pace and energy is non stop, as Nikola roars at the crowd and they roar back.  Covering tracks from all four Eden’s Curse albums the band powers through a set list which translates to a two disc album of over 100 minutes.  It’s long, but it never drags, as the energy refuses to drop.  Towards the end of disc one look out for an extended guitar solo from Thorsten.  Now, I don’t play guitar, but I know enough to know that this man is one of the best guitar players you will see.  He rarely lifts his head, lost in the music but he plays as if he has two pairs of hands.  One of my favourite things about Eden’s Curse is the storytelling in each song, from Masquerade Ball to Rock Bottom.  It means that the songs improve with each listen, as you move from listening to the tune to actually taking in the lyrics.  I have to also mention my personal favourite Eden’s Curse track Evil and Divine.  I don’t know why I love it, I just do.  And that’s what it’s all about.As final track Angels and Demons ends the crowd begin to chant, “Eden’s Curse, Eden’s Curse, Eden’s Curse,” and I sit here straining my ears because if I just listen hard enough I might hear myself.  I cheered them that night, and I’ll be cheering this album from the rooftops.  It’s out on Friday, March 13th and I will personally Curse any of you who don’t buy it!" - Planet Mosh
    $15.00
  • "Chastain offered up a unique brand of progressive metal, combining his over the top guitar playing with Leather's unique vocal sound at a time when Shrapnel was enjoying success with then-new label mates and fellow guitar heroes Paul Gilbert, Vinnie Moore, and Tony MacAlpine.There has been a resurgent interest in musician-oriented records and the early shred scene. The re mastered Ruler of The Wasteland is one of those seminal records that helped to shape the emerging progressive metal movement." Comes with 2 bonus tracks.
    $16.00
  • 10th anniversary reissue of the first Sula Bassana album - now remastered by Eroc!  Sula Bassana is the space rock/psychedelic vehicle for German musician Dave Schmidt.  On Dreamer, Schmidt plays all the instruments.  Its a cosmic psychedelic blow out from start to finish.  Tripped out guitar jamz with outer space keyboards.  Schmidt tosses in the odd vocal here and there but basically this is him ripping away on all cylinders.  New edition comes with 2 bonus tracks.  This is the good stuff.
    $17.00