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ReEvolution

SKU: SR3066
Label:
Sensory Records
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Cynthesis is a new band that reunites three of the original members of Zero Hour (Jasun and Troy Tipton, and Erik Rosvold) along with Enchant drummer Sean Flanagan.

ReEvolution is the middle part of a dystopian trilogy begun with 2011’s DeEvolution. The central character, a shaman, is sent out to gather more slaves. He comes across a tribe and senses a light within them that triggers a distant memory of his past.  He realizes this is the original tribe he was taken from.  He brings them back to the city and encounters what was done to the population and sets them free.

While Cynthesis maintains much of the Zero Hour tech metal influence, it also demonstrates the more melodic and atmospheric side of Jasun Tipton’s songwriting.  ReEvolution will appeal to fans of both progressive rock and metal.

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  • Great second album from this German underground band.  Trauma was a fine album, but the follow up features a revised lineup and a more mature sound.  The music definitely veered towards the harder side of the progressive spectrum.  Tracks are longer and concepts are more developed.  There seems to be a loosely tied Biblical theme going on.  The album has some beautiful organ work that owes more to Dave Sinclair than Jon Lord.  I do miss the flute/sax work but the guitarwork is subtle and sublime.  Conny Plank produced the album and tied the whole thing together.  One of the great titles from the Brain catalog.  Highly recommended.
    $19.00
  • Live acoustic album from the duo of Timo Kotipelto (Stratovarius, Cain's Offering) and Jani Liimatainen (Sonata Arctica, Cain's Offering).  The disc consists of them performing cover tunes as well as a couple of tracks taken from Kotipelto's solo work.
    $11.00
  • "If La-Ventura hadn’t named their second full-length album White Crow, the word "testament" would have been a fitting alternative. That’s because it’s been almost 5 years since the Dutch melodic metal quartet released their critically acclaimed debut album A New Beginning. Sure, they released an EP between then and now, but La-Ventura have kept a low profile while working on their new material. Their online presence all but vanished – usually a fatal sign in this age of constant updates via Facebook and social media – and many international fans, including myself, wondered whether the band had split up. Thus, the fact that La-Ventura are still around is welcome news. And hearing the pulse of their music again on White Crow is like visiting an old friend who’s changed a bit since you two last met.What do I mean by "changed"? Well, White Crow presents a major shift in La-Ventura’s music. Instead of continuing the moody, gothic-like atmospheres of A New Beginning, the band focuses on guitars and vocals. (This may be because La-Ventura never replaced keyboardist Marco van Boven after he left the band.) So, on White Crow we hear more of Sasha Kondic’s nu-metal-esque riffs and the rhythm section’s throbbing and grooving, while keyboards highlight only certain moments on a few tracks. The production and mix quality have improved dramatically since A New Beginning, perhaps because La-Ventura opted not to self-produce the new record. This time, they worked with producer Didier Chesneau (Headline, Asylum Pyre) and mastering engineering Bruno Gruel (Septic Flesh, Asylum Pyre). The result is a sharper, thicker sound that augments the guitarwork and pushes the keyboards further into the background. Most of the melody on White Crow, therefore, comes from singer Carla (Douw) van Huizen. She thrives on the band’s intensity, and her mature voice and melancholy tones suit the new sound just as well as they fit La-Ventura’s earlier style.La-Ventura’s evolution is apparent as soon as White Crow begins. Kick-off track "Falling Down" is easily one of the band’s grittiest songs to date, with Kondic’s riff-ripping and new drummer Renzo van Poecke stabbing at the slow tempo. Van Huizen’s powerful chorus and the closing sonic eruption turn this track into an instant La-Ventura classic. "Human Vanity" takes a similar path but is more uptempo and contains one of the album’s best sing-along refrains ("You and I, we need / Something that’s compatible / Something that’s real"). La-Ventura, however, save their most searing arrangements and starkest contrasts for "Song For An Idiot." All of the band’s elements converge to portray the anger, frustration, and despair in van Huizen’s lyrics. "Time and Time Again," "Neverending Story," and "The Only One" also show how La-Ventura’s music has ripened.A few tracks on White Crow hearken back to the days of A New Beginning. The title track begins with a delicate piano / synthesizer intro before the full band comes crashing in. "Drowning," on the other hand, uses keyboards throughout as well as off-beat drumming and a cascading, mystical synth line. Van Huizen uses the full breadth of her range here, enhancing the lyrics’ anguish. The one song on White Crow that brings together the old and new of La-Ventura is "Close To You." The main guitar hook has a loose, alternative metal feel, and synths peek their way through on the verses and final bridge. Then the song ends with van Huizen crying out over bursting guitars and a shrieking last-second solo – a bold move La-Ventura didn’t dare to take on A New Beginning.For the most part, La-Ventura have taken the right steps forward on White Crow. Listen to both of their albums back to back and you’ll notice the difference, especially in the quality of the sound mix. The keyboards and treble dominated on A New Beginning and oversaturated the music, whereas White Crow’s concentration on metal and melody feels more natural and gives the listener a better idea of how La-Ventura may sound live. In the end, though, I still prefer A New Beginning over White Crow. Tracks like "Trefoil," "Only Love Will Find Its Way," and "Memoria" from the former album aren’t just well-written and memorable. They also drip with emotion and earnestness that the listener can feel. That extra touch is often what separates a great song from a good song. And unfortunately, the strongest tracks on White Crow don’t breach that difference, despite how catchy or tight they may be.Still, White Crow is a solid release and one that La-Ventura fans should be pleased with. It retains enough of the familiar melodic focus from A New Beginning, particularly van Huizen’s ardent vocals, while adding more musical crunch and distortion. And although White Crow may not move listeners the way that A New Beginning did, the passion we originally heard from La-Ventura still runs through the music’s veins. Of course, the passion has manifested itself in a different manner this time. But that quality is essential is making good music in any genre. And with White Crow, one of The Netherlands’ most promising female-fronted bands gives us another full-bodied dose of it." - Sonic Cathedral
    $17.00
  • "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
  • "Desolation Row finds things coming full-circle for guitarist/electronics pioneer, Richard Pinhas. In a career spanning more than 40 years, pathfinder Pinhas has remained continually innovative, pioneering groundbreaking developments in electronic rock and industrial music and influencing generations of musicians. In a major recent creative surge, he has released numerous recordings over the past several years in collaboration with noise and experimental musicians, breaking further sonic ground. Desolation Row finds Pinhas collaborating with those he has directly or indirectly inspired and influenced, with the results in a class by themselves.On the album, he is in the company of some of Europe’s cutting-edge performers in the frequently-overlapping spheres of free improvisation, jazz, progressive rock and noise — Oren Ambarchi, Lasse Marhaug, Etienne Jaumet, Noel Akchote, Eric Borelva, and his son, Duncan Nilsson — engaging in a series of six distinct works which stimulate and push all concerned through and beyond their comfort zones. This is a work that stands both with and apart from the respective oeuvres of its principals. The continually evolving Pinhas reaches ever newer artistic vistas – and draws attention to Europe’s sociological, political, and economic turmoil on Desolation Row.Desolation Row contains some of the elements we know and love from Pinhas—dense, subtly shifting banks of sonic bliss; sustained guitar tones, textures alternately dreamlike and nightmarish, and well-nigh elemental, pulsating rhythms. Far from being an "elder statesman," this shows that Richard Pinhas is still in the thick of things, continually reinventing his musical conceptions and recognizing no conventional constraints."
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  • "Skewered blasts of noisome, Red metal shatters through rough and tumble landscapes of shuddering percussion, ominous, gravelly basslines and wheezing synths. An all-instrumental bulldozer of an album..." – i/eHappy Family first appeared in the early 1990s as part of the explosion of exciting, underground bands that came roaring out of Japan at that time, such as Ruins, Bondage Fruit, Tipographica and Boredoms.An instrumental quartet of keyboards, guitar, bass and drums, they released two albums of over-the-top, metal, King Crimson & Magma influenced avant-progressive rock for Cuneiform Records in 1995 (Happy Family) & 1997 (Toscco) and then fell silent...until now!Reforming with 3 of the 4 members of the group who appeared on Tossco:Kenichi Morimoto - keyboardsTakahiro Izutani - guitarKeiichi Nagasse - drumsand with new bassist Hidemi Ichikawa, 15 years later, they are back with a fantastic new release, Minimal Gods, and just as heavy and intense as they ever were and they still sound like no one else except Happy Family!
    $15.00
  • One of the truly great albums of the 70s. The band developed long form compositions incorporating elements of jazz, folk, and r'n'b in a unique but lyrical way. This is music that just ebbs and flows as it jams on. Perhaps only topped by their next studio album. This remastered edition is a real killer - it features three tracks from a proposed/documents/catalog #'d live album that was never released called "Live - November 70". The tracks were recorded at the Fillmore East in November 1970. A stone cold classic.
    $13.00
  • "Spirit's debut unveiled a band that seemed determine to out-eclecticize everybody else on the California psychedelic scene, with its melange of rock, jazz, blues, folk-rock, and even a bit of classical and Indian music. Teenaged Randy California immediately established a signature sound with his humming, sustain-heavy tone; middle-aged drummer Ed Cassidy gave the group unusual versatility; and the songs tackled unusual lyrical themes, like "Fresh Garbage" and "Mechanical World." As is often the case in such hybrids, the sum fell somewhat short of the parts; they could play more styles than almost any other group, but couldn't play (or, more crucially, write) as well as the top acts in any given one of those styles. There's some interesting stuff here, nonetheless; "Uncle Jack" shows some solid psych-pop instincts, and it sounds like Led Zeppelin lifted the opening guitar lines of "Taurus" for their own much more famous "Stairway to Heaven."" - All Music GuideRemastered edition with four bonus tracks.
    $7.50
  • "As of late, at least with their previous album, and the current Pariah's Child, Finland's Sonata Arctica has been throwing their faithful some musical curve balls. Putting them in the category of traditional Scandi power metal is no longer fitting, although they do play the same and often.No, their sound is much more diverse, enterprising, these days. A good example is the song Half A Marathon Man. It's opening strokes of guitar, keyboards, then drums could lead to most any sound. But it delivers this huge rock grooved melodic metal monster, with hooks galore, from vocals to lyrics to riffs. Then there's the power metal romp of X Marks the Spot, disguised as a rock tune, and wrapped in the motif a religious revival. It's familiar, but strange; clever and a whole lot of fun. Also of note is What Did You Do In the War, Daddy which merges the feel of classic heavy metal anthem with the bluster of power metal in places.Yet something more familiar comes with the longest number, Larger Than Life, which sounds like old school Sonata Arctica, where they draw upon their symphonic progressive power metal roots. Perhaps still more straight forward Sonata Arctica is the first half of the album. Notably The Wolves Die Young or Take One Breath are classic Scandi melodic power metal tunes, straying little from the foundation from which the band was built. Yet, fans should know that it is no less interesting than the aforementioned more crafty pieces. Once more I think Pariah's Child represents Sonata Arctica as a band being carefully faithful to their roots, yet always moving forward in their creativity. Easily recommended." - Dangerdog.com
    $14.00
  • Amazing how these guys are still able to bring it. A Night For Baku turns it up a notch and then kicks it into overdrive finding the boys from Cali unleashing their usual assortment of psych-tinged progressive mayhem. Somewhere...someplace...the Progressive Gods are looking down on us with a big grin on their faces...Djam Karet have delivered the real goods again.
    $15.00
  • "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
  • Italian avant rock label AltRock has spun off a new label specializing in symphonic progressive rock. The first release is a winner. Ciccada hails from Greece. Fronted by the ethereal vocals of Evangelia Kozoni, Ciccada incorporate many prog influences of the 70s. Canterbury, folk and symphonic rock are the order of the day. Flautist/keyboardist Nicolas Nikolopoulos makes his presence felt through out (yes - the holy Mellotron his here!). The music reminds a bit of White Willow without ever quite hitting on their heavy pyrotechnics - this one is more of a slow burn. Subtle and beautiful. A fine debut - these guys may be one album away from greatness. Highly recommended.
    $16.00
  • "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
  • This was the second album with this lineup assembled by Chick Corea - the first one being released on ECM. Members consisted of Corea (electric piano), Joe Farrell (tenor sax, flute), Stanley Clarke (bass), Airto (drums), Flora Purim (vocals, percussion). This is not the high intensity electric fusion to come. Instead this fits more into the kosmigroov jazz realm. It's electric but without the rock elements instead relying more on Corea's latin heritage.
    $15.00