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Symphonies Of The Night

SKU: NPR513CD
Label:
Napalm Records
Category:
Gothic Metal
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I have to show respect to Leaves' Eyes.  Most of the gothic metal bands that worked in the "beauty and the beast" style have moved on, Leaves' Eyes revel in it.  Truth is, they do it extremely well and Symphonies Of The Night might well be their best album yet.  You can never get tired of Liv Kristine's voice.  Clearly she is the strong point of the band.  Contrasting with her beautiful, serene voice is the coarse vocals of her husband Alex Krull.  It's the B&B thing and you either like it or it turns you off.  By now I'm indoctrinated to it so it doesn't bother me in the least.  Its part and parcel for the genre.  The band incorporates a heavily symphonic metal sound with elements of Scandinavian folk.  Highly recommended.

 

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    $17.00
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    $15.00
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    $5.00
  • "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
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    $15.00
  • Prospekt are a British Progressive Metal band influenced by bands such as Dream Theater, Symphony X, Opeth and Circus Maximus, as well as film scores and fusion. Prospekt combine the fierce technicality of progressive metal with the symphonic elements of contemporary prog.From brutal riffs coupled with odd time-signatures, to majestic melodies, the principle of Prospekt’s music is to create an intelligent and atmospheric mix of melodic, modern progressive metal. Incorporating passionate higher ranged vocals, frenetic guitar work, haunting orchestration and solid grooves, every composition remains both interesting and original.The Colourless Sunrise was mixed by  Adam "Nolly" Getgood of Periphery and mastered by Jens Bogren at Fascination Street.
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  • 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. 
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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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  • "Formed in Athens, the band PSYCRENCE saw the light of day in 2009, in December 2010 they released a self-produced demo EP entitled “Distance” which has received an excellent and very encouraging acclaim by the press and the fans alike, a fact that’s leads PSYCRENCE to play many stages in their native country, it includes an highly rewarded spot at the famous festival's "Tunes In Progress" bill.Now it’s time for the release of their debut album, “A Frail Deception” and it’s time for a deep analysis of this burning platter, full of progressive elements, both inherited from the new and old tradition, melted and boosted carefully, with the additions of some down tuning heaviness and many intriguing atmospheric sounds. Their music style and its definition is hard to explain but it also contains a tons of familiar elements subtly borrowed to many legendary heroes… You’ll name it, isn't it?! As an example, the first tune “A Losing Game” starts with a melodic pattern of piano enhanced with layers of synthesizers overdubbed by an asymmetric guitar riffage, very classic in its construction and perfectly measured and dosed, with an impressive Lead vocals performance in order to complete this archetypal picture of the Progressive Metal of the 90’s… Nothing really new but the tradition is respected and honored by such a smart and fine introductive track.The sonic production work gets a result near to perfection, scoring the privilege of being clear and strong in the exact doses, the best way to give justice at their amazing playing talents and developing an enjoyable path of sounds for songs like “Convergence” as it belongs to a more difficult breed of composition that really need some more time to penetrate your psyche… See you at the Coda. With the continuity of those four cuts that follow now “Forced Evolution” / ”Moral Decay” / ”Subconscious Eyes” / ”Incised Path” it reveals to us another side of their specifies, it holds a new density but also a real melodic richness, the opulent and refined Keyboards / Guitar harmonized canvas, built under a perfect construction of a complex duo is jaw dropping, the rhythmic section is tight as any Modern Power Metal but with a more elaborated harmonic maze on the top of it. The sharp riffing duet of guitars can be at the same time sophisticated and chaotic, bold and delicate, insidious or vicious but also elusive, their manic riffage is on the insistent mood, hypnotic or fierce and their solos spots are technically improved yet particularly demented in “Moral Decay”… ”Incised Path” contains also a bunch of NWOBHM flavors compensated by a still very relaxed kind of proggy crooning courtesy of singer Takis Nikolakakis.“Distance” is indeed another superbly crafted song, it's a Darker number hiding into a real progressive outfit, because of the arrangements as it builds itself layer after layer, until surprisingly providing a new found intensity and a new edge in the chorus section, starting with an incessant creeping riff that leads to another damn fine solo interaction. The track n°8 “Reflection” is another guitar driven, a fast paced and heavy thing, drums part are more direct, less audacious than the early titles but with a fury of melody improved by this always fantastic voice somewhere between Andy Kravljaca (ELSESPHERE / SEVENTH WONDER / SILENT CALL / AEON ZEN) and Nils K. Rue (PAGAN’S MIND / ex-X-WORLD 5 / ex-EIDOLON) with some hints of Tobias Sammett’s vibrato“Hold Close The Flame” is the closing number and surely the most addictive of all, a slower pace, an ethereal clean guitar motif and an emotive vocals performance in the early QUEENSRYCHE‘s musical inspiration, in spite of the title being close to a famous track of the mythical “Warning”, the signature style is palpable and concrete, it's crystal clear to me that it belongs to an idolatry homage to the Tate / DeGarmo / Wilton legacies.After the glorious releases by compatriots WARDRUM or UNTIL RAIN, I will believe that something musically exceptional is happening in this Mediterranean Hellenic territory, much alike the Italian phenomenon and its legions of talented group appearing like a spontaneous generation of talented spirits in the vein of FATES WARNING / QUEENSRYCHE / CIRCUS MAXIMUS / REDEMPTION / AEON ZEN or EUMERIA. A very classy collection of songs in the key of smartness and elegance, exquisitely set in an evaluative mood in order to conquer the hearts but mostly the mind of those Progressive Metal lovers." - Metal Temple
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  • "Tellus Requiem was formed back in 2007 by guitarist Stig Nergård. In 2010 Tellus Requiem released a self-titled debut album digitally. This album opened up some doors for the band, and resulted in some live concert supporting acts like Keep of Kalessin, Edenbridge, and Pagan's Mind. “Invictus” was mixed and mastered by Tommy Hansen (Jailhouse Studios, Jorn, TNT, Helloween) with the cover art done by Thomas Ewerhard (Symphony X, Theater).According to the band’s biography, the main theme of the band’s writing is about worlds shattering to pieces. This can either be global or personal experience, fictional or literary. Tellus Requiem means; the earths death mass. Tellus being Latin for The Earth, Requiem being the last composition a composer writes before they die. Listening to the ten tracks featured on “Invictus”, it’s obvious that the band is comprised of five very talented musicians with a love for melodic progressive metal in the style of Symphony X and Dream Theater with flourishes of Eastern Folk and the big sound of a motion picture film score (as is evident on the opening instrumental song “Ab Aeterno”). “Red Horizon” kicks in with a vengeance and is highlighted by very Symphony x-like keyboard work by Anders Sundbø (whose frenzied playing style steals the show on this song) and heavy guitar crunch by Nergård.  Vocalist Ben Rodgers has a unique and impressive style and range without resorting to sounding like peers such as James Labrie or Russell Allen.Drummer Vidar Lehmann shows off his considerable chops and fast feet on the middle-eastern tinged “Eden Burns”. A beautiful acoustic guitar passage introduces “Reflection Remains” which leads into a melodic and majestic vocal performance by Rodgers accented by soaring harmonies and a soulful yet blistering guitar solo by Nergård.  The heavy melodic prog metal of “Twilight Hour” has plenty of melody, groove, instrumental chops, and odd time signatures to satisfy the most jaded prog metal fan.  “Sands of Gold” is a complex and chaotic attack of progressive drum patterns, middle-eastern melodies, heavy guitar and keyboard wizardry with Rodgers voice providing the melodic anchor holding it all together. The appropriately titled “Tranquility” is a slower, peaceful and introspective song with Rodgers showing his emotional side as well as his considerable range to great effect. “Redemption” starts off with an impressive Spanish style guitar playing and kicks into a heavy guitar rhythm and aggressive lead vocals and beautiful harmony vocals courtesy of a vocal choir. The heavy prog of “Invictus” is a fast paced and the vocals and musicianship are razor sharp here.  The final song is “Dies Irae” which is the “day of wrath” and was an old Medieval poem sung during the Mass of the Dead ceremony, is a short and sweet outro track and a fine way to end this musical journey. For such a young band, Tellus Requiem has created a stunning and impressive progressive metal feast that fans of Symphony X and Dream Theater will find quite enjoyable. " - The Metal Pit
    $12.00
  • Second full length studio album from this British band finds them with new vocalist Ashe O'Hara replacing the great Dan Tompkins.  This shouldn't be inferred that O'Hara is any less a vocalist than Tompkins - he's excellent as well.While the core djent sound is there the band has moved a bit more into a prog rock direction.  In general its less metal and more rock.  O'Hara's vocals don't go in the screamo direction that a lot of djent bands prefer.  The instrumental parts are still stupifyingly crazy but crazy in a King Crimson meets Tool way.  I'm not sure what the djent metal community will think of this shift in course but I like this new direction.  The old was good - to my ears this is better.  Highly recommended.
    $9.00
  • Evergrey are back and better than ever!  I think the general consensus is that as the band became more and more popular the music became a bit more commercial and the production slicker.  Tom Englund has gone back to the basics and its clearly the right move.  Jonas Ekdahl (drums) and Henrik Danhage (guitars) have returned to the fold and production has been handed over to Jacob Hansen.  This is a return to the "classic" Evergrey sound - that perfect balance of melody and heaviness with the right amount of "prog" injected when necessary.  COMEBACK ALBUM OF THE YEAR!  BUY OR DIE!"One of the leading names in the power/progressive metal world is the Swedish five-piece, Evergrey. Forming in 1995, the band has released eight full length albums, with number nine releasing this fall. The band has been known for relatively dark lyrics and concept albums since their debut, and because of this fact, it was very difficult for me to get into their music. I can easily count the amount of times I thought “I should listen to Evergrey” on one hand. Though I wasn’t well versed in their discography, what I had heard was moving quite slowly, was downright melancholic, and just couldn’t catch my attention. That was until the Hymns for the Broken album landed in my inbox.First off, the notable changes in the lineup, with the return of Jonas Ekdahl (drums) and Henrik Danhage (guitar) grabbed my attention immediately. Though the band briefly spoke about the addition of the two previous members on their Facebook, “What can we say? We missed each other.” I truly believe that this decision, and the amazing mixing by Jacob Hansen (Volbeat, Amaranthe, Primal Fear) and production quality are what set this album up for its coming success.The album kicks off with a very eerie intro track, then jumps into the first single and video, “King of Errors”. Even without being an Evergrey fan in particular, I have always known who Tom Englund was, as his voice is so unique and legendary in the industry that I couldn’t ever really escape it. This song is a great display of the power and ability he has as a vocalist to truly bring a wonderfully written song to an entirely new level. The blend of the guitar riffs and keyboard work is perfection to say the least, but when the awe-inspiring guitar solo hit, I knew this album had me by its teeth.Immediately following is another one of the strongest tracks on the album, “A New Dawn” with a strong and hard-hitting guitar and bass riff that doesn’t ever really let go throughout the song. This song features one of the more beautiful keyboard solos on the album, but yet again that guitar solo just comes out of nowhere and destroys any solo I have ever heard this band release. “Black Undertow” is another perfect example of why Englund is so well-respected in the music world. It begins with his chillingly lower vocal range, but builds back up to where he truly shines. This song not only features another soaring and strong chorus, but the rhythm work between all instruments keeps it dark and eerie, though the keyboard lightly dances above it all.The title track to the record explodes into this phenomenal musical intro, but fades just as quickly as it hits. Boasting some of the strongest, most emotional lyrics on the album, the song hits a chord in many personal ways. “Scream loud, these hymns are for the broken,” are just some of this crowd enticing chorus that Englund sings flawlessly throughout. Bringing the album to a close is the over seven minute song “The Aftermath” which begins in a ballad-like fashion, but builds to a very strong finale. The tempo remains slow, but the flawless movement in the instruments keeps it absolutely enthralling. The last half of the song is entirely instrumental, and the conversations between keyboard, bass, and drums is something that I could listen to on repeat for hours, especially when the haunting lead melody soars above it all.If you can’t tell, I can’t think of a single moment on this album I don’t absolutely love. As someone who could never get hooked by an Evergrey album, I can assure you this is not just ‘fandom’ talking. Hymns for the Broken is a perfect album that even after weeks of constant play, I can not get enough of. Perhaps it is indeed perfection, or perhaps it just hit me at the right time in my life, either way I am in love. Easily a current contender for album of the year, it’s so full of beautiful melodies and amazing arrangements that any fan of power or progressive metal will absolutely love. I don’t doubt that all previous fans of the band will appreciate this album as much as I do, but I sincerely hope that new listeners give this record a fair and objective chance as well.This is definitely their most ambitious release yet, and they absolutely nailed it!" - Metalholic 
    $15.00