Through Our Darkest Days

SKU: 10154-2
Label:
Prosthetic Records
Category:
Thrash Metal
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"Is this really the end? Our story told, forever to be forgotten in the ashes of time? When we will perish, will anyone remember life stories, personal ventures gone into the vastness of space? No doubt that the question of mankind’s future existence is something that most people tend to ignore, busy with their daily troubles, probably only have nightmares about it or watching disasters in movies. On the other hand, that same question has a magnitude that will eventually consume the wanderers, possibly to cause paranoia, but it will still remain a personal truth. Within the vast corridors of Metal music, mankind’s quandary of survival has been quite a topic, always diverting patterns of thoughts regarding the matter whether with vile disgust or slightly more optimistic point of view. The Danish MERCENARY reached out for what would be considered as the darkened days, where mankind will be consumed by disease, hate and perdition. “Through Our Darkest Days”, via NoiseArt Records, carries on the bands continual modern melodic Death Metal deliveries, a hybrid with what could be perceived as contemporary Power Metal. Within the banned outskirts, a possible future is here, alive, telling its tale.

Amidst the obscurest demesnes of “Through Our Darkest Days”, MERCENARY seemed to have preserved their musical principles since their earlier days. This new number shares the band’s greatest qualities once again on display. The impeccably crafted melodic Death Metal with updated driven Power Metal, a bit closer to the its modern Swedish counterpart al’a SOILWORK, Jakob Mølbjerg and Martin Buus provided assorted types of riffing whether shooting off harmonies in the vein of IRON MAIDEN, showcasing melancholic melodies or barraging partial staccato rhythms and several other palm muted chugs, a breed of a creative view, Buus delivering frantic soloing showing off his expertise with a few Bluesy like surprises on the side, Peter Mathiesen clearly a worthy addition to this band since his first days in 2009 with being a diverse drummer and of course at the bass and vocals, René Pedersen. I believed that I said it before, after reviewing the band’s previous “Metamorphosis”, but it has to be said again, ever since the departure of Mikkel Sandager, Pedersen took the reins as both clean and growl vocals. In that moment, I became even a bigger fan of the band as Pedersen drama fused clean vocals along with low to mid end growls of high quality swept me off my feet, always channeling spectacular harmonies that sound so rich and endless.

Generally, “Through Our Darkest Days”, in comparison to the previous contender, “Metamorphosis”, felt somewhat defiant, aggressive, heavier, but also catchier that before much like the band’s earlier discography. Furthermore, the album’s amazing flow, and atmospheric acuities, created a sort of an understanding of the dimmed message the band is trying to create in front of you, mostly thanks to the profound grasp of the keyboards meeting perfectly with the band’s melodic fortitudes. “A New Dawn”, “Through Our Darkest Days” and “Holding On To Serenity”, assumingly the album’s prime highlights, were able to slightly shade the impact of early songs as “Firesoul” and “Shades Of Grey”. “Dreamstate Machine” and “A Moment of Clarity” delivered a chunk of fistful of heaviness, in your face Metal with distinctive sense of anger but also a look for beyond, out of the box inside looking out, harmonic vocals so emotive along with well written guitar riffs, cracking with rhythmic simplicity in times, but still shrewd as always. In last few words, it will never be the same, but MERCENARY, since emerging as a foursome crew, has been assimilating the meaning of true greatness, their attention to details is exemplary with great ideas to keep up the foundation going. " - Metal Temple

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  • "Germany's Eden Circus is a band that has been together for a while but worked tirelessly on the songs that make up this, their debut album, "Marula." Much like the time they invested in the album and its songs, the listener should be just as committed to listening to the album and giving it the necessary time to plant its seeds and grow. When I first listened to "Marula," I thought it was just a good album with a fair amount of contrast in each song. But when you have those contrasts (i.e., quieter moments and heavier moments), it's important to pay closer attention to how they are used and what is going on. It's easy to think "Wow, that's so subtle" and not really listen to the vocal or the intricacies of the music underneath.The fact that vocalist Siegmar Pohl has a very quiet, raspy voice that tends to blend with the music just makes it more challenging. But the key to music that has a thick layer of complexity is to listen to it over and over, allowing it to reveal itself. You cannot force "Marula" to be something it isn't. It has elements of '90s alternative progressive metal like Tool, but don't expect them to attack you like Tool would. They have post-prog moments like Porcupine Tree, yet they never commit to sounding like them. Eden Circus is familiar but still a stranger. You think you know what will happen next but when it doesn't, you aren't sure why.The opener "Devoid of Purpose" starts off quietly before it works its way into heavier riffing. "Comfort" has quieter verses leading to a very angular riff that works as the chorus. Siegmar does have a harsh vocal in his arsenal but uses it quite sparingly, which makes those moments all the more powerful. A perfect example is "101" where he works his way to a growl.The majority of the songs are long, which allows them room to ebb and flow as needed. In addition to the aforementioned songs, my favorite tracks are the two closers, "Her Lovely Hands Upon the Black Earth" and "Playing You." Both are atmospheric, progressive and epic - full of dynamics.Eden Circus has figured out how to be melodic but not make it so obvious that you tire of them. "Marula" is a textbook "grower" of an album. If I were to give it a rating a month from now, it would probably be an even higher rating." - Power Of Metal
    $14.00
  • "Transformation is a very apt title for Canadian Prog veterans FM, for not only has their music transformed numerous times over the years, so has their line-up. Joining bassist/keyboard player Cameron Hawkins this time round is drummer Paul DeLong (Roger Hodgson/Kim Mitchell), violinist/mandolin player Edward Bernard, who has performed with Druckfarben and violinist (yes, there are two violinists here) Aaron Solomon. The recording group being completed by legendary Rush, Dream Theater, Fates Warning producer/engineer Terry Brown, who does an excellent job.So you'll gather then that the first proper FM album since 1987's Tonight still follows in its predecessors footsteps of placing violin front and centre. Yet while that may sound risky in today's often sanitised Prog world, Transformation sounds remarkably contemporary and, at the same time, true to this band's 70s roots. More beautiful than punchy, in places the songs on this album feel like Yes with copious amounts of violin strung over it, the air being light, melodic and captivating. DeLong is stunning throughout, his rare ability to be ridiculously busy and intricate, underpinned by a solidity which fixes everything in place. Nary a second goes by where the percussionist isn't whispering a ghost beat, paradiddling the toms to within an inch of their lives, or alternating between snare, hi-hat and cymbals at break neck speed. However, amazingly, he never interrupts the beautiful flow of the vocals provided by Hawkins, Solomon and Bernard; the trio causing another reason for celebration in the process. However no album was built on drums and voice alone, so the stunning, varied violin, viola and mandolin work which weaves and dances across Hawkins deep resonant bass and darting, lilting, pointed synth contributions, are as impressive as they are vital to the unbridled success of this album.There's a real depth of sound and arrangement across the nine tracks on show, the likes of "Tour Of Duty" a journey from fragile art through fractured beauty, into controlled frenzy. "The Love Bomb (Universal Love)" and "Brave New Worlds" contrast this approach excellently, a sparse framework thriving on roaming bass, while gentle string stabs allow the vocals to express the emotions of melancholic introspection, but overriding hope and belief displayed in every one of the songs on this album. And it's that uplifting feeling which really infuses Transformation with the power to captivate and control your attention from start to finish, whether through the harsher attack of the bristling "Re-Boot, Reawaken", unsettling pulse of "Children Of Eve", the almost jauntily optimistic "Safe And Sound" or idyllic "Heaven On Earth".Often when a band reappears from the past, as if by magic to reclaim their past glories, the results are safe and deflating. Transformation however falls far from that trap, instead announcing itself with a triumphant confidence which never fades once as its beauties unfold, and vitally it just gets better with each and every luscious visit to the land of hope and understanding it creates." - Sea Of Tranquility
    $17.00
  • Latest studio album from this lethal German band.  SBE was formed by guitarist Christian Peters in 2007.  The quartet (twin guitar, bass, and drums) will deeply satisfy the musicial appetite of any fans of 70s psychedelia, space rock, and doom metal.  They may well be the ultimate stoner rock band.Revelation & Mystery finds the compositions a bit tighter than previous efforts but that's a relative term when the title track runs past the 12 minute mark. Vocals don't interfere too heavily with the acid laced space trippin' guitar work.  Peters sings a bit and then they get down to serious business jamming their way into the cosmos.  If you are fan of early Guru Guru, Hawkwind, and Black Sabbath, or even Deep Purple you need to hear this band.  I got high just looking at the cover art.  This album is a total lease breaker to boot.  BUY OR DIE!  "The second album from Samsara Blues Experiment in as many years, Revelation and Mystery (World in Sound) takes a surprising turn in approach from their Long-Distance Trip debut, distilling the jams of the first record into more structured, song-based material. The tracks of Revelation and Mystery almost exclusively follow verse-chorus-verse patterns, and while part of the joy of listening to a song like “Singata Mystic Queen” from the prior collection was meandering along with it, Samsara Blues Experiment don’t completely lose sight of the journey in favor of the straightforward. Right from its start, Revelation and Mystery sees the four-piece layering guitar effects and infusing their parts with swirls and a spaced-out feel. It’s not that they’ve completely changed their methodology so much as they’ve shifted the balance within their sound. These structural elements were certainly present on Long-Distance Trip, but a cut like the semi-acoustic “Thirsty Moon” shows that Samasara Blues Experiment are able to work within these parameters to grow their songwriting. One gets the sense in listening to opener “Flipside Apocalypse” (which follows a 17-second nameless intro track) that this process is just beginning and that the band are still finding out what they want their sound to be, but that only makes Revelation and Mystery a more immediate, direct experience; the linearity of the album unfolding gradually as the songs move from the straightforward into the more sublimely jammed.Fast-paced rumbling from the bass of Richard Behrens in the surprisingly punkish beginning of “Flipside Apocalypse” is an immediate clue to the changes the last year have brought about in Samsara Blues Experiment. The mood is more active, less calming and chilled out than last time around, and the guitars of Hans Eiselt and Christian Peters – who also handles vocals – seem to be more concerned with riffing out than stacking layers upon layers, though there’s some of that too, even as later in the song a riff straight out of the biker rock milieu shows up and carries the song through to its end. I don’t know if it’s the result in some change in the band’s songwriting process or just how things happened to come out this time, but the change continues through “Hangin’ on the Wire,” which is genuinely hooky and thoroughly in the realm of heavy rock. A crisp production during the solo section brings to mind some of Queens of the Stone Age’s finer moments, and drummer Thomas Vedder locks in with Behrens’ own excellent fills with a few of his own. Peters, though, emerges at the head of the song. His vocals confident and effected in equal measure, he works quickly to establish the verse and chorus patterns, both worthy of sing-alongs, so that by the end, “Hangin’ on the Wire” feels like its earned its handclaps, and though “Into the Black” starts out more ethereal, with extended solo sections and a long instrumental introduction, the shuffle soon takes hold and it proves to be more boogie than nod.But perhaps “Into the Black” is where the band begins their subtle shift into more esoteric sonics, because as the soft strums and plucks and interplay of electric and acoustic guitars take hold on “Thirsty Moon,” the song feels neither out of place nor especially unexpected, which it very well might have if placed earlier on Revelation and Mystery. Peters’ vocal line feels a little rushed during the verse – it’s almost as though there were too many syllables to fit in the line – but the interaction of his and Eiselt’s guitars in the instrumental break and the balance between the guitar and Vedder’s drumming in the mix makes up for any such hiccups. Another chorus feels delivered more appropriately, and the progression cycles through again; solo section into chorus, solo section into chorus. And it’s not until Behrens’ highlight bass line begins “Outside Insight Blues” that it’s apparent just how much Samsara Blues Experiment put into the album’s flow. Added keys allow the guitars to go farther out into sporadic notes without sacrificing fullness of sound, but after about two and a half minutes, there’s a turn into riffier material that carries the groove through the next six. There are a few part changes, but things don’t really feel jammed out until the classic ‘70s boogie meets psychedelia of the last 90 seconds or so, blues harp and all. It’s a shift worthy of Siena Root, and the two-minute interlude “Zwei Schatten im Schatten” (in English, “Two Shadows in the Shadow”) follows suit with an appropriate marriage of Eastern and Western musical traditions with sitar and acoustic six-string. There’s something sweet and solemn in the intertwining melody, and it’s a passing thing on the way to the 12-minute closer, but worth paying attention to in a way that many interludes aren’t.Then, at last, comes the ending title cut. Worthy of its name, “Revelation and Mystery” caps the album with a sense of psychedelic majesty through which Samsara Blues Experiment show their ability to keep hold of a song no matter how deep into space they might also want to push it. The song winds. Its progression is at once driving and subdued, and of all the songs on Revelation and Mystery, it’s probably the best blend of all sides of what’s shown itself to be the band’s current sound. Of course, at 12 minutes, one could easily argue it has time to do and be all these things – with room left over for a bit of that sitar to show up as well among the guitar leads – but still, it’s another display of the maturity Samsara Blues Experiment have been able to take on in a relatively short amount of time (their demo gave first notice in 2008). Some bands need three years to learn and foster growth between their albums, and some bands need to play. If the jump between their first and second records is anything to go by, Samsara Blues Experiment would seem to be the latter. Wherever this stylistic form takes them, I don’t imagine it’ll be too long before we find out, but until then, the 47 minutes of Revelation and Mystery provide a varied and exciting listen worthy of repeat visits. Samsara Blues Experiment continue to progress, continue to impress." - The Obelisk
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  • "Countdown To Revenge is album number five from Italian metallers Hollow Haze, a band who’ve been rattling out grandiose metal since 2003 but never getting the recognition they deserved. Mind you, gigs with German metal kings Accept certainly did them more good than harm, and this 11-track affair comes straight out of the box writhing like a metallic serpent, bolstered by the venomous vocals of Fabio Lione (Rhapsody Of Fire / Vision Divine).This is the first Hollow Haze platter to showcase the soaring talents of renowned frontman Lione, who replaces Alex Sonato, the singer on the band’s last two records, including the critically acclaimed Poison In Black (2012). For me, Lione is a marked improvement on Sonato, having a far greater and certainly more epic range for this style of powerful, majestic metal.This sort of metal can be an acquired taste due to its orchestral drama and polished feel. Hollow Haze, among numerous others (often European), are certainly one of the more adequate bands carving out this type of vast, melodic metal landscape. Any fan of hard-hitting metal should certainly give this record a spin as well, though.Firstly – and revisiting that vocal style – we’re hearing a set of lungs that combines the glorious heights of Ronnie James Dio and Bruce Dickinson (Iron Maiden) with a more modern, epic range. These strengths are complimented by the clean orchestrations of Antarktica and the Wintermoon Orchestra which, rightly so, give the platter an icy, clinical feel as Nick Savio’s guitars chisel out those huge valleys of sound.Storming in after a brief orchestral intro (‘Room 212’), album opener ‘Watching In Silence’ adopts all the theatrical nuances one would expect from such heroic metal. Hollow Haze have always been an ambitious band, keen to tell their tales by way of lush arrangements and stately dynamics. The band keeps the drama going with the pacey ‘Still Alive’, a track which combines classical preparations with a thrashy drum and ominous guitar chug.Clearly Fabio Lione has found his fiery home with Hollow Haze, his voice slipping in without trace of any cracks as ‘No Rest For The Angels’ sweeps into the room, evoking images of grand halls and luxurious tapestries unfolding. It’s the sort of track that would need to be heard to be believed live; the solos are punchy, the drums racy and again the vocals soaring into the zenith – Lione aided by Rick Altzi (At Vance / Masterplan / ex-Thunderstone) – to create another vast landscape of sound.With this type of album, it’s always difficult to pick out a favourite track because there is always a conceptual feel about proceedings due to the textures and overlying drama. For instance, ‘Life Has No Meaning’ – one of the more melodically subtle tracks on the opus – is far removed from the pounding eight-minute title track, but both songs are testament to a band and its ability to create moods and sprawling pastures.There are certainly sceptics within the metal fraternity who would deem this sort of heavy metal as being over the top in its quest for atmosphere. I can see where they’d be coming from, but in small doses bands such as Hollow Haze need to be experienced. After all, how can one fault the reflective symphonies of ‘Il Tempo del Fuoco’ or the Helloween-styled power metal soar of ‘A Fading Angel’s Life’? It’s metal at its purest, metal which doesn’t rely on anything remotely evil or weighty to deliver its message.Hollow Haze may be stuck within hair metal pomp and goth-laced histrionics and theatre, but for some this is what makes metal such a tour de force. Hats off to mix-master Sascha Paeth (Avantasia) for giving Countdown To Revenge such a clean, yet furious sound, and let’s hope Hollow Haze keep hold of Fabio Lione – this guy has added an extra dimension to that already flourishing landscape." - Metal Forces Magazine
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  • "Hailing from Finland, today we have Burning Point and their super catchy Melodic Power Metal released titled “The Ignitor”. With a very exciting mixture of modern Melodic Power Metal elements and a traditional Heavy Metal, Burning Point delivers a very well-crafted release full of powerful guitar sections, catchy chorus parts, and an overall epic feeling that only a handful of bands can pull off.Taking the listener back to the time when Power Metal was epic and felt like an adrenaline shock, “Eternal Flame” delivers a very apt opening for such a fun and engaging release. The band does a great job in establishing a basic core of guitar driven melodies where the keyboards and virtuoso-passages take a back seat and let the rest of the elements shine. Pete Ahonen vocals are spot on and have a powerful range, on tracks like “In The Fire’s of My Self” and “In the Night”, they carry the songs magically and seemingly effortless. “In the Night” has also that classic Heavy Metal vibe thanks to the chorus section that many newer bands seem to be forgetting about.“The Ignitor” features some riffs that are very reminiscent of Catamenia’s cover of “Angry Again”, making this track very powerful and perfect for headbanging till the morning. Pumeling through “Silent Scream”, “Heaven Is Hell”, and “Loosing Sleep”, the band capitalizes on their excellent vocals and guitar skills to deliver very catchy and super effective tracks. For people looking for even more intense thrills, “Demon Inside of You” and “Everdream” deliver high-octane sections that have excellent musicianship and a high replay value.The funky bass guitar line of “Lost Tribe” and the crazy guitar solo work make this song be our favorite track in this release filled with excellent songs. Closing with the Stratovarius-esque “Holier Than Thou”, the band comes full circle in this exceptional release with yet another old-school sounding Heavy/Power Metal anthem that is both extremely catchy and excellently executed.If you are looking for some superb Power Metal that does not focus too much on virtuosity (even though it has some brilliant sections) “The Ignitor” is a release that perfectly fits the bill. Burning Point shows that they have skills to make catchy and epic music while maintaining a healthy balance between older Heavy Metal and more modern Power Metal. This release is perfect for fans of older Stratovarius, Revolution Renaissance and similar bands." - Infernal Masquerade
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  • New band fronted by former Scar Symmetry vocalist Christian Alvestam. Music is definitely in the Soilwork/Mercenary vein but with the progressive element turned up a notch. Alvestam sings in a variety of styles - his clean vocals are great and he does the death growl about as well as anyone.
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  • "Germany's Mystic Prophecy certainly doesn't make fans wait an excessive amount of time for new material. 2011's Ravenlord is the band's seventh album in the just over 11 years since their formation. This is my first time hearing Mystic Prophecy's brand of Germanic Power/Heavy Metal and judging by this album, I've been missing out. Ravenlord is brimming with powerful riffs and heavier-than-Hell rhythm work, courtesy of bassist Connie "Connor" Andreszka and drummer Claudio Sisto. While there are some speedy tracks on Ravenlord ("Die Now," "Damned Tonight"), Mystic Prophecy show that Power Metal can indeed kick ass without copious amounts of double kicks. Slow, brooding songs like "Ravenlord," "Wings of Destiny" and the killer "Eyes of the Devil" leave you feeling like you've been introduced to the business end of a steamroller. Singer Robert Liapakis has an excellent, gravelly voice and does very little screaming on Ravenlord, opting instead for some harsher vocals that add variety to his performance. The album itself contains quite a bit of variety as well, while remaining consistent throughout. Epic-sounding songs, in the vein of Pharaoh, are side by side with Brainstorm-like Power Metal anthems. There are even spots that sound like Dio-era Rainbow in their composition. Ravenlord stacks up as one of the better albums of 2011. All fans of Heavy/Power Metal, especially those that prefer it keyboard-free, should be all over this one." - Metal Crypt
    $14.00
  • "Some four years ago Borealis released their Fall From Grace, and my conclusion was simple. They presented adequate, yet typical, melodic European power metal just misplaced in Canada. To the present, it seems things may have changed, even improved, for the band for their third album, Purgatory.Yet, I'm not sure I want to get ahead of myself here. One spin and you hear echoes of previous material: riff heavy and intense, speedy power metal. As Mets manager Yogi Berra once said, "It's deja vu all over again." Actually, for my money, you could boil this album down to two things: blistering power metal and lots of epic guitar solos. Now, you say: "Dude, I love that shit!" Okay. Stop reading and go buy the album.But there's more. The keyboards seem more present, even adding a large portion symphonic orchestration to add to Borealis' naturally bombastic sound. Take note of My Peace, for example. Also, and not knowing who the principal guitarist is, Matt Marinelli or Mike Briguglio, the guitar lines are phenomenal. Forget the twin bombastic riffs, the leads are killer: soaring to the wow factor. Additionally, the arrangements are more dynamic; the progressive metal has gotten a bump here over the last album. Yet, this is not a hyper-technical leap. It's more changes in tempo and breakdowns. You'll catch some of this within Place Of Darkness or Welcome To Eternity. The latter also a good example, in the second half, of Borealis adding some thrash metal to overwhelm you.The wild card in this mixture is vocalist Matt Marinelli. I would like to say he can sing, and I think he can. But he's so often totally overwhelmed by the music to be nearly underwater. He's seems always striving and straining to stay ahead or, to continue the metaphor, stay above the music. Then you find out he has a generally pleasing voice and presence when you listen to Darkest Sin or Rest My Child, the two quietest songs here. I would imagine when you hear Borealis live, you'll have a Pink Floyd moment, from The Wall, when observing Marinelli: "Your lips move but I can't hear what you're saying." Nevertheless, Purgatory is definitely an advancement for Borealis, a fine album of more ambitious progressive power metal than past efforts. Recommended." - Dangerdog.com
    $15.00
  • Domestic jewel box edition."AMARANTHE, the fast-rising modern metal sextet, will release their sophomore album, 'The Nexus', on March 26th via Spinefarm Records.Produced by Jacob Hansen (whose credits include Volbeat, Dreamshade & Ginger Wildheart, and who worked on Amaranthe's 2011 self-titled debut), 'The Nexus' sees the Swedish/Danish outfit further honing a musical style that blends cutting-edge melodic metal with soaring pop melodies, the whole thing topped off by a unique three-vocal attack.Says guitarist and band co-founder Olof Morck: "The moment has come to let loose 'The Nexus' on an unsuspecting world! This time we went all the way with our futuristic dream-nightmare - a no-compromise vision steeped in deep contrast between the mechanically ultra-heavy and shimmering serene melody. 'The Nexus' is everything we dreamed about doing with our debut album; we laboured to make this offering as diverse as it is direct and catchy. and remember, no-one can be told what 'The Nexus' is - you have to hear it for yourself!"
    $11.00
  • I thought Felix Martin's debut was insane but he's taken it to the next level with this one...If you are unfamiliar with Felix Martin that will probalby change soon.  He plays a custom made 14(!!) string guitar.  His musical background has strong roots in jazz but its clear he's able to feel comfortable with different styles.  His approach to this unusual guitar includes tapping as well as legato runs.  If you have seen any videos of him playing live its really something to see.  The Scenic Album is a trio affair - Martin is supported by Nathan Navarro on bass and Chapman Stick, and the mighty Marco Minnemann is behind the drum kit (ex-Behold The Arctopus' Charlie Zeleny is on the last track).  I don't think anyone other than Marco could tackle this material.  Martin's music touches on so many different genres - metal, prog rock, latin and fusion - all within a single composition.  Prepare to have your jaw drop! 
    $12.00
  • Brazilian melodic metallers ANGRA celebrated the 20th anniversary of the release of their 1993 debut album, "Angels Cry", with a special concert on August 25 at HSBC Brasil in Sao Paulo, Brazil. The show, which was recorded for a DVD, featured guest appearances by Tarja Turunen (NIGHTWISH) and Uli Jon Roth (SCORPIONS).ANGRA's setlist was as follows:01. Angels Cry02. Nothing to Say03. Waiting Silence04. Lisbon05. Time06. Millennium Sun (intro w/ Kiko Loureiro on keyboards)07. Winds of Destination (intersection w/ Kiko Loureiro on keyboards)08. Gentle Change09. The Voice Commanding You (Rafael Bittencourt on vocals)10. Late Redemption11. Silence and Distance (intro w/ Kiko Loureiro on keyboards)Acoustic set12. Reaching Horizons (Rafael Bittencourt on vocals)13. Unholy Wars / Caça e Caçador (Rafael Bittencourt and Kiko Loureiro on vocals)14. A Monster in Her Eyes (Rafael Bittencourt and Kiko Loureiro on vocals)15. Make Believe (Rafael Bittencourt and Kiko Loureiro on vocals)Encore:16. No Pain for the Dead (with Familia Lima on strings)17. Stand Away (Tarja Turunen on vocals and Familia Lima on strings)18. Wuthering Heights (Kate Bush cover) (Tarja Turunen on vocals and Uli Jon Roth on guitar)19. Evil Warning (Amílcar Christófaro on drums)Encore 2:20. Unfinished Allegro (Familia Lima on strings)21. Carry On22. Rebirth23. The Sails Of Charon (SCORPIONS cover) (Uli Jon Roth on guitar and Rafael Bittencourt on vocals)24. In Excelsis25. Nova Era 
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  • "Germany's Brainstorm turned the corner from traditional Teutonic power metal with 2008's Downburst, by offer a little more intrigue in their musical compositions. Yet, the band hasn't veered from mainstream melodic heavy metal at any time. This year's On the Spur of the Moment continues the current path with some subtle nuances.While still melodic, the songs seem heavier, maybe even darker, than previous material. Nevertheless, from chord structure to vocal arrangements, melody and harmony remain. Notable is the opener Below the Line, No Saint No Sinner, and the impressive In These Walls. Additionally, many songs have a strong metal-rock groove that adds to their accessibility: check out Temple of Stone, A Life on Hold, or No Saint No Sinner. One surprising feature is the nature of the guitar solos. Many are both traditional and fiery as on A Life on Hold, Still Insane, and Temple of Stone. Then, sometimes they're muted as on In the Blink of an Eye and No Saint No Sinner. Considering the breadth and depth of the guitarists' skill, I'm not getting this at all. Conversely, there are some impressive performances by individual members: most significant is Dieter Bernert's drum work on Temple of Stone and My Own Hell.Characteristic of a talented and proven band, Brainstorm's On the Spur of the Moment is consistent and entertaining material. Definitive, visionary or breaking new ground? Perhaps not. But fans of traditional melodic heavy and power metal should be pleased. Recommended." - Dangerdog.com
    $15.00
  • "Dream Evil is by no means a departure from the Dio formula that was so successful for his first three solo albums. All of the elements that made them so successful are yet again retained here. However, what makes things different this time around is that Dio has more of a melodious side to him, which he puts use here rather than relying on the riffs and delivery he learned at the school of Sabbath. He even touches on the power ballad (a sure sign that the style had fully infiltrated metal) with "All the Fool Sailed Away." The title track and "Sunset Superman" also proved to be two of Dio's most well-known, and most loved songs in his massive catalog. Not an essential release, but one that diehard fans will be sure to want in their collection." - All Music Guide
    $5.00