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  • I can't remember a buzz on a band's debut since Circus Maximus.  Perhaps due to the album being released in Japan a year ago and its unavailability elsewhere, maybe because they are lined up to play ProgPowerUSA.  Whatever the reason the album finally gets a wide debut and it was worth the wait.  Damnation Angels is a British symphonic metal band fronted by a Norwegian singer.  He goes by the name PelleK and was a contestant on Norway's version of X Factor.  The band's stock in trade is epic sounding metal that pays a huge debt to Kamelot.  The instrumental passages take on the grandeur and scope of Nightwish.  PelleK does a sold job out front - he's obviously listened to a Khan quite a bit.  Highly recommended.
    $14.00
  • The Journey Continues!"To Travel For Evermore," the second album from the Danish metal band Wuthering Heights, is the sequel to their celebrated debut "Within". This second part of a projected musical trilogy finds the band with a new and stronger lineup. Main composer/guitarist Erik Ravn is reunited with ex-Tad Morose vocalist Kristen Andren but the lineup now also includes Time Machine bassist Lorenzo Deho and guitarist Henrik Flymann of Zool. With twin lead guitars the band has expanded their musical vision to encompass neoclassical metal as well as symphonic speed metal. Wuthering Heights will appeal to fans of Blind Guardian, Rhapsody, Angra and Yngwie Malmsteen. The album was produced by Tommy Hansen who cut his teeth producing Helloween, Pretty Maids, and Iron Fire.
    $5.00
  • 2CD digipak edition includes instrumental mixes and one bonus track."Kamelot are one of the greatest powerhouses of American Power Metal, with an impressive body of work and having the distinction of having inspired the similarly prolific and mind-bendingly talented Epica. Kamelot have covered a lot of ground over the years, but the first thing to note about their latest album ‘The Shadow Theory’ is that it reaches into the darkest and harshest elements of the band’s art. With that being said, the first half of the album in particular seems to capture the tension of sci-fi edging into the apocalyptic, while the second is dedicated to Gothic melancholy. The sci-fi tension immediately arises in the opening The Mission, which feels like it could open Tron or Blade Runner as a Kamelot album, if those films happened to be directed by Tim Burton. Fans may also notice some nods to the melodies of ‘Ghost Opera.’The album then kicks into the dramatic and even chaotic stylings of Phantom Divine (Shadow Empire). Alongside typical Kamelot drama is a true sense of Gothic evil in the pounding drums, crunchy guitars and harsh vocals of Lauren Hart. While her harsh vocals rival – perhaps even eclipse – Arch Enemy’s Alissa White-Gluz, her cleans are more reminiscent of Doro Pesch. Even Tommy Karevik’s vocals are a little darker than usual amongst the dense music, which gets so hectic as to err on the side of confusing.RavenLight opens with a guitar sound more akin to melodic Death Metal than Power Metal, though the lilting keys and stronger showcase of Karevik’s vocals keep the song anchored to a comfortably Kamelot space. This track is particularly guitar-focused, with powerful solos from Thomas Youngblood, and Oliver Palotai not to be outdone on keys.Amnesiac carries on the heaviness with crunchy, aggressive guitars, and the sci-fi flavours of the synths returning with a vengeance. This is one of the catchiest songs on the album with its energetic chorus, and grooving bassline courtesy of Sean Tibbetts. Prog fans may notice some hints of Ayreon influence amongst the sci-fi elements, particularly in the guitars.Things kick up a notch with Burns to Embrace, which builds tension with dramatic music underlying Karevik’s slow vocal line. Haunting, mournful strings mix with heavy drums and riffs, while Palotai’s keys carry the melancholy through verses and Youngblood’s guitars twist the sadness into anger. This song is the first to bring the disparate parts of the album’s sound together in a way that really, unquestionably works. In this case, the solos are more restrained and focused more on melody than technicality.In Twilight Hours is fairly typical of slower Kamelot songs, starting out with a focus and keys and vocals before launching into dramatic guitars and symphonic elements. Of particular note are Jennifer Haben’s gorgeous vocals, with a style not unlike Simone Simons mixed with Sharon den Adel.The pace picks up again with Kevlar Skin, showcasing the cohesion of the band beautifully – there’s no showboating here, just a great song with masterful symphonic elements and epic solos. By contrast, Static shines the spotlight on hauntingly beautiful strings and piano, maintaining that despondent glory as the song evolves into heavy guitars and further symphonic elements. Karevik presents deeply emotive vocals, and Youngblood’s guitar fairly weeps alongside him.MindFall Remedy reinstates many of the elements of Phantom Divine, particularly the dark and dramatic sci-fi mood. Hart’s vocals are nothing short of incredible on this track, her growls absolutely unbelievable.Stories Unheard is a disciplined and restrained track, gentle at times but maintaining tension throughout. However, it is the following two tracks that are the greatest triumphs on the album. Vespertine (My Crimson Bride) is simply an excellent example of a Kamelot song – all the elements are there. It’s fast, symphonic, powerful and dramatic, with Youngblood’s solo crying with raw emotion and energy.The absolute coup of the album though is The Proud and the Broken, described by Karevik as the second part of Burns to Embrace and “more of a moody piece of art than a song.” Palotai’s creepy and haunting piano leads into riffing that is nothing short of darkly fantastical alongside interesting synth sounds. New drummer Johan Nunez’s work is wonderfully varied throughout, and the track perfectly captures the dark fantasy side of Kamelot. As it continues it descends into the depths of woe with a simple, dark piano melody accompanied by Karevik’s lamentations, before moving into Palotai’s mind-blowing keyboard shredding.In closing, the album becomes Burton-esque and whimsical once more with Ministrium (Shadow Key), which sits somewhere between The Nightmare Before Christmas and The Lord of the Rings in its aesthetic.Overall, ‘The Shadow Theory’ is a bit of a slow starter in that the songs in the latter portion of the album are often vastly superior to the openers. That being said, the album is more than worth persevering with, and absolutely rewards the listener into an excursion into dark fantasy sure to please those Kamelot fans with an inclination towards the creepy and the mournful. Best listened to in the cemetery by moonlight." - Overdrive Magazine
    $7.00
  • "Riot has always been ahead of the curve, be it their powerful riff machine, or their unapologetic status as pioneers in the speed metal genre. I would like to take an opportunity to differ once again with the common viewpoint here, this is not “almost” Painkiller 2 years before; it is its doppelganger, at least in terms of kick ass aggressiveness and image. It is a more musical and complex answer to the thrash genre that it fathered; its spirit is that of a triumphant warrior cutting down its foes. While the heroic Painkiller soared through the sky putting fear into the hearts of his enemies, Thundersteel’s half-cyborg/half-tank body stood tall to face them on the ground.In 1988 metal was mostly known by its image, and if you judge these guys by that alone, they look like the bastard sons of Motley Crue and Judas Priest. But when Tony Moore blasts his high banshee voice into the microphone, he sounds like a crazed Viking Berserker ready to behead an army of frightened Romans. Mark Reale, the only remaining originator of this outfit, wields his guitar like a battle axe and challenges the likes of K.K. Downing, Dave Murray and Ross the Boss. Bobby Jarzombek, who is well known for his work with Rob Halford’s solo project, as well as several other bands, gives the performance of his life on here. Don Van Stavern keeps the bottom end solid and has a wicked bass intro in “Johnny’s Back”.There is never a dull moment on this album, from start to finish it grabs you by the throat and commands you to praise the Gods of Metal. Be it the fast as hell title track, which rivals anything Judas Priest has ever put out, or the more moderated Deep Purple riff monster “Sign of the Crimson Storm”, it screams metal. You’ve got an anthem of rebellion and non-conformity at warp speed like “Johnny’s Back” in the running, or the Manowar inspired heavy ballad “Bloodstreets”, which gives Heart of Steel a run for its money. “Fight or Fall” and “Flight of the Warrior” have memorable choruses and plenty of amazing lead work, all done by the original speed metal riff man Mark Reale, while “On Wings of Eagles” is a better produced version of something you might find on Kill Em’ All.We’ve got two highlights on this album, both of which are a good bit different than the lion’s share of speed driven songs on here. “Run for your life” is an upper mid-tempo crusher with tons of great lead guitar work, but it’s true charm is the chorus, which reminds me a bit of the high/low vocal interchanges that you hear on Dio’s early material. “Buried Alive (The Tell Tale Heart)” is actually a bit reminiscent of Crimson Glory’s work on Transcendence, which came out the same year that this did. You’ve got a rather odd spoken intro with a clean and somber guitar line, followed by some brilliant twin guitar soloing (all done by one guy, just the same way Tony Iommi did it). After 3 minutes of mind-blowing, we get a slow and evil sounding groove that grows into a brilliant homage to the NWOBHM, names like Iron Maiden and Angel Witch come to mind.In conclusion, this is a piece of metal history that demands to be listened to. If you are a power metal fan who lives for speed and melody, get your tight jeans wearing ass to the store right now. If you’re a holdover from the glory days of traditional metal and you don’t have it, get it now or risk having your credentials as a metal head questioned. If you love thrash with attitude, this gives the bands that carry that label a run for their money. Fans of Judas Priest, Manowar, Helloween, Running Wild, and Iron Maiden in particular will love this. There is a new power alive in the distance, carrying a fully charged plasma cannon, followed by an army of true metal warriors, and his name is “Thundersteel”." - Metal Archives
    $7.50
  • "Maxi Nil (ex Visions of Atlantis) and Raphael Saini (ex Iced Earth) after touring the world and captivating audiences along the way, decided to join forces and re enter the music world as Jaded Star!Exploding with energy, experience and drive the band's debut album "Memories From The Future" is ready.Produced by Maxi Nil, mixed and mastered by Fredrik Nordstrom at the legendary Fredman Studios in Sweden, this album showcases Maxi's electrifying vocals and the masterful drum work Saini is known for.Guitar hero Kosta Vreto with his unique finger strumming style, eschews the plectrum in favor of a raw, organic sound that literally comes straight through his hands. Babis Nikou on the bass brings a solid foundation and the chemistry between he and Maxi as the song writing team provides emotion to match the power of the sound.The elements are there, the forces have aligned, the Jaded Star is ready to shine!" 
    $5.00
  • "Still masters of conveying dark, atmospheric introspect through their music, Swedish metal legends Evergrey are set to return with their eleventh studio album, ‘The Atlantic’ in early 2019. Spread thick with melody and following on thematically from its predecessors, ‘The Storm Within’ and “Hymns For The Broken”, closing out an oceanic concept trilogy, vocalist Tom S Englund and the band have indeed weathered some heavy storms to see this record come to light. And their efforts were not for nothing.Unbeknownst to some, upon its initial completion, work on ‘The Atlantic’ was stolen from the bands studio during a break in robbery. Reflected on by Englund as “the worst fucking timing ever”, the singer also confesses that had it not happened, it is likely that the current incarnation of the album would not be what it is now, which is a heightened sense of aggression and vulnerability in light of its initial misfortune. A sentiment reflected in the bands leading single, “A Silent Arc”. A multi-layered composition which takes the listener through both chaos and tranquility,  “A Silent Arc” makes for a strong handshake to new efforts from Evergrey.While it may have been an obvious single choice, it certainly wasn’t the bands only potential front-runner. ‘The Atlantic’ is riddled with worthy contenders, perhaps none more so than “Weightless”. Englund and guitarist Henrik Danhage produce what is arguably the strongest grooves on the record in the form of the tracks infectious man riff, further capitalized on by Rikard Zander’s haunting keyboard melodies and bassist Johan Niemann‘s undeniable grit and grumble. Drummer Jonas Ekdahl has a commanding presence throughout the record also, a notable example of which can be found in his complex, yet beautiful percussive tom work on “A Secret AtlantisA constant in which fans can depend on throughout each and every Evergrey record is the dynamic and emotive vocal delivery from Englund, and here we find no exception. Englund’s ability to capture the heart of a song and translate it through his voice is one of the primary reasons that he was, and very much remains, integral to Evergrey. “All I Have” graces ‘The Atlantic’ with its presence on it. Its lengthy run time and technical proficiency are a treat in themselves for those more affiliated with that side of the band, but they are simply eclipsed by its chorus. From the moment it hits you can feel it bring Englund to his knees in honesty, mortality, and offering whatever left of himself that he has to give in a performance that encapsulates his talent as a sincere and moving vocalist. A heartwarming moment made heartbreakingly good by the level of investment Danhage gives to his solos on this piece.There is no such thing as a standard Evergrey record. Despite being part of a trilogy, even their more recent works have been as rich and as layered as those that came before them, never going stale. This collection of songs closes out that trilogy, which has been a deep and emotional journey for the band, and it does so with class. ‘The Atlantic’ displays intoxicating juxtapositions in true Evergrey fashion. Fierce yet soothing, with an underlying torment that feels almost melancholic, Evergrey have, once again, gone and outdone themselves." - Metal Wani
    $15.00
  • Remastered edition with two bonus tracks."After the failed experiment of Turbo, Judas Priest toned down the synths and returned to the basics, delivering a straight-ahead, much more typical Priest album with Ram It Down. The band's fan base was still devoted enough to consistently push each new album past the platinum sales mark, and perhaps that's part of the reason Ram It Down generally sounds like it's on autopilot. While there are some well-constructed songs, they tend toward the generic, and the songwriting is pretty lackluster overall, with the up-tempo title track easily standing out as the best tune here. And even though Ram It Down backed away from the territory explored on Turbo, much of the album still has a too-polished, mechanical-sounding production, especially the drums. Lyrically, Ram It Down is firmly entrenched in adolescent theatrics that lack the personality or toughness of Priest's best anthems, which -- coupled with the lack of much truly memorable music -- makes the record sound cynical and insincere, the lowest point in the Rob Halford era. Further debits are given for the cover of "Johnny B. Goode."" - All Music Guide
    $7.50
  • Limited edition digipak with one bonus track."Frequent readers will already know all-too-well about my love for Evergrey. I have no hesitation to say that this band is my favourite band of all-time. Their music has been with me for over 16 years and has been a rock to me through many periods of my life, both good and bad.Evergrey’s early albums, right up to ‘Recreation Day’ accompanied me to my first ‘career’ job, helping to take away the nerves on the journey to work in those early weeks when I could no longer hide within the security of the education system.My increasing admiration for the band took me to my first festival, Bloodstock in 2004. That was back when it was an indoor festival and when maybe three others in the unenlightened UK crowd had even heard of Evergrey. It also led me inexorably to Gothenburg to witness first-hand the appropriately-named and unforgettable ‘A Night To Remember’.And, when my younger brother passed away a few years ago, Evergrey was the first metal band that I listened to after a significant degree of inner turmoil that pushed me away from heavy music for some time.I’ve witnessed Evergrey play to around 50 people in London and in front of thousands in Germany at the 2007 Bang Your Head Festival. And I’ve even shared their tour bus for a night or two during a brief UK tour.Quite simply, Evergrey connect with me on both a musical and an emotional level, continuing to be an important friend to me whilst I still battle day to day with personal demons and insecurities. I love the combination of melody, subtle progressive tendencies and the heaviness of the music, not to mention one of the very best voices in heavy metal in Tom Englund. I also understand the sentiment in much of the lyrical content and it gives me strength to know that I’m not alone. It might sound trite, but it’s true.For all this, I am the first to admit that my fanboy status wavered for a few years, beginning with the release of 2006’s ‘Monday Morning Apocalypse’. It wasn’t a bad album per se; far from it really. It was just that it felt too ordinary, not progressive enough and a little too modern. The follow-up, ‘Torn’ was also good but not up to the normal stratospheric levels of their masterpieces, namely ‘Recreation Day’, ‘Solitude, Dominance, Tragedy’ and ‘In Search Of Truth’. In fact, the latter remains my favourite album of all time.My point is therefore that, whilst I am an unashamed fanboy, I am honest and will admit when I think that the band fall below the standards I expect.Following the release of ‘Monday Morning Apocalypse’ Evergrey seemed to suffer from a bad case of ‘revolving door syndrome’ as members came and went more frequently than they would have liked. So, when in 2014, it was confirmed that two long-term members of the band, guitarist Henrik Danhage and drummer Jonas Ekdahl, were returning to the fold, fans rejoiced. I rejoiced. This newfound sense of optimism and confidence was palpable and it resulted in Evergrey’s strongest release for many years in the form of ‘Hymns For The Broken’. For many it is the best, and for me, it certainly rivals the magnificence of ‘In Search Of Truth’ and ‘Recreation Day’.So, what of the follow-up, Evergrey’s tenth studio album to coincide with the band’s 20th anniversary? With arguably the strongest Evergrey line-up, consisting of the aforementioned as well as guitarist/vocalist Tom Englund, keyboardist Rikard Zander and bassist Johan Niemann, could they build on a new-found sense of unity, hunger, confidence and desire to produce something as good as before? Could they maybe even better it? Or would the euphoria of 2014 dissipate, thus causing a drop in creativity? The answer, I am overjoyed to report, is very much the former.‘The Storm Within’ is the glorious sound that is created when five musicians come together at the very top of their game. Rikard’s keys permeate the entire album with an abundance of sounds and textures, both familiar and new. Tom and Henrik’s guitar playing is out of the top drawer, both in lead and rhythm guises. Johan’s bass is clear within the muscular mix, allowing his understated dexterity and sense of melody to provide an audible pulse to the music. And Jonas’ drumming is the heartbeat, offering a solid foundation that’s also deceptively complex and ambitious, arguably his most accomplished performance to date.From the first notes of opener ‘Distance’, to the final moments of the closing title track, ‘The Storm Within’ is just about the perfect album for me in the here and now. It is exactly the kind of music that I want to listen to and, more so, that I crave. I have listened to this record more times than I care to admit, probably close to twice a day on average if not more. And the great thing is that it keeps getting better.For those looking for a carbon copy to any of Evergrey’s previous releases, prepare to be disappointed. ‘The Storm Within’ is the sound of Evergrey 2016 and it is another step in their gradual evolution towards what they personally perceive to be the Holy Grail. The closest reference is clearly the predecessor ‘Hymns For The Broken’ but crucially, it is a lot more than that. If you give this record the care and attention it deserves, you will begin to notice many more subtle aspects emerge within Evergrey’s current brand of music. The band themselves refer to the output on this album as ‘cinematic, eerie and desolate’, and that’s not far from the mark at all.Beginning with the lyrical content, in keeping with most other Evergrey albums, the subject matter is based on intensely personal and human emotions. ‘The Storm Within’ is a concept album that deals with a subject that all of us, to a greater or lesser extent can identify with: loving someone, losing them and then dealing with the often tumultuous aftermath. The words act as a compelling partner to the music that surrounds them.Onto the music itself and deliberate or not, there are more than a few nods to previous releases on this album. Be it a riff that calls to mind ‘Monday Morning Apocalypse’, a string embellishment that conjures up nostalgic memories of ‘Solitude…’ or a keyboard sound that recalls the ‘In Search Of Truth’ era, these little gems do exist and they are truly wonderful.‘Distance’ sets things off perfectly, book-ended by simple, lonely piano notes from Rikard Zander that certainly sound eerie, almost forlorn. In between is a crushing riff that kicks in to set the song moving at a modest, bulldozing mid-tempo. The melancholy atmosphere in which this song enshrouds the listener is sensational, topped off by a huge hook-laden chorus, duelling solos and a breath-taking, goose bump-inducing choir-led outro, featuring Englund’s talented daughter Salina amongst the ranks.By contrast, ‘Passing Through’ ups the pace noticeably and with immediate effect, thanks to an explosive opening, an energetic rhythm section and blazing solos that push all my buttons. But again, memorable riffs and a monster chorus all combine to create a stunning opening one-two on the album, one that leaves you gasping for breath but demanding more.‘Someday’ was a bit of a grower if I’m honest, not hitting me hard out of the blocks initially. However, it isn’t long before the relatively simple chorus works its almost insidious magic, surrounded by crushing riffs that are slower in pace, thus allowing the notes to resonate more deeply thus creating a different aural impact to the faster material elsewhere. The bass rumble is irresistible, as is the sudden freefall into a brief yet inspired vocal and keyboard section that breaks the song up brilliantly.Next up is the utterly sublime ‘Astray’, a song that brings Evergrey’s progressive sensibilities much more to the fore. I love the way that this song sounds so simple on a first listen but with time, gently and elegantly blossoms to reveal its true identity. The transitions between the different elements are so smooth, they can almost get missed. Heavy riffs nestle against minimalist moments of introspective atmosphere, the tempo frequently shifts and savagery blends seamlessly with melody. The icing on the cake is the guitar solo from Danhage that screams ‘The Inner Circle’ beautifully.‘The Impossible’ is a stripped down song that features just Englund’s vocals and Zander’s synths throughout, only joined by a rich and powerful string section in the very latter stages. And yet, rather than give listeners a breather from the dark oppressive content, it simply adds to it. There is a palpable urgency and despair that is classic Evergrey and it allows Tom Englund to unleash his powerfully soulful and melodic voice to devastating effect, communicating an almost heart-breaking anguish in the process.If fans are looking for speed from an Evergrey composition, then ‘My Allied Ocean’ delivers in spades. It is aggressive and intense but also has the feel of a power metal song insofar as the whole thing is totally infectious and decidedly up-tempo, dominated by fast, measured drumming from Ekdahl that’s utterly relentless, barely dropping below a quasi-blastbeat gallop at any point.The first of two duets on the record, ‘In Orbit’ is one to get the hardcore fans debating feverishly thanks to a guest vocal appearance from Nightwish’s current femme fatale Floor Jansen. It goes without saying that Floor delivers her role in the track expertly and with power and passion. However, to fixate or obsess positively or negatively about Jansen’s inclusion would be to miss the power of the song itself. Expertly crafted, it once again features an enormous chorus that borders on mainstream territory initially. However, I love the bass work from Johan Niemann in the opening verses, whilst the second half of the track cleverly and surreptitiously reverts more to a ‘Recreation Day’ Evergrey vibe, complete with bruising riffs and arguably one of the most evocative and poignant guitar solos on the entire record.As much as I love the first half of ‘The Storm Within’, it is the final four tracks where I personally believe that these five sickeningly talented Swedes really excel themselves. ‘The Lonely Monarch’ begins this impressive quadruple and is initially striking thanks to Rikard Zander’s more modern choice of keyboard sounds. As previously mentioned, Zander’s eloquent stamp is all over this album but here he comes even more to the fore. Another huge chorus never fails to raise a smile on this wizened visage, neither does the duelling solos from Danhage and Englund that are simply killer and hark back to earlier times.Led in by more beautiful piano work from Zander, ‘The Paradox Of The Flame’ is a ballad to end all ballads. The combination of the piano, the string section and Tom’s captivating voice is stunning. And then Evergrey release their secret weapon: Carina Englund. How this beautiful vocalist is not a successful artist in her own right baffles me because she has one of the richest and emotional voices I’ve heard. And the combination of husband and wife, when accented by some simple and effective rhythm instrumentation as well as wailing, melodic solos brings a tear to my eye. So when the lone violin enters the fray, to create echoes to the days of ‘Solitude, Dominance, Tragedy’, I’m struggling to put the beauty of this composition into words.It would be easy for Evergrey to lift the foot off the pedal at this point but unbelievably, the quality remains as high as ever for the final two tracks on the album. ‘Disconnect’ is one of those songs that came from nowhere to completely floor me. It begins in heavy, confrontational fashion before offering one of the most diverse listening experiences on the album. It is progressive in structure, delivers yet another fantastic chorus and underlines beyond doubt the ‘cinematic’ tag that has been applied to this record. Zander’s keys are huge on this song, creating depth, atmosphere and a truly epic quality that I love.It is then up to the title track to close out ‘The Storm Within’ and it does so in majestic fashion. Those cinematic credentials are pushed to the limit one last time as I’m vaguely reminded of ‘Visions’ from ‘Recreation Day’ through the overall vibe and feel of the song. Quietly considered one of his favourite compositions to date, it isn’t hard to see why as the album ends on a note of vague positivity amongst the pervasive gloom and melancholy that precedes it.You might dismiss the preceding 2000 or so words as the inane ramblings of an obsessed Evergrey fanboy. To an extent, you might be right. And I can live with that if that’s your conclusion. However, whatever you do, don’t dismiss ‘The Storm Within’ in the same way. Give it your full, undivided attention and maybe you too will consider this album to be Evergrey’s finest hour. Will it even replace ‘In Search Of Truth’ as my all-time favourite album? Watch this space. What is certain however is that Evergrey’s majestic blend of heaviness, melody and emotion means that ‘The Storm Within’ is nothing short of a bona fide masterpiece. All hail Evergrey." - Man Of Much Metal Blog
    $16.00
  • 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
  • "Four years in the making, Norway's Triosphere returns with their third album, The Heart of the Matter. It was worth the wait. While reviewed previously on this site by another reviewer, this is my first experience with the band.There's many things to like about Triosphere. Not the least of which, for a female-fronted band, is that vocalist and bassist Ida Haukland is a pure melodic metal singer, not swaying to the extremes of operatic or death vocals. Another significant element is simply their superb sense of songwriting. They have an arsenal of weapons to draw from whether an abundance of catchy riffs, a strong melody, vocal harmony, notable rock groove, or sizzling leads. I think, more than anything, the guitar structure, riffs and leads, are rather immense and attractive, propelling the album. You can't avoid the swell of riffs and leads within songs such as Steal Away The Light or As I Call, melodic and inspiring. But Triosphere wraps all these elements up in imaginative and entertaining arrangements, nearing progressive metal, that make for essential melodic metal listening.While the entire album is a rich tapestry of melodic metal, a few songs deserve some attention thanks to some interesting passages within. One is Breathless, a steady sturdy number that has this interesting breakdown after the half way point. The riffs collapse for this light guitar work, almost fusion, over equally slight drums. Another terrific song follows in Departure. It has its share of riffs and some staccato drums, but once more, it's the latter guitar segue that grabs you. More emotive and lighter leads over subtle bass and drums. A third song of interest is the later Remedy with a smooth melody and enormous vocal harmony. But the kicker, once more, is the guitar breakdown in the latter half. Different than the previous songs, it's sharper and heavier, riff based yet fiery, and propelled by some intricate drumming. Finally, the entire swail of riffage is abandoned at the end of the album for the acoustic and gentle ballad Virgin Ground. A respite perhaps? All in all, Triosphere, with The Heart of the Matter, has turned out a rather terrific and enjoyable album of melodic heavy metal. Easily recommended." - Dangerdog
    $9.00
  • "With 1985's Metal Heart, German metal institution Accept attempted to add catchier choruses and melodies to their high-octane guitar riffing in a clear ploy to crack the American market. Not that this move in any way upset the balance of their thus-far smooth-running metal machine, which had been gaining momentum with every release since the start of the decade. No, Metal Heart was certainly a step toward accessibility, but a cautious one at that -- and, frankly, there was no toning down when it came to the lacerated larynx of gifted lead screamer Udo Dirkschneider. You gotta hand it to Accept, they sure knew how to make an entrance by now, and the apocalyptic title track is about as dramatic as it gets (the operatic "Bound to Fail" comes close), with guitarist Wolf Hoffman taking the helm on a long, mid-song solo excursion containing equal nods to Beethoven (very nice) and Edward Van Halen (get real). First single "Midnight Mover" is next, and along with the even more melodic "Screaming for a Love-Bite," it places obvious emphasis on hooks and melodies (and proved to be the toughest to stomach for the band's more hardcore fans). But despite another strange detour into jazz territory with the bizarre "Teach Us to Survive," Accept still packed amazing power, heaping on their Teutonic background vocals for the ultraheavy "Dogs on Leads" and gleefully pile-driving their way through relentless moshers like "Up to the Limit" and "Wrong Is Right." The brilliantly over-the-top "Too High to Get It Right" finds Dirkschneider screeching like never before, and to cap things off, the band really cooks on "Living for Tonight" -- arguably the best track all around. A winning set." - Allmusic Guide
    $7.50
  • "Gothenburg’s finest export of darkness, EVERGREY, enters an astonishing new chapter in the band’s history with their thirteenth studio album and Napalm Records debut, A Heartless Portrait (The Orphean Testament), to be released on May 20, 2022. This overwhelming journey through progressive heaviness and searing emotionality is repeatedly accented by sonic melancholy and gripping lyrics – leaving the listener speechless and re-cementing the Swedish five-piece at the top of the scene without a shadow of a doubt!Celebrating over 25 years of metal mastery, EVERGREY, led by founder, singer and guitarist Tom S. Englund, are known for wandering the realms of progressive and heavy melodic metal and painting sonic renderings with their twelve studio records released as of today. Now, the follow-up to the unit’s highly successful 2021 full-length, Escape of the Phoenix (which landed at numerous chart positions worldwide), reveals a 10 track mélange of which every note, every riff and every word seeps pure poetry – creating a ceaseless intensity that mesmerizes from the very first second. A Heartless Portrait (The Orphean Testament) impresses with flawless, meticulous production that deftly depicts both heartfelt honesty and scorching metallic intensity, while its instrumental force of furious, technically driven riffs, skyrocketing solos and dramatic synths merges with the expert, brooding vocal performance of Englund – one of the most distinctive vocalists in metal. He skillfully balances harsh and heavy tones with an inarguably soulful approach, all topped by melancholic, thought-provoking lyricism that digs deeper with every spin, leaving a long-lasting impact. Pounding opener “Save Us” reflects everything the album stands for, as it kicks in immediately with stunning guitar work and unveils a chorus sure to top the annals of EVERGREY history! To spice things up even more, EVERGREY invited their fans to join them on this special track and recorded hundreds of voices that ended up on the final result. Songs like “Midwinter Calls”, which also contains fan participation with atmospheric audience recordings from the band’s latest tour through Sweden, and “The Great Unwashed” draw the listener in with grooving, glistering instrumentation, flowing between boisterous dynamics and a next level vocal performance, while emotive “Wildfires” turns the volume down as a goosebump-worthy ballad that hurts and heals all at once. “Call Out The Dark” begins atmospherically with accented keys, suddenly evolving into an intense opus of symphonic and power metal attributes in the blink of an eye, whereas the record’s longest track, “The Orphean Testament”, impresses by revealing its heaviest facet. A sensitive introduction lures the listener into “Heartless”, and offers one of the album’s most engaging verses, followed by a hauntingly beautiful chorus and variety in pace to create a magnificent listening experience.A Heartless Portrait (The Orphean Testament) is a striking testament to the fact that while the Swedish five-piece doesn’t need to prove anything to anyone at this phase, they still impressively showcase that, after over 25 years of existence, their creativity sees no bounds – dropping yet another sensation within their impressive catalog!"
    $15.00
  • Remastered edition with 2 bonus tracks."Easily one of the most important heavy metal albums ever released, Stained Class marks the peak of Judas Priest's influence, setting the sonic template for the New Wave of British Heavy Metal more than any other single recording. This is the point where Priest put it all together, embracing their identity as the heaviest band on the planet and taking the genre to new heights of power, speed, musicality, and malevolence. Not until Painkiller would the band again be this single-minded in its focus on pure heavy metal. Their blues-rock roots have been virtually obliterated; largely gone, too, are the softer textures and gothic ballads of albums past. The lone exception is the morbid masterpiece "Beyond the Realms of Death," on which the band finally finds a way to integrate the depressive balladry of songs like "Epitaph" and "Last Rose of Summer" into their metal side. Starting out with quiet, mournful verses, the song's chorus is ripped open by a blazing guitar riff as Rob Halford shrieks about leaving the world behind, a dramatic climax that sounds like a definite blueprint for Metallica's "Fade to Black." Yet it wasn't this song that inspired the ridiculous 1989-1990 court case involving the suicide pact of two Nevada teenagers; that honor goes to the Spooky Tooth cover "Better by You, Better Than Me" (penned by none other than the "Dream Weaver" himself, Gary Wright), on which the band allegedly embedded the subliminal backwards-recorded message "Do it." Astounding implausibility aside (as the band pointed out, why encourage the suicides of fans who spend money?), it isn't hard to see why Stained Class might invite such hysterical projections. On balance, it's the darkest lyrical work of the band's career, thematically obsessed with death, violence, and conquest. That's not to say it's always approving. Sure, there are battle cries like "White Heat, Red Hot," horrific nightmares like "Saints in Hell," and elements of the fantastic in the alien monsters of "Invader" and stone classic opener "Exciter." But the band stays philosophical just as often as not. The twisting, turning title track adopts the biblical view of man as a hopeless, fallen creature preyed upon by his baser instincts; "Savage" foreshadows Iron Maiden's "Run to the Hills" in depicting violent colonizers as the real savages; and closer "Heroes End" laments the many legends born from untimely deaths. So in the end, what really cements the celebrated morbidity of Stained Class is the sinister atmosphere created by the music itself. Never before had heavy metal sounded so viciously aggressive, and never before had that been combined with such impeccable chops. Seemingly at will, Tipton and Downing spit out brilliant riffs that cut with knife-like precision, usually several per song. This means that there's a lot to take in on Stained Class, but if there's nothing here as immediate as the band's later hits, there's also a tremendous amount that reveals itself only with repeated listens. While the album's overall complexity is unrivalled in the band's catalog, the songs still pack an enormous visceral impact; the tempos have often been jacked up to punk-level speed, and unlike albums past, there's no respite from the all-out adrenaline rush. Heavy metal had always dealt in extremes -- both sonically and emotionally -- but here was a fresh, vital new way to go about it. It's impossible to overstate the impact that Stained Class had on virtually all of the heavy metal that followed it, from the NWOBHM through thrash and speed metal onward, and it remains Judas Priest's greatest achievement." - All Music Guide
    $7.50
  • "I’ve been listening to Myrath since the release of “Desert Call” back in 2010, and I’ve seen them morph from a unique version of Symphony X or Dream Theater into a truly original band that loves their country and is not afraid to incorporate that love into their music heavily.  On top of that, they really know how to write an addictive song.  Their new album, called “Shehili”, releases on May 3rd through earMUSIC.Myrath hails from Tunisia, and the band consists of Zaher Zorgati on vocals, Malek Ben Arbia on guitars, Anis Jouini on bass, Elyes Bouchoucha on keys, and Morgan Berthet on drums.  You will notice right away that these musicians are highly skilled, providing jaw-dropping performances.  However, their technical ability never overtakes their desire to write beautiful and memorable music.Myrath have basically grafted progressive metal into their Tunisian folk melodies.  Many times, they will appear to be more like symphonic metal, such as Kamelot, but that is because the band is oftentimes quite theatrical in presentation.  They aren’t afraid to be expressive and over the top, while laying down some mean riffs and insane instrumentals at the same time.  Their vocal melodies come across as poetic and thoughtful, as well, and so the band just has the potential to create masterworks again and again.“Shehili”, for my money, is one of the best albums the band has created yet.  While I will always have an affinity for “Tales of the Sands”, the album where they really found themselves, “Shehili” is even catchier, more varied, and absolutely rocks in all the appropriate spots.  I’ve found myself singing along with literally every song on the album.  They are all remarkable, and that’s a difficult thing to accomplish.  So, while being progressive and complex, the album revels in the band’s heritage, and does so without overly long songs or pretention.  I don’t have the room to talk about all the songs on the album here, so songs like “Born to Survive”, “Lili Twil”, and “Mersal” won’t be discussed, but they are all wonderful.  Certain songs on the album have instant appeal.  “You’ve Lost Yourself” is poetic and emotional, and the chorus is definitely going to stay with you.  “Wicked Dice” feels vicious and razor sharp, and if you don’t snarl your lip while you hear it, I don’t know what is wrong with you.  “No Holding Back” is one of the singles, and it focuses more on folkish melodies.  It is, however, one of the most addictive songs on the album, too.  I love the rising, fomenting piano melody near the end.  The title track ends the album with an emotional vocal performance from Zaher, and really closes the book in perfect fashion.Some of the songs, though, really stand tall.  “Dance” was the first single and is one of my favorite songs of the year.  The video is definitely outlandish, but the song itself is powerful, grand, and totally unforgettable.  My kids absolutely love this song, and you should see the sweet dance my little 5 year old son Atlas does as soon as he hears that foreboding intro.  “Monster in My Closet” is somewhat haunting and atmospheric.  It dabbles with electronic accents while also having such a great chorus.  Now, “Stardust” battles “Dance” as my favorite song on the album.  This song has a burning electronic edge to it, but is also quite ethereal and almost desperate in emotion.  Finally, I have to admit that “Darkness Arise” is a very surprising song.  It is just as catchy as the rest of the album, but it melds some heavier riffs with some 90s sounds and even a mellotron solo.  It’s really interesting and fun to hear.“Shehili” is just an awesome album from every angle.  You will lose yourself in the melodies, and find more and more complexity every time you listen.  It’s not a long album, at about 45 minutes in length, but you will want to start it over again immediately.  Myrath are back and running on all cylinders." - The Prog Mind
    $12.00