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  • Blazing second solo album, from 1977. This has some of the fastest guitarwork you will ever hear in your lifetime. DiMeola shows many facets to his playing touching upon pure electric fusion as well as gorgeous acoustic work. The acoustic duet with Paco De Lucia on "Mediterranean Sundance" is breathtaking. Jan Hammer and all the other stars play their nuts off here. Great.
    $7.50
  • Its been quite a long time since we've heard from Magic Pie.  They went through lots of trials and tribulations getting this album finished but now its finally arrived.  If you are not familiar with this band here's the deal: Magic Pie are a Norwegian band with a retro 70s sound.  The music is a bit of a high wire act balancing the neo-prog sounds of The Flower Kings with the heavier elements of classic Uriah Heep.  They also seem to be the darlings of Rosfest having played there multiple times."It's hard to believe it's been 10 years since these proggers from Norway released their promising debut "Motions of Desire". At that time, their music struck me as an enthusiastic combination of classic prog and classic hard rock. (Think Deep Purple for the hard rock side of that equation.) At their best, they offered memorable passages and pieces that sounded like they very well could have been long lost recordings from many years ago. At their worst, they sometimes fell short of filling the big shoes of the legendary bands whose music they strove to emulate. That's actually not bad for a debut album from a new prog band. I found much to like and looked forward to hearing from them again in the future.Checking back in on them a decade later, I must say that I am very impressed with how they have developed and matured. No longer do I get the feeling that certain sections of songs are direct homages to any particular band from any one particular decade of prog's illustrious history. Their influences, while still very present and valid, are now more varied, including a greater percentage of modern reference points. More importantly, their influences are just that--merely influences rather than templates or even primary reference points.The sound quality on "King for a Day" is superb thanks in large part to the enlistment of sonic genius Rich Mouser (whose resume includes similar work for prominent contemporaries like Spock's Beard, Transatlantic and Dream Theater).Keyboardist Erling Hananger is an excellent addition to Magic Pie's recipe. His keyboard parts are expressive, dynamic and integral to the music. When appropriate, his leads seamlessly blend, harmonize, and work synergistically with electric guitar.The lyrics have a melodramatic and somewhat tragic flair this time around, but this is prog so you should be accustomed to the musical ride including a few tragic tales from time to time by now, right?OK ' so it's time for the "magic" question... A decade after their debut album, how has my impression of Magic Pie changed?On "King for a Day", I now hear a band which has found "its own voice", one that resonates confidently in the space somewhere between classic arena rock of yesteryear (on prog-steroids of course) and modern melodic prog of the 21st Century (like Spock's Beard and The Flower Kings). Add a few dashes of modern prog-metal to taste and you, my friend, have baked up a very nice confection indeed... MAGIC PIE!If you love modern prog anthems with big harmonies and 'sing along' choruses, give "King for a Day" a listen! I'm glad I did!" - ProgArchives
    $14.00
  • Remastered edition of the band's 1990 album comes with three bonus tracks.
    $15.00
  • 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. 
    $5.00
  • "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
  • "Jeff Lynne reportedly regards this album and its follow-up, Out of the Blue, as the high points in the band's history. One might be better off opting for A New World Record over its successor, however, as a more modest-sized creation chock full of superb songs that are produced even better. Opening with the opulently orchestrated "Tightrope," which heralds the perfect production found throughout this album, A New World Record contains seven of the best songs ever to come out of the group. The Beatles influence is present, to be sure, but developed to a very high degree of sophistication and on Lynne's own terms, rather than being imitative of specific songs. "Telephone Line" might be the best Lennon-McCartney collaboration that never was, lyrical and soaring in a way that manages to echo elements of Revolver and the Beatles without ever mimicking them. The original LP's second side opened with "So Fine," which seems like the perfect pop synthesis of guitar, percussion, and orchestral sounds, embodying precisely what Lynne had first set out to do with Roy Wood at the moment ELO was conceived. From there, the album soars through stomping rock numbers like "Livin' Thing" and "Do Ya," interspersed with lyrical pieces like "Above the Clouds" (which makes striking use of pizzicato bass strings)." - Allmusic
    $7.50
  • "Machine Head's third album finds them sounding a bit looser and less constricted musically than they have in the past, but their aggro-metal with funk overtones is still plenty dense and emotionally claustrophobic. Aided by modern metal producer extraordinaire Ross Robinson (who has also helped Korn and Limp Bizkit get in touch with their inner Lemmy), Machine Head continues to explore themes of alienation, loss, and abuse, but singer/guitarist Robert Flynn is singing a bit more this time out; on "Silver" he almost croons. Unfortunately, while his up-tempo bellow is pleasantly generic, his singing voice and delivery both sound like they were lifted directly from middle-period Eddie Vedder. Flynn and the rest of the band are actually at their best in funky, hip-hop mode, as on "Enter the Phoenix" and the early section of "From This Day." Amazingly, they also deliver a respectful cover of the Police's "Message in a Bottle," one which, disappointingly, adds little more than crunchy guitars to the mix. Overall, though, this is a pretty satisfying aggro-rock affair." - Allmusic Guide
    $9.00
  • This is the album that really broke the band in North America.  Hit after hit..."After years of writing hook-laden choruses and triumphantly buzzing riffs, this German band finally perfected the formula. A fine mix of poise and passion, Love at First Sting appeals to both angry metalheads and Top-40 aficionados." -- Jon Wiederhorn
    $7.50
  • "The Flaming Lips have a flair for making other artists’ music their own. Their versions of T. Rex’s “Ballrooms of Mars,” Queen and David Bowie’s “Under Pressure,” and Madonna’s “Borderline,” a song they recorded with Stardeath and White Dwarfs, who also appear on the literally titled The Flaming Lips and Stardeath and White Dwarfs with Henry Rollins and Peaches Doing the Dark Side of the Moon, all show what they took from those artists and what they gave back. Though the Lips always seemed more indebted to Syd Barrett-era Pink Floyd, they put their own stamp on Dark Side’s paranoia and moody atmospheres. They performed this version of Dark Side of the Moon at their 2010 New Year’s Eve celebration, capping a triumphant 2009 that included the release of their revitalized-sounding Embryonic. While the Lips recorded that album on their own, it’s still easy to hear how this album is symbiotic with Embryonic. The same wildness permeates these songs, giving them a feel that’s more primal than the original’s polished reflections. “Speak to Me/Breathe” opens the album with short-circuiting keyboards and raw, vaguely Latin-sounding percussion immediately tying it to the Lips’ last album, while “Time/Breathe (Reprise)” rides on the driving, fuzzed-out bass that was Embryonic’s spine. However, …Doing Dark Side of the Moon feels more focused than its predecessor -- of course, the familiarity these songs have helps -- with its rawness providing contrast instead of adding an intentionally primordial feel, as it did on Embryonic. Elsewhere, The Flaming Lips and guests are just as faithful to Dark Side of the Moon as they need to be, using Peaches as a stand-in for Clare Torry on “The Great Gig in the Sky” -- although Peaches’ super-saturated howls are far more odd and jubilant. As on the original, some of the best moments are the spookiest ones. “Us and Them” sounds like a conversation held across a kitchen table instead of in deepest space, regardless of the synths whooshing around Wayne Coyne’s vocals, and tender guitars underscore its unique intimacy. “Brain Damage” is even more stripped-down while remaining true to the original’s air of eerie knowingness, of being just sane enough to know you’re going crazy. As always, The Flaming Lips approach this tribute by exploring how they can serve the songs, without worrying about the legacy or image of the artist they’re covering. The only time this backfires (slightly) is on “Money,” which has a cleverly tinny drum machine that sounds like coins piling up, but its heavy vocoders and stiff beats lose too much of the original’s jaded swing. Despite the sheer number of musicians playing on it, The Flaming Lips and Stardeath and White Dwarfs with Henry Rollins and Peaches Doing the Dark Side of the Moon is a distinctly non-bloated treatment of one of rock’s most epic albums. While it might be more fun than impressive, fun has always been a vital part of The Flaming Lips’ best music." - Allmusic Guide
    $9.00
  • "Mat Sinner has had a long and extensive career, whether with the long running band that bears his name or others like Primal Fear or Voodoo Circle. With Touch of Sin 2, Sinner retreats to the past to re-record some of his best material from early albums Danger Zone (1984), Touch of Sin (1985), Comin' Out Fighting (1986), and Dangerous Charm (1987). While they still play many of these songs in their live sets, thanks to obscure contracts, rights being bought and sold, these albums are hard to find. This is a collection of 14 songs, 11 newly re-recorded and three new ones. There's some real classics here, some really good Sinner songs. (Somehow that sounds funny.) Born to Rock, Comin' Out Fighting, Bad Girl, Concrete Jungle, and Germany Rocks are some of the best ones, getting new life from Matt and the current Sinner crew. And that crew includes a wall of guitars from three guitarists, Alex Beyrodt (also Voodoo Circle), Christof Leim, and Alex Scholpp (also Tarja Turunen) with Sinner's bass and Andre Hilgers' drums powering the rhythm section.Three new songs include two originals, Blood On The Sand and Heat Of The City and a cover of the mighty Thin Lizzy's Don’t Believe A Word. The first two sound more like modern Sinner touching the melodic metal side of things especially with the heavier Heat Of The City. The Thin Lizzy cover is simply phenomenal and fun, a tad faster, but still capturing the liveliness and groove of the original. It's the best song here. Touch of Sin 2 is a fine introduction to Sinner's early material, with the new songs a bonus. However, I'm sure those older rockers who have the older material will want to dust of their vinyl versions as well. Recommended." - Danger Dog 
    $12.00
  • "Alternative Rock is not a genre that graces my ears very often, but as always, they are open; as is my mind. The funny thing is, any time I am exposed to something I wouldn't normally find myself listening to, there is always something about that band that has my wanting attention for one reason or another, be it the sound of the vocalist, the mixing, or those infectious hooks in the chorus. For its genre, the ANNEKE VAN GIERSBERGEN (formerly AGUA DE ANNIQUE) is perfectly postulated and is a leading act, with their non-repetitive writing (something I hear too often in commercial rock), excellent vocals and songs leaving you burning with an urge to sing along.Their latest release, "Drive", is no exception; as an album, it proves to be versatile, with no two songs sounding identical, but every song keeping the rhythm and mood to make the album fit piece by piece. "We Live On" feels like a typical pop-rock track, upbeat and driving, with an extremely powerful vocal performance in the choruses by Van Giersbergen. "Treat Me Like A Lady" does not want to be treated like a lady, and takes a noticeably heavier tone, brimming with attitude. "She" begins ever so modestly, making us think we're brought back to some level of calm, but explodes into an incredibly fast-paced chorus for such a Rock band, and includes yet another infectious chorus; something that is fast becoming an obvious highlight. "Drive" – I adore the sound of the bass in this song, the way it is dislocated from the drums, adds another dynamic. Van Giersbergen's even more stellar performance in the chorus demonstrates her large vocal range and versatility. Save for electric bass, "My Mother Said" is an entirely acoustic song and is the softest, most heartfelt song on the album; the band's namesake flawlessly demonstrates her ability to fit her voice around any song to emote any mood wants. "Forgive Me" is especially different, demonstrating unusual chord progressions, totally different instrumentation, and revealing even more, the extent of control that Van Giersbergen has over her range. "You Will Never Change" is upbeat and punchy, through-and-through with an – okay, let us just assume that every song on this album has an infectious chorus; definitely one of my favorites on the album. "Mental Jungle" begins with a strange, Arabic-sounding vocal melody, also featured on the chorus; I do indeed also love this chorus, as well as the interesting chord progressions. Quite easily the most unique song on the album, it strays from the pipeline rock sound that this record has been purveying. "Shooting for the Stars" takes the cake for the 'radiorock' track on the album, where every note, every beat, every lyric, screams commercialism and airtime. Not necessarily a bad song, but not the most interesting on the album. The album closes with "The Best Is Yet To Come" which makes me thing, Anneke has even better music to offer us in the future? The song itself takes first place on the album for me; the presence of the overdriven guitars and bass compliment her voice perfectly to create a powerful and catchy, yet Heavy Rock track, with interesting and unpredictable licks and hooks.Van Giersbergen and her band are quickly cementing themselves as one of Europe's currently most powerful and gorgeous-sounding rock groups, whom don't necessarily always cling to the commercialized, radio cliché sound, although no doubt perfectly suited to long air time. Coming from a metal head who listens to a fair share of female singers, I believe she could sing anything she wanted to, and the band of musicians that have got together and recorded this organic album with her have done so masterfully, and I'm not sure if the best is yet to come." - Metal Temple
    $14.00
  • Out of print for some time, Bruce Soord freshed up the band's second album.  Originally released back in 2001, this version of 137 features a new mix, new 2018 mastering, and even new artwork.
    $11.00
  • Withem is an up and coming Norwegian progressive metal band, inspired by the likes of Symphony X, Pagan’s Mind, Dream Theater and Circus Maximus.The band started to take shape in 2011 when Øyvind Voldmo Larsen (guitars) and Ketil Ronold (keyboards) met the gifted drummer Frank Nordeng Røe. Soon they were joined by the vocal talents of Ole Aleksander Wagenius and bass duties were taken care of by the special guest Andreas Blomqvist from Seventh Wonder.Withem’s debut offers varied sonic landscapes for the listener to explore, ranging from guilty-pleasure choruses permeated with memorable vocal hooks, to symphonic epic themes.  The unique vocal range of Ole Aleksander Wagenius gives the band a distinctive touch to tackle the overcrowded progressive metal scene.The passion and dedication put into the album is emphasized by the countless hours spent in studio perfecting each individual performance and making sure that the end result is a world class blend of progressive, symphonic and power metal.The Point Of You was mastered by Markus Teske (Vanden Plas, Saga, Spock's Beard)
    $6.00
  • "Brazilian death metal upstarts Sepultura took an incredible creative leap forward with their second full-length album, 1987's Schizophrenia. Although it was recorded not too long after their primitive, black metal-dominated debut efforts -- 1985's Bestial Devastation EP and 1986's Morbid Visions LP -- Schizophrenia introduced an entirely new sound fusing thrash and death metal, and all of it supported by much improved songwriting, musicianship, and the first truly professional-sounding production job of the band's short career. Constant touring, rehearsal, and the addition of lead guitarist Andreas Kisser (his classical guitar training and memorable solos made an immediate impact) were all key to this stunning transformation, but the heightened level of proficiency at hand is such that it almost seems miraculous at times. With their precise, lightning-quick staccato riffing and multiple, distinct, but interlocking sections, the album's opening triplet of "From the Past Comes the Storm" (preceded by a Psycho-inspired intro theme), "To the Wall," and "Escape from the Void" proved simply devastating to the ears. And yet the seven-minute instrumental "Inquisition Symphony" (later covered by Finnish cello virtuosos Apocalyptica) was arguably even more breathtaking in its diversity, brilliantly showcasing the band's incredible, new-found combination of melody and aggression while adding some tasteful synth touches, to boot. Additional head-banging standouts like "Screams Behind the Shadows" and a re-recorded version of early fan favorite "Troops of Doom" bookend a few less distinctive offerings on side two -- those being token thrashers "Septic Schizo" and "R.I.P. (Rest in Pain)," plus the acoustic interlude "The Abyss," but only a trifling of momentum is lost, nevertheless. All of which helped make Schizophrenia the first Sepultura release to make serious waves with international critics and fans, while setting the stage for the group's imminent breakthrough release, Beneath the Remains." - Allmusic Guide
    $8.00