Megadeth - Live at Maquinaria Festival 2011

Megadeth - Live at Maquinaria Festival 2011

Genre: Trash Metal
Duration: 00:58:15
Year: 2011
Description: Megadeth concert in Santiago, Chile at the Festival Maquinaria the new album Thirteen

Tracklist:

1. Trust
2. Wake Up Dead
3. Hangar 18
4. Angry Again
5. A Tout Le Monde
6. Whose Life (Is It Anyways?)
7. Head Crusher
8. Public Enemy No. 1
9. Sweating Bullets
10. Symphony of Destruction
11. Peace Sells
12. Holy Wars ... The Punishment Due

Quality: HDTV
Container: MKV
Video codec: H.264
Audio codec: AAC
Video: x264 1280x720, 29.970 fps, ~ 8833 Kbps
Audio: AAC 2ch 48 kHz

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Serenity - War Of Ages (LE Digipack) (2013)

Serenity - War Of Ages (LE Digipack) (2013)

Austrian symphonic melodic metallers SERENITY released their fourth full-length album entitled "War Of Ages", on March 22nd in Europe and March/April in the USA and Asia via Napalm Records. The follow-up to 2011's "Death & Legacy" was once again mixed and mastered by Jan Vacik at Dreamsound Studios in Munich, Germany. The cover artwork was created by Seth Siro Anton, who previously worked with SERENITY on their debut album. The band states: "It likely is his best work to date and the whole cover figurine is just as impressive as the limited-edition closeup." SERENITY also collaborated again with Oliver Philipps on arrangements and orchestration.
Says the band: "While staying true to all SERENITY trademarks such as symphonic orchestras, heavy rhythms, amazing melodic vocals and bombastic choirs, we also brought in some new elements in form of various new sounds in the SERENITY universe and a constant implementation of female vocals supporting outstanding singer Georg Neuhauser."
Since their second album, SERENITY has been including female voices in its songs, had different guests to perform them live and among them was Clémentine Delauney. Going on tour together, the band realized her voice, personality and stage performance was bringing something special to the band's universe and thought she should be present on the new record. The idea evolved with time… why not have a permanent female voice in the band? And it seems they had found the perfect one both on professional and personal levels. So it came up somehow naturally that Clémentine should not be considered "guest" anymore.
Clémentine Delauney is now a full member of SERENITY. Thus "War Of Ages" welcomes Clémentine's voice on lead, backing and choir parts, completing the music with a constant feminine presence.
Says the band: "The band has the will to make its music richer on the vocal side; this is a start of a new approach! SERENITY will explore and use the unlimited musical possibilities of those two outstanding voices, to start with, and 'War Of Ages' is the perfect transition record between what SERENITY was and what it will become in the coming years! We hope you share our excitement!"

copas from http://metal-epic-site.blogspot.com/2013/01/serenity-war-of-ages-2013.html

Tracklist: 
1. Wings Of Madness
2. The Art Of War
3. Shining Oasis
4. For Freedom's Sake
5. Age Of Glory
6. The Matricide
7. Symphony For The Quiet
8. Tannenberg
9. Legacy Of Tudors
10. Royal Pain

Limited Edition Bonus Tracks:

11. Fairytales (Ballad Version)
12. Love Of My Life

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Imperia - Queen of Passion (2013)

Imperia - Queen of Passion (2013)

Dutch/Norwegian band Imperia comes to us with a new compilation album “Queen of Passion” which will be released by Massacre Records in March 2013.

Full of brilliantly composed songs that make them stand out and give them that proper ambient effect with the help of the wonderful voice of Helena Iren Michaelsen. Furthermore, the use of various orchestral instruments besides the actual formation gives it the right feel of what is known as Symphonic Metal.

The album has 11 tracks, and in my opinion, a very nice choice of songs for this compilation album. The album starts of hard with Mirror, a powerful song that has a great melody and the orchestral instruments come in little by little, but giving more prominence to the keyboard and at times the violins, giving it a unique feel together with the choirs backing up the variety of operatic voice styles of Helena. Braveheart kicks in full on with all the orchestral instruments full blast, which then calms down to give entrance to the vocals, but then again speeds up. A lovely song with beautiful melodies. Following is Broken Wings, slow, peaceful and soft at times with a nice powerful chorus. Facing Reality is another great song with overlapping of vocals and having the band instruments stand out over the orchestra. The Calling, a track full of speed and a different vocal styles all combined together, an interesting song indeed.

Secret Passion, named after the third album keeps the metal of the band alive. Fragile, for some reason for me had an erotic feel to it at times with the heavy breathing vocals, having a brilliant guitar intro and solo. Let Down and followed by Violence, are two songs with a steady melody and full of emotion.

Like Rain brings back the faster beats as the album reaches the end with Mistress that has a electronic melody incorporated with the echoed vocals, giving it a completely different feel from the whole album.

Overall, an epic and touching combination of instruments that play their role nicely in each song providing a perfect theme for each of the songs.

copas from http://www.wolfhoundmetalradio.org/magazine/reviews/imperia-queen-of-passion/

Tracklist:

1. Mirror
2. Braveheart
3. Broken Wings
4. Facing Reality
5. The Calling
6. Secret Passion
7. Fragile
8. Let Down
9. Violence
10. Like Rain
11. Mistress

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Empurios - Cyclings (2013)

Empurios - Cyclings (2013)

Genre: Progressive Metal (Male & Female vocals)
Origin: Brazil

Length: 58:45 min
136 mb | mp3, CBR 320 kbps

Tracklist:
1. Silence (6:24)
2. Kiss Of The Blade (5:10)
3. Over The Fire feat. Andre Matos (5:30)
4. Deluge (4:41)
5. Invisible Man (4:35)
6. Empty (7:21)
7. Metastasis (2:04)
8. Chaos (4:42)
9. In The Middle Of Everything (4:09)
10. The Butterfly Effect (4:13)
11. Māyā (7:54)
12. [Procedure] (2:02)

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Fractal Gates - Beyond The Self (2013)

Fractal Gates - Beyon The Self

For all the flack contemporary melodic death metal gets (mostly deservedly so), there are a few groups from the 2000s who are rooted in MDM and who have taken the metal world by storm. In Mourning, Be’lakor, Woe of Tyrants and Insomnium are a couple of names that spring to mind instantly and even if melodic death metal is a genre that has largely ran its course (quality-wise), it doesn’t eliminate the chance of some bands still doing good in it. One such band is a little group from France called Fractal Gates, who wouldn’t be totally out of place when put into the list above. With their sophomore effort, the band has taken a positive leap forward and might just be ready for critical acclaim.
Fractal Gates was only conceived in 2007 and released their debut album Altered State of Consciousness in 2009 to generally positive reviews. It was not perfect though, because while atmospherically sound and very catchy, the songs sometimes lacked a killer move to pierce the final hook through the listener. Regardless, Fractal Gates exhibited great potential on their debut, and on Beyond The Self, the band is already capitalizing on it. They haven’t changed much of anything to be fair, but they have worked out the kinks and because of that, Beyond The Self sounds like a much more complete record that can hang with the big boys of the genre. It might not be a Colony or The Gallery, but as far as conventional melodeath goes, it doesn’t get a whole lot better these days.
The thing with Fractal Gates is they aren’t pioneering anything. The minute you start expecting to hear something completely unique your experience will be marred. But when it’s catchy melodic death metal anthems you are after, look no further, as Beyond The Self is chock-full of addictive melodic riffs that will stay in your head for a good while. It’s true that Fractal Gates play the same cards every time, yet they always manage to win. All the songs on Beyond The Self are exclusively built on catchy, gliding riffs that are designed to win the crowd over. And Fractal Gates do – with Beyond The Self they can even get the pompous music snobs in the back to tap their feet. Guitarists Stéphane Peudupin and Arnaud Hoarau then sprinkle some melodic leads and licks over the more chunky main riffs and voila, despite it sounding boringly facile, Fractal Gates have a winning recipe. "Beauty lies in simplicity" is the saying, and Fractal Gates have definitely built their album up on that. In a successful manner, mind you.
It’s more than an array of catchy riffs though that makes Beyond The Self so good. The attention to detail is never lost and just when you think you’ve had enough of the same melody/riff, a new dynamic is introduced by the way of a slick lead, drum pattern or a change in pace. In addition to that, Beyond The Self never strays from the lively pace it sets itself with the first full track, titled "Dissonance". Pure energy is often times the deciding factor between an album sinking or swimming, and Fractal Gates have plenty of energy in store.
If there’s anything that can be complained about, it’s that sometimes the compositions on offer do sound too simple for their own good, even if they are outrageously catchy. It isn’t enough to bring down what is an excellent melodic death metal album, though. The melodies are too soaring to say no to and the tone of the album instantly brings to mind Gothenburg greats from the ’90s, albeit this time in a way that makes one proud, not crave for the glory days of old. Fractal Gates have been honing their craft and even though their shtick is the same, Beyond The Self outperforms its predecessor in every way. It’s more cohesive, the highlights shine brighter, and there is a strong sense of maturity about this record. The band isn’t exactly in line to rock the whole world of metal, but in a done-to-death genre, coming off with something uplifting is already a win in itself. Fractal Gates have found their flame in burnt-out ashes and said flame should only grow with time.

copas from http://www.sputnikmusic.com/review/55204/Fractal-Gates-Beyond-The-Self/

Tracklist:    
1.    Visions VII (1:02)
2.    Dissonance (3:52)
3.    Everblaze (4:31)
4.    On Your Own (4:41)
5.    The Sign (4:46)
6.    Visions VIII (1:03)
7.    Timeless (3:35)
8.    We Are All Leaders (4:05)
9.    Reverse Dawn (4:27)
10.    Mighty Wings (Cheap Trick cover) (4:01)
11.    The Experiment (4:32)
12.    Beyond the Self (3:29)
13.    Glooms of Cyan (5:31)
14.    Visions IX (1:01)

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Stratovarius - Nemesis (2013)

Stratovarius - Nemesis

What a difference a line-up change can make. An energy is present in Stratovarius's camp which can only be pinned down to a fresh chemistry. New gun Rolf Pilve has quite the role to fill and expectations are high as he replaces Jorg Michael who provided the drums for many of the band's classic records. Perseverance is key and even after all their previous dramas Stratovarius have made Nemesis their most expressive return to form.
The album reaches a high point of consistency from which it never falls and the single "Unbreakable" is just that. Unbreakable. In fact the entire album might be described as unbreakable as the songwriting is resolute and unrelinquishing in its provision of seductive hooks. Jens Johansson's keys characteristically dance in expected fashion among the saturated layering of effects. Saturated it may sound, see tracks like "Halcyon Days" with its abundance of symphonics and electronic padding, but it is nevertheless supremely catchy with bass and guitar shining through in an equitable union.
Kotipelto has no trouble in finding his way through the throng of backing vocals and bombastic atmosphere. Yet despite some stunningly conceived choruses his delivery sounds somewhat constrained at times. This all comes down to the new guy, the band's new source of rhythm. Pilve offers a bracing precision which aids considerably in establishing the album's consistency. The drums are exceptionally well accounted for throughout the album and serve as an axis point for the band's performance as a whole.
However, Nemesis isn't particularly inventive. While moments like the cascading keys in the initial bridge of "Castles In The Air" might conjure up images of a more inspired Stratovarius, the album isn't as creative as it is consistent. Much of its variance depends heavily upon the padding of layered effects rather than an abundance of fresh ideas. The less interesting track here is the ballad "If The Story Is Over"; yet it isn't throwaway material as it offers Kotipelto a chance to take precedence, and is the most differing track from Nemesis as a whole.
An equilibrium seems to have been established from which there is considerable potential to draw and take up a more diverse approach to composition. The band has made a return to form which just might inspire more creative processes in the future.

Performance:     8
Songwriting:     8
Originality:     7
Production:     8

copas from http://www.metalstorm.net/pub/review.php?review_id=11650

Tracklist:
01. Abandon
02. Unbreakable
03. Stand My Ground
04. Halcyon Days
05. Fantasy
06. Out Of The Fog
07. Castles In The Air
08. Dragons
09. One Must Fall
10. If The Story Is Over
11. Nemesis

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Krypteria - Liberatio (2005) FLAC+CUE+LOG

Krypteria - Liberatio

This first of album of Krypteria has not much to do with the later band of the same name. It's a musical project that unites the genres of classic music, new age music, folk music, soft pop music, electronic and disco music. The initial double album that featured fifty-four tracks is a conceptual musical about a love story with fantastic elements. Hope, friendship and treason are major themes of it. The initial record only features the guitar player and mastermind of present Krypteria as well as the drummer of the band. Other involved persons are the author Wolfgang A. Link as well as the actor Hans-Martin Stier. There is also a larger number of musicians and especially male and female guest singers involved in the album but not the Korean singer Cho Ji-In that only joined the band a few years later with a new bass player when the group decided to play more rock and metal orientated music with a few influences from the new age and classic roots with a constant line-up. A version of the calm new age hit single "Liberatio" with vocals from Cho Ji-In is only featured on an edited re-release. The album gained commercial success and parts of it were played in several television shows.
The problem with the album is that the concept and the story are not very original and lack of depth. The potpourri of musicians is overwhelming and they don't all have the same elevated quality as the famous main singer Sylvia Gonzalez Bolivar or later Cho Ji-In which creates many odd downfalls and highlights. The album tries to vary a lot but has no straight line and concept. A classic fan might be bored by the soft rock tracks. A pop music fan might be distracted by the mystic new era influences. The fan of old school disco pop music and keyboard sample sounds might feel weird about the epic orchestral passages. In fact, creator Christoph Siemons had a lot of ideas and inspirations but they don't glue and fit together. The album lacks of a soul and feels more like a compilation than the inspiring musical that it could have been with a little bit more focus, time and patience. At some points, the album almost feels schizophrenic. It might please a little bit to almost any fan of any genre of music but this album will probably not fully please to many people and that's its main problem. I must admit that I even prefer the much criticized follow up In Medias Res because it sounded much more coherent with a real line-up.
In the end, this album is a diversified and interesting musical that has had some surprising and well deserved success. But on the other side, there are too many musicians, authors, actors and singers involved in the project and everybody wants to add his personal touch which creates an odd, mixed up, schizophrenic potpourri of various styles. This compilation can't keep my interest high and as many people I happen to only like a couple of songs, mostly the mystic new age ones like "Liberatio", "Gaudium Et Felicitas" or "Explora" while I really dislike disco pop tracks like the boring "Run To You" in comparison to the rather fast paced rocker "Get The Hell Out Of My Way". I finally only recommend this compilation to really open-minded fans of music of any kind that would like to try out an experimental popular musical project.

copas from http://www.metal-archives.com/reviews/Krypteria/Liberatio/140059/

Tracklist:
1. Liberatio     04:00   
2. Trust Your Heart     04:03
3. Gaudium Et Felicitas     03:11
4. Run to You     04:14
5. Tonight     03:59
6. Get the Hell Out of My Way     04:36
7. I Just Drowned in Your Eyes     04:01
8. Time Is Running Thin     01:45
9. When the Dust Begins to Settle     04:08
10. Try     04:31
11. Explora     03:13   
12. A.O.T.D.A.H     01:31
13. Kiss Your Life Goodbye     03:39
14. Keep Believing     04:03
Bonustrack
15. Liberatio MMV     04:00

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Pendulum - In Silico (2008) SE

Pendulum - In Silico

Tracklist:
01. Showdown (05:28)
02. Different (05:52)
03. Propane Nightmares (05:14)
04. Visions (05:36)
05. Midnight Runner (06:56)
06. The Other Side (05:16)
07. Mutiny (05:10)
08. 9,000 Miles (06:27)
09. Granite (04:42)
10. The Tempest (07:28)
11. Propane Nightmares (VIP Remix) (05:15)
12. Propane Nightmares (Celldweller Remix) (05:33)
13. Propane Nightmares (VST Remix) (04:48)

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Voivod - Target Earth (2013)

Voivod - Target Earth

So, it would probably be a fair assumption that if you were considering getting this album, you’re a prior fan of Voivod. And, if you’re a prior fan, the thing on your mind most of all in regards to Target Earth is the absence of guitarist, the late Denis (Piggy) D’Amour. And if that is mostly on your mind, then you’re probably wondering if Target Earth with new guitarist, Daniel (Chewy) Mongrain, and Jean-Yves (Blacky) Thériault back on bass, is really any good.
Albums like these are always so unfair for listeners and the bands that make them. The band simply wants to make music, while the fans, even if they don’t explicitly admit it, want the sound of a departed bandmate to remain a constant. Piggy was not only a founding member, but with Voivod from the beginning up until his death. So Target Earth is Voivod’s first album to not have Piggy on it in some way. But at the same time, it's not as if Voivod has had a concrete sound throughout the years; it’s fluctuated at times but still pulled off well. And it’s safe to say that still remains true with Target Earth.
Right off the bat, Target Earth has a very classic sound. The guitars are crunchy, Denis (Snake) Bélanger’s gritty vocals lead the way, and the drums have a boom that can only be explained by a gigantic arena. The good news is that the album certainly SOUNDS like Voivod. The flavors of their thrash influences are greatly shown on tracks like “Kluskap O’Kom”, and “Corps Étranger”. And the rest of the album follows their brand of progressive metal. Chewy, far from inexperienced in the world of metal, holds his own very well. You’ll probably even forget that Piggy is not on this album on several occasions.
However, the bad news is that it’s not exactly a spectacular album. Target Earth is not the album you’d use to introduce Voivod to someone who isn’t already a fan. In comparison to some of Voivod’s past work, Target Earth can come up a little short. There are some truly awesome songs like “Kluskap O’Kom”, or "Mechanical Mind"; but at times it misses a lot of the aggressiveness from past albums and kind of sits more on the higher notes of Chewy’s guitar work. But nevertheless, it’s by no means a trainwreck of an album. Again, it still very much sounds like classic Voivod which fans will be able to recognize right away.
So, if you are actually a prior fan of Voivod, then this is definitely an album to pick up. Just to have all original members with a proficient replacement back in the band is reason enough to want Target Earth. I wouldn’t call it Voivod’s finest hour, nor even a comeback since they never really left; it’s just a new chapter in one of metal’s most well-known bands. Even though Target Earth isn’t a the best Voivod album, it’s a clear testament that they have no intention on throwing in the towel just yet. I figure that with a new bandmate, their sound is in transition, but may yet usher in a new and great chapter for Voivod.

Copas from http://www.metalinjection.net/reviews/album-review-voivod-target-earth

Tracklist:

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Revoltons - 386 High Street North: Come Back to Eternity (2012)

Revoltons - 386 High Street North: Come Back to Eternity

Revoltons are not new to the Italian metal scene. They have been around since 1991. The driving force behind the band, after all these years, is the Crorona brothers. Releasing, auspiciously, their 4th album, it’s kinda noticeable that a fresh air is blowing on the band’s camp. That’s also due to the new drummer, Elvis “El Chino” Ortolan (ex-Elvenking).
Revoltons’ heavy metal music with various power, prog and atmospheric passages is quite appealing. The album needs several spins as it has a pretty rich background. The guys have done a very good job, as the acoustic guitars, the melodies and the heavy parts are nicely blended together. The songs have strong refrains & powerful yet heavy but tuneful arrangements. There are some guest musicians appearing on the CD such as: Aydan (Elvenking) on 2nd guitar solo on “Jeremy Bentham”, Giovanni “Scoot” Venier on additional vocals on “Blood of Skynet”, Fabrizio Cenci (Headquakes) on piano on “The Ancient Dragon”, Francesca Sanavro on female vocals on “Souffle De Vie” & “Chameleon”, Alex Scarli (Revoltons’ original bassist) on bass on “Chameleon” and “Space and Time Reflex” & Gianni Rui on background vocals. The production is quite dynamic and sorta sharp. The album was recorded, mixed & mastered by Matt Corona at Missed Track Studios & produced by both Matt and Alex. The last song “Space and Time Reflex” is an unreleased track from the “Lost Remembrance” album.
I am glad to have played this CD quite a few times or else I would have lost some noteworthy pieces that are revealing the pleasant side of this work. It’s obvious that the band had a great time while writing and recording this album and that’s all over the final outcome. Surely, we’re talking about the band’s finest moment to date… but I believe that they do have more to offer in the next years. Nonetheless, “386 High Street North-Come Back To Eternity” will please the metal fans that like their metal mixed up with fine melodies and atmospheric touches. A video for the song “Come Back to Eternity” will be released in the next days so keep your eyes peeled. A well-designed 16-page booklet, with photos & lyrics, also accompanies this CD… just a hint for those that still like to get the real thing on their hands rather than a file on a pc.

copas from http://www.grande-rock.com/reviews/revoltons_-_386_high_street_north-come_back_eternity

Tracks:
1. London Gates (00:52)
2. 386 High Street North (02:58)
3. Jeremy Bentham (05:30)
4. Blood of Skynet (06:19)
5. Souffle de Vie (00:46)
6. Come Back to Eternity (05:21)
7. The Ancient Dragon (05:46)
8. Sharpened Fog (06:08)
9. Chameleon (04:48)
10. London Again (05:32)
11. Nagual Touch (06:04)
12. Space and Time Reflex (14:54)

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Dark Whisper - From Now On (2011)

Dark Whisper - From Now On

Country : Argentina
Genre : Symphonic Gothic Metal
Quality : Mp3, 320 kbps


Tracklist:
1. March For Glory
2. Never The Same Again
3. Hades
4. Treasures Of The Waters
5. The Visionary One
6. Oath Of Victory
7. Disappointment
8. Opened Doors

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Black Stars Falling - A Memory A Melody (2013)

Black Stars Falling - A Memory A Melody

Country : Germany
Genre : Symphonic/Gothic Metal
Quality : Mp3, CBR 320 kbps

Tracklist:
01 Prelude - Instrumental Intro 02:01
02 Titans 03:54
03 Last One Sounding 04:47
04 Starlight 05:03
05 Irrwish Lights 04:27
06 Downstream 03:36
07 Fairytales 04:01
08 A Second World 05:15
09 Deep in the West 05:29
10 Forgotten Hope 06:37
11 Orkland 05:54
12 Dreamcatcher - Instrumental 02:59

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Pendulum - Immersion (2010)

Pendulum - Immersion

 

Tracklist:
01. Genesis (01:09)
02. Salt In The Wounds (06:39)
03. Watercolour (05:04)
04. Set Me On Fire (05:03)
05. Crush (04:14)
06. Under The Waves (04:55)
07. Immunize (feat. Liam Howlett) (04:37)
08. The Island - Pt. I Dawn (05:20)
09. The Island - Pt. II Dusk (04:10)
10. Comprachicos (02:49)
11. The Vulture (04:04)
12. Witchcraft (04:13)
13. Self Vs Self (feat. In Flames) (04:46)
14. The Fountain (feat. Steven Wilson) (05:01)
15. Encoder (05:22)


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Krossfire - Learning to Fly (2012)

Krossfire - Learning to Fly

Bulgaria is not known as a hot bed of metal, much less a hot bed for power/progressive metal. Notable acts include the traditional metal band Rampart and power metal band Project Arcadia. Krossfire is a pure power/progressive band which has been a cohesive unit since 2008. The debut LP “Learning to Fly,” having been self-released in May 2011, now sees a worldwide release through Pure Steel Records. Krossfire offers a technically proficient style reminiscent of latter Symphony X with a strong Dragonland feel throughout. The album delivers highly skilled guitar work of Gerogi Kushev, spectacular albeit overly demonstrative, keyboard work from Peter Boshnakov, and topped off with the soaring vocals of Dimo Petkov.
“Learning to Fly” may be apropos for a normal debut, but from the very first listen Krossfire has clearly left the nest long ago. What we have here is a rarity: a debut release that shows as much maturity as from a band which has been at it for four or five releases. Take tracks like “False Reality,” “Cold Winds,” “Learning To Fly,” and “Warmachine” would fair very well against more established power/progressive acts. There is an overall epic feel, not in a cinematic Rhapsody style, but a neo-classical meets Dragonland style.
The only small drawback of the album lies with a portion of the sound. The album is crisp, clear, and clean, but at times the keyboards are way more demonstrative and tend to swallow up the song rather than give way to Kushev’s guitar work. Make no mistake, the keyboards drive the mood of this album and add a whole dimension to the sound, but there are times where they are way too up front in the mix rather than encircling behind and binding the rest of music together (examples: the beginning of “Angels Cry” and just as the guitar work starts on “Learning To Fly”). In addition, the snare drum sound is a bit “coffee can” like upon the first listen, but on each successive listen it becomes less and less impressionable.
Overall, Krossfire is highly impressive and looks to make a quick strike on the power/progressive scene. The band has all the tools necessary to do so and, with a slight tweak in the mix, is a hair away from hitting the upper echelon of the genre. It is a rare sight indeed for a band to be that close on its debut album!

Highs: Highly skilled power/progressive debut.

Lows: Needs to tone the keys down in the mix.

Bottom line: Krossfire leaves the nest and has the power/progressive genre in its sights!

copas from http://www.metalunderground.com/reviews/details.cfm?releaseid=6315

Tracklist:
1. Visions (Intro) (2:52)
2. War Machine (6:02)
3. How Can There Be (4:25)
4. Icaria (Intro) (2:06)
5. Learning To Fly (5:38)
6. Touch Of Destiny (6:03)
7. False Reality (5:36)
8. Angels Cry (5:33)
9. Cold Winds (4:23)
10. The One (5:11)

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One Without - Sweet Relief (2011)

One Without - Sweet Relief

One Without is a very deceptive name, as this band isn’t missing anything. If you like melodic metal with some gothic touches you are in for a treat. Like an engine firing on all cylinders, One Without is roaring to the front with the release of their second album entitled Sweet Relief.
Based in Gothenburg, this Swedish quintet delivers the goods. Huge songs with strong melodies, solid performances and dark and moody lyrics fill Sweet Relief to overflowing. Following up on their 2009 debut album Thoughts of a Secluded Mind, One Without has tightened their teamwork and further defined their unique sound.
Fronted by the voices of Catrin Feymark and Kenny Boufadene, One Without is the perfect example of “beauty and the beast” vocals. Feymark has a very calm and silky smooth voice. She generates a lot of power but never goes “operatic” or even into a real falsetto. She keeps everything under control and is always clear and understandable. As a counterpoint, Kenny Boufadene is a pure growler – although remarkably clear. His rough edges contrast nicely with Feymark’s smoothness, giving many of their harmonies an interesting sound, and contribute to an almost metalcore feel to some of their vocal lines. Boufadene is no slouch with the guitars either. His fretwork blends nicely with fellow guitarist Joonas Niskanen, giving the band a formidable one-two punch. They both lay down some solid, driving rhythms and do a good job on their solos. Joni Kaartinen (bass) and Oscar Nilsson (drums) provide the backbone to the music. Both seem to be exceptional players and the engineering of the album brings their contributions to the fore, but neither dominates the music in any way. Their teamwork is good, and they are an integral part of the One Without sound. The band works well together and handles the numerous tempo changes and varied song styles without missing a beat (pun intended).
From the amazing dual vocals of the opening track, “Hunger,” to the martial machinegun drumming and slick acoustic style guitars as part of the final song, “This Is War,” One Without covers all the bases and a variety of styles. It is easy to overlook the contributions of the non-vocalists, but each member of the band in an integral part of the music. Big guitar hooks, pounding rhythms and intense drumming segue nicely into soft and moody, almost atmospheric passages – providing plenty of “different” musical moments to keep the listener interested through the massive 17 tracks. The crisp yet warm engineering also makes Sweet Relief a treat for the ears. “Forget Your Pride” is a prime example of the One Without style – it features the full suite of counterpoints: male & female vocals, clean singing & growls, slow vocal lines over fast rhythms, varying tempos…
The big and very upbeat track “Persistent” is one of the true highlights of the disc and features some great philosophical moments like “We live for tomorrow by living for today as heroes…” along with fine technical performances by voices and instruments alike. The somewhat alternative sounding riffs of “Accusing Eyes” and “Souls Of Thousands” again illustrate the wide range of musical talent, and Feymark’s vocal skills are particularly apparent on the latter. “Sweet Relief” is a bit thrash/metalcore, while “Spit It Out” is a more conventional metal track. “Pretender” has a great prog metal groove and a great driving bass/drum line to go along with some awesome growls, while intense tempo changes and outstanding vocals fill “Burning With Your Hopes And Dreams” making it a truly great singers track.
Sweet Relief is a fine album, free from the sophomore jinx. Musically solid and diverse in style, One Without seems poised to make a major impact on the goth metal and prog metal genres. If you like the more Gothic side of metal or are looking for something a little different, by all means grab this release. The best part – One Without has made this album available as a free download at their web site: http://www.onewithout.com/, so what do you have to lose… Get it, and enjoy!

Copas dari http://hardrockhaven.net/online/2011/05/one-without-sweet-relief/

Tracklist:
1. Hunger
2. Forget Your Pride
3. Persistent
4. Catatonic
5. Accusing Eyes
6. Souls Of Thousands
7. Sweet Relief
8. Spit It Out
9. Nothing To You
10. Burned Once Again
11. Pretender
12. A Bright New Insight
13. Open Wound
14. Burning With Your Hopes And Dreams
15. Leaving Traces
16. Stained With Your Words
17. This Is War

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Pendulum - Hold Your Breath (2006)

Pendulum - Hold Your Breath

01. Prelude (00:55)
02. Slam (05:47)
03. Plastic World (Feat Fats & TC) (feat. TC/Fats) (06:24)
04. Fasten Your Seatbelt (Feat The Freestylers) (feat. The Freestylers) (06:41)
05. Through The Loop (06:16)
06. Sounds Of Life (Feat Jasmine Yee) (feat. Jasmine Yee) (05:24)
07. Girl In The Fire (04:56)
08. Tarantula (Pendulum Vs Fresh Feat $pyda & Tenor Fly) (feat. Fresh/$pyda/Tenor Fly) (05:34)
09. Out Here (06:09)
10. Hold Your Colour (05:31)
11. The Terminal (05:45)
12. Streamline (05:26)
13. Blood Sugar (05:18)
14. Axle Grinder (04:10)
13. Another Planet (07:39)
14. Still Grey (07:52)

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Dream Master - Fourth Keys (2013)

Dream Master - Fourth Keys

 
Tracklist:
01. Make a New Tomorrow (4:53)
02. Leather Army (3:57)
03. Insecurity (4:11)
04. The Countdown Starts (5:49)
05. Memories Marked in My Mind (5:31)
06. I See Your Face (4:59)
07. 2012 (5:38)
08. Lying Mask (4:15)
09. Insane…Am I? (3:52)
10. Save Us (3:47)
11. Orlando (4:07)
12. All I Say (3:52)

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Van Canto - Break The Silence (2011)

Van Canto - Break The Silence

Opinions on the band Van Canto seem to be very split. On one end, it's a comedically bad premise that is only good to listen to for the laughs. On the other end of the stick, there are people who find this a very unique and original sound that is sadly underappreciated. I am one of those people
After listening to Break the Silence, despite not being the best the band has to offer, Van Canto quickly earned my respect. They actually found a way to make a capella and heavy metal fuse into a surprisingly good discography laden with good covers, epic sounds, and stuff you can rarely find in other bands.
The album opens with very well harmonized singing from the whole band that turns into the main gimmick of the band. The "dum dum dum" vocals in the background replace instruments as the female co-lead vocalist takes over. This beautiful intro explodes into great, power metal goodness, yet they only real instrument in use is drums. At the very least they have that. I don't think beatboxing would be a good replacement for drums.
The lyrics of "If I Die in Battle" are cheesy, medeval, war song lyrics as you hear in a lot of power metal, but by the time the chorus hits, most people have decided to either leave this band behind, or continue on to see what else they have to offer.
Admittedly, "Seller of Souls" isn't one of the best songs on the album. The opening sounds kinda silly with the higher pitched "bum bums" and is. . . even more silly to try and explain now that I think about it. The cheesiness in the lyrics is also somewhat overwhelming, lead vocalist Igna Scharf's background vocals sound a bit off, and the music video for this song portrays the male lead vocalist punching what appears to be floating mounds of bubbles from a bubble bath. The chorus still manages to be catchy and fun though. Not a bad track, just somwhat ridiculous in some areas.
Adding to the large pile of covers this band has done, and the first of four on this album, "Primo Victoria" is one of the best this album has to offer. The a capella vocals combined with the tribal sounding drums comingle very well, and the adition of Joakim Broden, vocalist for Sabaton who originally played this song, and his deep, heavily accented vocals greatly add to the vision of war this song portrays. It somewhat makes me wish Joakim was the full time vocalist for this band. He really overpowers the lead singer and overall does a better job than he ever did.
"Dangers in my Head" is probably the weakest song on the album. The lyrics aren't catchy, are very monotone at times, and the chorus doesn't even sound like it fits to the music at points. The song doesn't really pick up until the bridge, where the epic background vocals really pick up and make it much more fun to listen to. Overall, a pretty forgetable song, and the album could have lived without it.
I've personally never heard of Fading Starlight, so I can't really compare their cover of "Black Wings of Hate" to the original. From the sound of it, it's a pretty decent cover, though it wasn't a great idea to have Inga to do the whole song. She's not a bad singer, it's just that she does a much better job in the background. The a capellas really make this song listenable though. They're dark and pretty well done. It's still worth a listen.

. . .An Alice Cooper cover?

When I saw this, I just shrugged and said "Okay." It's kinda odd for a band that does mostly covers of power metal and thrash metal songs about war and supernatural stuff to cover a song about sex from one of Alice Cooper's earlier glam metal albums.
Ignoring the fact that it's about as out of place as a southern metal song would be on a power album, the song actually sounds pretty awesome. It's at a slightly faster tempo than the original, and I think that was a good choice. Having it any slower would sound awkward. It's heavy, and pretty easy to headbang to. It's not very sexy though. That has been completely erraticated by the a capella vocals and the attempt to make it sound more epic. Unless you're making love while riding a dragon, don't put this song on, and if you ARE making love on a dragon. . .you are the coolest motherf***r alive and you deserve a medal. . .So yeah, good song.
"Spelled in Waters" has an actual guitar in it, provided by Marcus Siepen of Blind Guardian, for those who may be getting tired of the entirely a capella sound. It's a slow, and a rather pretty sounding song. It was a very good idea to have someone actually play acoustics on this song. Having it done through voices would have ruined the mood. I find this song enjoyable. Nothing mindblowing, but a nice break from the heavier songs.
"Neuer Wind" is sung entirely in the band's native language of German. If I wasn't so bad at singing along to foreign language songs, I would be singing this in my head all the time. It's catchy and just a fun song. It's got a nice rhythm and is something you can listen to and just bob your head to and smile.
"The Higher Flight" is fast, heavy, and catchy. Another great high point to the album. The chorus can easily get in your head and stay there for a while. The bridge quiets the song a little but, but is still equally as epic as the rest of the song.
The final song is the second Manowar cover this band has done. "Master of the Wind" adds another instrument in the form of a piano. It closes the album on a slower note. Inga is on lead vocals on this song again, but she does a much better job in this song than she did on "Black Wings of Hate." I don't know what she did different, but she just sounds much more tolerable and pleasant to listen to. This cover still pales in comparison to their cover of "Kings of Metal" on their Hero album.
It feels like I complained a lot in this review, but this album really is great and continues the streak of Van Canto's creative and interesting music, but your ability to enjoy this band may vary. You may listen and be immersed into their epic sound, or maybe you'll just laugh your ass off and never listen to them again. Personally, I'm just waiting to see what one of my favorite bands is going to come up with next.

Copas from http://www.sputnikmusic.com/review/51096/Van-Canto-Break-the-Silence/

Tracklist:
01. If I Die In Battle
02. The Seller Of Souls
03. Primo Victoria [feat. Joakim Broden] [Sabaton cover]
04. Dangers In My Head
05. Black Wings Of Hate
06. Bed Of Nails [Alice Cooper cover]
07. Spelled In Waters [feat. Marcus Siepen]
08. Neuer Wind
09. The Higher Flight
10. Master Of The Wind [Manowar cover]
11. Betrayed [bonus]
12. Bad To The Bone [Running Wild cover] [bonus]
13. A Storm To Come [bonus]

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Fatal Force - Unholy Rites (2012) FLAC

Fatal Force - Unholy Rites

Most recently heard of adding a dazzling six-string display to last year's Fate album Ghosts From The Past, guitarist Torben Enevoldsen has actually been an integral part of Section A, Acacia Avenue and Decoy, as well as releasing a trio of solo albums. However back in 2006 a self titled debut appeared from Fatal Force, championing a classic brand of Melodic Metal that made many a band household names a couple of decades earlier. Notable for also featuring the undoubted talents of drummer Daniel Flores and singer Mats Leven (At Vance, Yngwie Malmsteen) Fatal Force made a solid impact before the trio seemed to disappear for good.

Now some six years down the line and Enevoldsen has revived Fatal Force for album number two Unholy Rites, although this time he is joined by another ex-Malmsteen frontman Michael Vescera, who among many others also spent time singing with the under rated Loudness. Relatively unknown drummer Dennis Hansen completing the trio. Thankfully the time away hasn't blunted the Fatal Force attack, with the bristling Dokken-esque riffs and Melodic with an eye on Power Metal approach hitting home hard across the ten universally excellent tracks on show on Unholy Rites. Unsurprisingly Vescera proves to be a match for the biting, snarling guitar work and bass thundering, with his precise Geoff Tate like power adding a welcome slice of melodic sheen to a reassuringly punchy album.

Enevoldsen, also adds a little keyboards to the mix (he also plays bass on the album), allowing for the songs to have swathes of colour and atmosphere. However much as he does with Fate, the fret-burner ensures that the guitars sit front and centre on an album that is unashamedly Metal, yet confidently melodic. You really could start this album on any of its tracks to reveal the sort of hard hitting Rock that fans of Dokken, Lillian Axe, or Scorpions will lap up. However I'm sure that followers of Pagan's Mind, Primal Fear or Accept would find much to enjoy in the Metallic attack of the guitars and pounding kick drum as well. "Listen To Reason" shows a majestic, yet powerful swagger, while the latter day Sabbath howl and growl of "House Of Pain" illustrates Vescera's intensity and Fatal Force's potency. Add to that the insistently jabbing riff of "Lessons In Evil", the more keyboard oriented, but still guitar led "Fight" or the cracking vocal harmonies and histrionics of "Run For Cover" and Unholy Rites is an album that demands you sit up and take notice. Most impressively this newly forged trio sound like a well oiled machine that have spent decades together, rather than a few months.

Crossing the boundaries between US styled 80's Melodic Heavy Rock and current Euro Power Metal, Fatal Force have unleashed an album that crushes while it caresses and seduces with its intensity. Here's hoping we don't have to wait another six years for the third instalment!

copas from http://www.seaoftranquility.org/reviews.php?op=showcontent&id=12445

Track Listing
1. Run For Cover
2. Unholy Rites
3. Fight
4. Lessons In Evil
5. In Silence
6. No One Will Listen
7. Higher Ground
8. Listen To Reason
9. Enter The Night
10. House Of Pain

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Magion - Close to Eternity (2010)

Magion - Close to Eternity

We all have our favorites. Some like Country Western, some love rap (although for the life of me, I can’t figure out why), some like the Classic rock material, there’s all kinds of directions out there. But, on this site, there tend to be some generalities that hold across the music. Obviously, there is the female vocal, which is the common denominator. And, there is the metal, you really tend to need a guitar or two, some drums and a base to keep things moving. Beyond that, you can diversify with regard to what floats your boat. For many of us, there is some interest in at least one of the following, a gothic sound and message, a symphonic background, an operatic female vocal, a death metal male vocal, sometimes more than one. I have to say I enjoy all of them, along with some corollary items that can add spice to the overall sound and take it in a variety of directions. That’s the beauty of this music, it really is music, it really is interesting, it really is, in most instances anyway, pretty solid from a number of perspectives. And that brings us to our discussion of Magion, and their initial release Close to Eternity.

The problem with Magion is that they cover way too many of the descriptors listed above, and the do so at the top of each category. You want the music, you get a top-notch band with a drop dead killer vocalist, absolutely as good as it gets. You want the gothic, no problem, the sound is there, and the lyrics cover some interesting territory and are worth listening to. The symphonics, outstanding. The death vocals, well, not here, not really, although there are some male vocals, some approaching the Scandinavian direction. And then, to top it all off, we get production that is world class, this work was recorded at Excess studios in Rotterdam, the same studio that has worked with After Forever, Gorefest, Ayreon and Epica. Then the cd was mastered in Sweden by Dan Swanö whose credits include Bloodbath, Opeth, Edge of Sanity, Millencollin, Katatonia, Novembre. Not a bad pedigree. Oh, and lest I forget it, the artwork is devastating. It is produced by the Brazilian artist Jobert Mello and has to be seen to be believed.

Magion takes hold of you from the first note and holds you till the last. You are taken for a 60 plus minute ride through the absolute top levels of the symphonic operatic gothic musical landscape. There’s just nothing here that isn’t first class. The CD begins with Tabula Rosa, a pure classical work that features the instrumental capabilities of the band. You get a real solid introduction to where you’re headed, even before you get to the vocals which are truly the featured element of the music. As the introduction winds down, the drums kick up, the metal takes hold, the drama increases. Our vocalist is another flaming red haired beauty from the Netherlands, one Myrthe van Beest. And she is a musical beast. This is another in a long line of Dutch sopranos that define excellence in this musical genre. Her vocals here are overlaid, in the truest tradition of the Excess Studios and the master mixer Dan Swanö. And they take off like a 747. The musicians of Magion are all top drawer, and it takes a seriously solid vocalist to stay with them. Myrthe does it with room to spare. Thirteen leaves you gasping for air.

The following selection, Greed, slows down the pace, but the vocals still pound, the sound being more metal than operatic. This variation of style is one of Myrthe’s greatest capabilities. She can go from one style to another in a New York second, it’s almost hard to keep up. And the musicians keep up with this variance, the guitars lead one moment, the keys the next. But, it is the vocal that holds your interest, it is riveting, telling stories of darkness and devastation, the hurt of the world, the pain of existence, the desire to overcome and understand. They don’t directly follow the lyrics we get from the Scandinavians for the most part. According to Myrthe, the band’s lyricist, "They are mostly about love. But indeed not the ‘I love you so much’ happy' kind. I am always intrigued by the darker side of love and what effect it has on our (normally so stabile) minds. Love can make you do crazy things and push you to the edge. It is stronger than our rationality and that's why it is such a frightening thing. I have lost myself many times due to love and I believe that it can really tear people apart. In my lyrics I wonder why we would go that far for something that is so illusive and unreliable. I always amaze (or dissapoint) myself when it comes to this topic and I guess it will always be one of my main inspirations for writing my lyrics." So that’s what drives the stories, but each in it’s own way proves interesting.

You can chose your favorite songs based on a number of criteria, depending on your personal preferences. You can look for a stronger instrumental selection, you can go with the heavier numbers, you can select one of the more vocally interesting, or you can focus on one whose lyrics catch your attention. For me, there were a couple that stood out above the rest. One was Almost Immortal, a nearly 10 minute epic that begins with a pounding guitar that leads into the symphonics that serve to float much of the Magion sound. The guitars continue to drive the sound forward and begin to fade only when the soaring operatic vocals of our red haired songstress take us to new places. Magion is certainly representative of much of the Dutch gothic scene, and if you’re looking for influences, look no further than Tarja and Nightwish. Myrthe reveals that her direction comes from Tarja, The Gathering, After Forever, Within Temptation and Tori Amos. No bad vocalists there and Myrthe can stand with any of them.

Another strong offering is Song for the Living, a shorter number but stronger in the lyrical sense, if not the musical. Myrthe suggests this is a more gothic number. She calls it "a more fictional piece. It's about a soul who lingers on earth just to see her loved one move on way to easily. She stays earthbound to make him remember her, but out of sight is out of mind and he forgets about their song." And the lyrics take us to that dark place:

Hear the sound of the church bells
They don’t sing for me
Hear their sound in the distance
Forgotten melody
I never thought the end would feel like this
I never thought you would forget our last kiss
Nothing more, a distant memory
All that is left of me
I heard the sound of the church bells
When we said goodbye
Play their song for the living
Their grief was just a deceitful lie

Beautiful words and beautifully delivered. And the music is inspired. There are layered vocals that carry the storyline. And the instrumental parts are equally impressive. Guitars crunch, the keyboards howl, the drums pound. The production again leaves nothing to be desired.

There are no deficiencies in this music. Everything you ever wanted, and all done first rate. Eleven songs and each stands on it’s own. Add to that the breathtaking art work and you have nothing short of a masterpiece. You need only go to the Magion Website  to view this outstanding work, as well as listen to some of the music and view videos. And it is well worth the time.

Magion...Bravo Bravo Bravo

copas from http://www.soniccathedral.com/webzine/index.php?option=com_content&task=view&id=475&Itemid=35

Tracklist:
1. Tabula Rasa
2. Thirteen
3. Murder of Innocence
4. Greed
5. Game of Madness
6. Lost in Reality
7. Forever Mine
8. War of Hearts
9. New Season
10. Almost Immortal
11. Song for the Living

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Steve Aoki

Steve Hiroyuki Aoki (born November 30, 1977) is an American electro house musician, record producer and the founder of Dim Mak Records

Steve Hiroyuki Aoki was born in Miami and grew up in Newport Beach, California. He graduated from Newport Harbor High School in 1995, where he was a star player on the varsity badminton team. He is the third child of Rocky Aoki and Chizuru Kobayashi.[2] His father was a former Japanese wrestler who also founded the restaurant chain Benihana. He has two older siblings, sister Kana (who is sometimes called by her middle name "Grace"), and brother Kevin (owner of Doraku Sushi restaurant). He also has three half-siblings, all of whom are younger: half-brother Kyle and half-sisters Echo, and Devon, the supermodel and actress. As a child, Steve lived with his grandfather, his mother, and his two older siblings.

Aoki attended the University of California, Santa Barbara and graduated with 2 B.A.s; one in Women's Studies and the other in Sociology. In college, he produced do-it-yourself records and ran underground concerts out of his Biko room in the Santa Barbara Student Housing Cooperative, which was located in Isla Vista, a section of residential land adjacent to UCSB. As a concert venue, the apartment became known as The Pickle Patch. By his early 20s, Aoki had built his own record label, which he named Dim Mak after his childhood hero, Bruce Lee. He has also been in numerous bands, including This Machine Kills, which released an album on Ebullition Records, Esperanza, and The Fire Next Time.

Aoki founded his own label, Dim Mak Records, in 1996. The label has released music by other electro house artists such as MSTRKRFT, The Bloody Beetroots, Felix Cartal and Mustard Pimp, as well as by Klaxons, Scanners, Whitey, and Mystery Jets. Aoki is a club promoter and DJ. He has teamed up with Blake Miller of the LA-based band Moving Units to produce remixes. The duo of Miller and Aoki work under the moniker Weird Science.

In May 2006, Aoki became a board member for MC5 bassist Michael Davis' Music Is Revolution Foundation, a non-profit organization that provides music education support within public schools.[8]

Aoki's debut mix album, Pillowface and His Airplane Chronicles was released in January 2008. He had an Essential Mix that aired on BBC Radio 1 on 2 August 200810 and again on 27 October 2012.

Aoki's latest solo album, Wonderland was released January 2012 and features guest vocalists and musicians LMFAO, Kid Cudi, Kay, Travis Barker, will.i.am aka Zuper Blahq, Wynter Gordon, Rivers Cuomo, Lil Jon, Chiddy Bang, Lovefoxxx of CSS, Big John Duncan former guitarist of the punk band The Exploited, and others.

Aoki has been busy in the studio collaborating with other fellow producer friends and thus far has released singles with The Bloody Beetroots, Armand Van Helden of Duck Sauce, Afrojack, Laidback Luke, Tai, Sidney Samson, Tiesto. In his interviews, Twitter feed or from his YouTube channel, he has shown teasers or has discussed doing future collaborations with Diplo, Knife Party, Datsik, Chris Lake, Rune, Iggy Azalea, Angger Dimas, and Dirtyphonics.

He has remixed many artists and bands, including Jackson 5, Drake, Kanye West, Eminem, Lil Wayne, Mike Posner, Girls Generation, All American Rejects, Refused, The Killers, Bassnectar, Lenny Kravitz, Bloc Party, Snoop Dogg, Robin Thicke, S.P.A., Kid Cudi, Fërnando Oviedo, Chester French and Peaches.

He remixed the track "When The Wind Blows" that features on the UK edition of The All-American Rejects' 2008 album When The World Comes Down.

On November 10, 2009 Aoki released a remix for Drake's song "Forever". The song features Drake, Kanye West, Lil Wayne, and Eminem. The track made it to the top of Hype Machine's chart in December 2009.

Through relentless touring he gained huge support from colleges. Performing an average of 250 shows a year, he has recently started touring with production via bus tours like the spring 2012 Deadmeat Tour he headlined more than 55 cities in 60 dates across the United States and Canada. Many of the artists Aoki collaborates with make appearances on tour with him.[11] He has played lesser-travelled regions — in 2009 he played a show in Beijing, China with Diplo at a night organised by promoters Split Works.[12]

In March 2010 Aoki released "I'm In The House", a collaboration with Zuper Blahq—alter-ego of The Black Eyed Peas singer will.i.am. The song charted at #29 in the UK Singles Chart in its first week of release.

Producer-songwriter Lucas Secon confirmed in a May 2010 interview with HitQuarters that he and Rivers Cuomo had recently worked with Aoki on a single.

In July 2012, Aoki was added to the Pollstar Top 100 North American Tours in their 2012 Mid Year Report.[14] The list designated Aoki as the highest grossing dance artist in North America for the first half of the year.[15]

On December 11, 2012, Aoki released his first EP It’s the End of the World As We Know It, including three songs.

Business ventures

The Dim Mak Collection[16] clothing line was launched in 2006. A new fashion range designed by Steve and his sister Devon Aoki will be coming out in the future.

In 2007, Aoki and friend Greger, the owner of WeSC, came up with the idea together to do the "Aoki headphones." They used different shades of green, because that was Aoki's favorite color at the time. Each season for 3 years, Aoki designed new headphones for WeSC. He is currently working closely with Sol Republic and is a founding partner in the headphone company. Aoki also is endorsed by Supra Footwear, where he has helped develop and design shoes under his name.

Following somewhat in his father's footsteps, Aoki is a co-owner in two restaurants in Los Angeles and one in New York City. Eveleigh on Sunset Boulevard & Kitchen 24 on Santa Monica Boulevard in West Hollywood.

He co-owns a management company called DECKSTAR with his manager Lawrence Vavra, Matt Colon and Paul Rosenberg. (The late DJ AM was also a co-founder.) The roster boasts artists such as Blink 182, Holy Ghost!, Infected Mushroom, and Rancid.

He has co-founded and is now developing a website that attracts college students to sell, buy, share books, rent rooms, post events called PILLOWFACE. It's function is similar to Craiglist but that it targets and is exclusively for college students. When he went on his Dead Meat Tour across the United States and Canada in January through March 2012 he was promoting the website to all the colleges across the country.

In November 2009, Aoki created his own magazine titled "Aoki" through a celebrity magazine publishing company called MYMAG.

Guest appearances

He was featured in the video games NBA 2K8 and NBA 2K9 as a special celebrity player, even though he admits to being terrible at basketball. He makes cameos in the videos for Cobra Starship's 2007 single "Send My Love to the Dancefloor, I'll See You in Hell (Hey Mister DJ)" and The Sounds' single "Tony The Beat".

On January 2012, Steve Aoki released new tracks on Turntable.fm in conjunction with SOL REPUBLIC Headphones making him the first established artist to fully orchestrate a listening session using the platform.

Aoki is set to appear in an episode of The CW's new superhero series Arrow on March 20, 2013 at 8 pm EST. He will be playing himself, spinning at the grand opening of Arrow's fictional nightclub.

mata air

1. Nov 23, 2009 - Steve Aoki - I'm In the House (feat. [[[Zuper Blahq]]]) (EP) [MP3, 320 kbps]
2. Apr 20, 2010 - Rifoki - Sperm Donor (EP) [MP3, 256 kbps]
3. Jul 13, 2010 - The Bloody Beetroots & Steve Aoki Feat. Refused - New Noise (Single) [MP3, 320 kbps]
4. Sep 21, 2010 - Armand Van Helden & Steve Aoki - Brrrat (EP) [MP3, 320 kbps]
5. Nov 30, 2010 - Steve Aoki & Sidney Samson – Wake Up Call (Single) [MP3, 320 kbps]
6. Dec 07, 2010 - Armand Van Helden & Steve Aoki - Brrrat! (Remixes EP) [MP3, 320 kbps]
7. Dec 14, 2010 - TAI feat. Steve Aoki – Beat Down (Remixes EP) [MP3, 320 kbps]
8. Feb 22, 2011 - Steve Aoki & Sidney Samson - Wake Up Call (Remixes) (EP) [MP3, 320 kbps]
9. Mar 15, 2011 - Laidback Luke & Steve Aoki with Lil' Jon - Turbulence (Single) [MP3, 320 kbps]
10. May 02, 2011 - Laidback Luke & Steve Aoki with Lil' Jon - Turbulence (Remixes EP) [MP3, 320 kbps]
11. Aug 16, 2011 - Afrojack & Steve Aoki - No Beef (Single) [MP3, 320 kbps]
12. Nov 22, 2011 - Steve Aoki – Earthquakey People feat. Rivers Cuomo (Remixes EP) [MP3, 320 kbps]
13. Nov 29, 2011 - Tiesto & Steve Aoki - Tornado (Single) [MP3, 320 kbps]
14. Dec 13, 2011 - Steve Aoki – Ladi Dadi (Part II) feat. Wynter Gordon (Single) [MP3, 320 kbps]
15. Jan 31, 2012 - Steve Aoki - Ladi Dadi (Remixes) feat. Wynter Gordon (EP) [MP3, 320 kbps]
16. Apr 3, 2012 - Steve Aoki - Heartbreaker (feat. Lovefoxxx) [Nadastrom Remix] (Single) [MP3, 320 kbps]
17. May 31, 2012 - Steve Aoki & Angger Dimas - Beat Down (Original Mix) [feat. Iggy Azalea] (Single) [MP3, 320 kbps]

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Circle II Circle - Seasons Will Fall (2013)

Circle II Circle - Seasons Will Fall

I’ll run the risk to my metal cred and admit I was a pretty big fan of late period Savatage. Albums like Edge of Thorns and Handful of Rain were so loaded with pre-Trans-Siberian Orchestra bombast and cheese-wizardry, they were nearly impossible to resist (despite my occasional snickers at the unhealthy Velveeta factor inherent therein). One of the big selling points was Zak Steven’s impressive vocal work. Though I always had a soft spot for the ten-pack-a-day rasp of Jon Oliva, Stevens breathed new life into the Savatage sound with his deep, powerful delivery and dramatic leanings. When he split off to form Circle II Circle, I wanted to be a big supporter, but too often the mix of mid-tempo hard rock/metal just didn’t push my buttons the same way. After five albums of material in the same vein as Jorn Lande‘s solo albums and the Allen/Lande project, only Watching in Silence and Burden of Truth stood out, with the rest feeling like tepid exercises in mundane writing and generalized malaise. Now comes platter number six, Seasons Will Fall and I’m sad to say, the lethargy appears to be here to stay. While certainly well-performed by talented musicians and classy in its own way, most of this material feels lifeless, boring and devoid of any real impact. As much as I love Stevens, even he can’t save most of this stuff from becoming a snooze-fest of Soma Coma proportions.
I can’t fault CIIC for opener, “Diamond Blade.” While it isn’t their finest hour by any means, its a pretty solid, straight-ahead and decently aggressive number with a modicum of nutsack and Stevens’ trademark mid-range, leathery, but smooth vocals. The guitar-work is sharp, reminds more than a little of vintage Savatage and the chorus is respectable and fairly memorable, if not great.
From there though, things drift into the winter doldrums and get rather dicey. “Downshot” is generic and has a chorus that reminds me of Warrant‘s “Down Boys,” and that’s not a good thing unless your name is Kip Winger or Bret Michaels. “Dreams That Never Die” has heavier, more aggressive riffing, but is completely flat and uninspired (despite the layered, choral effects on the back-end). It’s the type of song you play through and while its harmless enough, it possesses absolutely nothing to compel a replay. Likewise, “Isolation” grinds by in a painfully uneventful, mid-tempo way with nary a hint of spice or hook. Ditto for the title track, “Sweet Despair” and “Killing Death.” Elsewhere, “Never Gonna Stop” has Savatage-y riff patterns much like their classic, ”Power of the Night,” but still manages to be rather dull (though its one of the more up-tempo numbers).
Not everything here is wholly without merit. “End of Emotion” is WAY overlong at nearly nine minutes, but sports a ton of Edge of Thorns-era Savatage influence in the structure and playing. Stevens does his sincere best to elevate the song and he sounds great for sure. Despite being palatable, it’s still somewhat bland and very dragged out. “Only Yesterday” is a lighters out, overwrought cheese ballad that works despite the sappy lyrics and maudlin delivery because of Stevens’ powerful delivery and the exceptional guitar-work supporting the soap opera drivel. Lastly, “Epiphany” is a moderately pleasant ode to harmless hard rock writing.
Obviously, I’m a fan of Mr. Stevens, but his output with this group has amply demonstrated he can’t carry mediocre material alone. At various points here, he sounds overly restrained and even a bit bored. He rarely lets his voice soar as he used to and his vocal placement isn’t always ideal. While Bill Hudson and Chris Wentz are very talented guitarists and the solo work across Seasons is quite impressive, a lot of the riffing is incredibly dull and lacking in the feeling department.
The biggest problem (once again), is lackluster songwriting. Most of these tunes don’t resonate with me, regardless of how many times I play them. This is an album full of good playing on poor songs and it can’t hold my attention for longer than a few moments at a time.
I suppose part of me longs for Edge of Thorns 2: The Thorny Youth or something close, but Circle II Circle steadfastly refuses to give it to me. I appreciate the talent this group has, but as song writers, they’ve been Savataged yet again. I’ll end with a word of advice: talented, slow and dull is no way to go through life, son.

copas from http://www.angrymetalguy.com/circle-ii-circle-seasons-will-fall-review/

Tracklist:
01. Diamond Blade
02. Without A Sound
03. Killing Death
04. Epiphany
05. End Of Emotion
06. Dreams That Never Die
07. Seasons Will Fall
08. Never Gonna Stop
09. Isolation
10. Sweet Despair
11. Downshot
12. Only Yesterday

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Krypteria - 2003

This Album is demo from Krypteria, Symphonic Power Metal Band from Germany, that was original for pop musical orchestral project. In this album contain song with various vocalist for each, because they not have fix vocalist at that day

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Theater of Tragedy - Theater of Tragedy (1995) FLAC+CUE+LOG

Theater of Tragedy - Theater of Tragedy

One of the forerunners of the gothic metal scene, and certainly one of the first to employ the "Beauty and the Beast" effect, Theatre Of Tragedy's debut full length takes the blueprint laid down by the likes of Paradise Lost and My Dying Bride and adds a few extra layers of 'darkwave' atmosphere, most notably with the presence of Liv Kristine, but also with a stronger permeation of keyboards, principally an organic piano sound. The results may not be revelatory, but with its emphasis on atmosphere and a heavy brooding production adding a cavernous quality to the doom-ladden riffs, this album remains one of the classics in the development of gothic metal as a definitive genre.
Sullen riffs open this album with plodding tempos, yet never repeat themselves to aggravating levels. There's a healthy amount of ideas and shifts in aggression popping up within each of the tracks, except the instrumental "Monotone" which takes a particularly cool note pattern and rolls with it. Guitars interweave melodies when not slugging away at morose chord progressions, and the keyboardist appears reasonably busy throughout, avoiding lush symphonics and going for an older, more traditional presence. The flow for these tunes range from a dirge-like crawl to medium-paced stomps, and the echo on the drums adds a necessary foreboding aura, particularly during "Sweet Art Thou", in which the snare's resonance is powerful and almost otherworldly thanks to the generous reverb.
Vocally is where things get interesting, and what was back then a novel approach to reciting the lyrics. Raymond's un-amused growl has depth and carries enough of that morbid slovenly feeling to blend well with the melancholy melodies. As a complete counterpoint, youngster Liv offers ghostly female wisps that linger in the air like a cold vapor cloud. I'll be honest, her voice works fine as a direct foil to the growling, but without those growls, this would be one chore of an album to put up with since her one-dimensional and somewhat amateurish delivery eventually would furrow the brow and annoy the living shit out of me. At times it is effective though, circumventing pop convention for Elizabeth Frazer worship that adds to the mellower moments such as "...a Distance There Is...", a lengthy song bluntly on the goth side of the gothic metal spectrum. In general, together the two singers generally compliment each other decently, except during the few occasions when they sing together in unison, sounding like some sort of deranged parody of a duet that I picture avant garde acts like The Residents thinking "We need to try that!"
As one of the initial harbingers of gothic doom before the floodgates of female-fronted corset obsessed metal acts opened wide, this debut remains one of the more listenable ones due to the dynamics of the spacious production, baroque lyrics, off-setting vocal approaches and some pretty well written doom riffs. If Liv had a bit more skill at this entry point in her long career, or at least varied her tone a bit once in a while during the recording, this album would hold up even better in comparison to major efforts by better developed later acts appropriating aspects of this sound to their own similar visions. Theatre Of Tragedy themselves would soon evolve into a less underground-anchored band by streamlining their style and eventually ditching the growls, but in this case they stick close to their death/doom roots, flirting with the notion of evolving into a more goth-oriented band thanks to what seemed to be a growing interest by them and other acts towards the 4AD ethereal class of gothic derived music. As a product of its time, Theatre Of Tragedy's self-titled effort is still a worthy enough benchmark for a style they contributed immensely in developing.

copas dari http://www.metal-archives.com/reviews/Theatre_of_Tragedy/Theatre_of_Tragedy/706/

Tracklist:
01. A Hamlet For A Slothful Vassal
02. Cheerful Dirge
03. To These Words I Beheld No Tongue
04. Hollow-Heartéd, Heart-Departéd
05. ...A Distance There Is...
06. Sweet Art Thou
07. Mïre
08. Dying - I Only Feel Apathy
09. Monotonë

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Van Canto - Tribe of Force (2010)

Van Canto - Tribe of Force

Every once in a while something unique comes along and grabs my attention. A few weeks ago, I received a press release promoting Van Canto’s third album, TRIBE OF FORCE, and the band’s innovative style of A Capella Metal. A Capella music is group vocal music and/or singing without musical accompaniment from instruments…..the first thing that comes to mind is barber shop quartets, doo-wop groups and choirs. A Capella singing in Heavy Metal? No instruments? I was skeptical but I read the press release and saw that it included a link to a video of the band covering Manowar’s ‘Kings Of Metal’ (from their second record HERO). I was impressed with the cover, especially with how I forgot that the only instrument used was the drums!
Based on their ‘Kings Of Metal’ cover, and their cover of Metallica’s ‘Battery’, I decided to give TRIBE OF FORCE a try figuring that at least it would be a change of pace if the concept of vocalizing the guitars, bass and keyboards didn’t work. The first single from the new album is ‘Lost Forever’ and it is a perfect way to kick start the album with it’s Power Metal style and superb vocal harmonies. At first I wasn’t too sure because the harmonized vocal intro had me thinking that this was going to be a less aggressive project but, once the drums kicked in, Van Canto really go for it! Frist the lead vocal trade-off between Philip and Inga is excellent, both have great voices with plenty of range, and the male/female co-lead vocal adds an extra dimension. Inga’s operatic style easily puts her right up there with some other female vocal heavyweights in Metal like Tarja Turunen (ex-Nightwish), Cristina Scabbia (Lacuna Coil) and Simone Simons (Epica). The cool thing is you can also hear some Medieval/Rennaissance style like Candice Night (Blackmore’s Night) in her delivery as well. What is most impressive is the guys doing the bass and guitars…..Stefan, Ross and Ingo do one hell of a job sounding like their instrument counterparts that you sometimes forget that it’s really just singing. Listen to the guitar solo, that’s Stefan singing the solo, not a guitar!
Needless to say, I was impressed. Van Canto continues in the same Gothic/Power Metal direction with ‘To Sing A Metal Song’, ‘One To Ten’ (featuring Victor Smolski of Rage), and ‘I Am Human’. The vocals are excellent and the vocal instrumentation is excellent but it’s at ‘My Voice’ where I start to get that “I’ve heard it before” feeling. ‘My Voice’ is a good original song with plenty of layers and tempo changes but I get the point and I am now listening for the guitars. Track six is a cover of Grave Digger’s ‘Rebellion’ (from 1996′s TUNES OF WAR) and features Grave Digger’s Chris Boltendahl on lead vocals. Normally I don’t welcome covers but this is a nice way to break the album up, especially with Boltendahl guesting. If you compare this version to the original, it’s a pretty good rendition and it is amazing to hear the band vocalize the instruments. Listen again for the guitar solo by Stefan! The second single and video is ‘Last Night Of The Kings’ and it is a ballad with a Medieval/Rennaissance sound. This song could easily fit on the first two Blackmore’s Night albums and the a capella singing fits perfectly.
The title track sounds a little more laid back, more commercial but ‘Water Fire Heaven Earth’ stands out with Inga’s operatic vocals. It’s more of a Gothic Metal mid-tempo song and it’s very good due to the beauty of the lead vocal, Inga rivals her peers and is definitely a superb operatic vocalist. I wouldn’t mind hearing more of a spotlight on Inga in the future, although Philip has a great voice too and the vocal trade-off is a perfect match. The second cover on TRIBE OF FORCE is Metallica’s ‘Master Of Puppets’…..it’s not a bad cover and I actually like Van Canto’s interpretation, I prefer the original but it’s a fun comparison piece. ‘Magic Taborea’ starts off kind of slow and subdued but, as the song progresses, the tempo picks up and it has an epic sound to it. What impresses me here is the quick keyboard vocalizations, they are like the guitar solos, very impressive. Tony Kakko from Sonata Arctica guests on the faster ‘Hearted’ and I like Van Canto’s addition of some harsh vocals to the arrangement to make things more interesting. Last song is ‘Frodo’s Dream’ and it’s another epic sounding song but I’m just not getting into this one at all.
Bottom Line:
I have to admit that I was skeptical that Van Canto could pull off an A Capella album of heavy Metal songs but they are all talented vocalists and they do a superb job on each and every song. Let me add that drummer Bastiam Emig puts in a stellar performance over the entire record and really drives the songs. Being the only person playing an instrument, his performance needed to be great and it was. Overall, I liked the album, even the cover songs but, after multiple listens, I started to lose some interest. I have played TRIBE OF FORCE to death so I could really focus on those layers of vocals and the vocal instrumentation but I found that I was looking for the real thing after a while so I needed to give myself a break and come back to it with fresh ears. That doesn’t diminish the talent and solid performances because there is a lot of quality work on this album and Van Canto isn’t the novelty act that people might mistake them to be. These musicians are all extremely gifted and they do a great job creating interesting and enjoyable songs. I wouldn’t be surprised to find this somewhere in my year’s best list for 2010 and I am definitely going to check out the band’s first two records.

copas from http://heavymetaladdiction.com/2010/05/10/van-canto-tribe-of-force-2010/

Tracklist:
    Lost Forever
    To Sing A Metal Song
    One To Ten (featuring Victor Smolski from Rage)
    I Am Human
    My Voice
    Rebellion (featuring Chris Boltendahl from Grave Digger)
    Last Night Of The Kings
    The Tribe Of Force
    Water Fire Heaven Earth
    Master Of Puppets
    Magic Taborea
    Hearted (featuring Tony Kakko from Sonata Arctica)
    Frodo’s Dream

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