New Videos - December 2021!

Well, here's one last batch of videos for the end of the year.  This is not as long as November's list, but I was pretty busy catching up on albums for 2021.  However, these videos do give us a peek into what 2022 has in store for us, and it's looking pretty good, I think.  Let's get it on!

I don't know how many AOR groups there are anymore (though I do think Frontiers has picked up at least half of them).  City of Lights is another new for me, and I really like how this sounds.  There's a bit of crunch to this one, giving their sentimental 80s vibe some decent heft, while still giving the keyboards an opportunity to shine.

HammerFall are back!  It's a little strange, with the Halloween imagery, but this is some pretty standard heavy/power metal the band is known for.  I do need to get caught up with their latest releases, as I've kind of gotten behind on those.  Maybe I'll do a quick catchup before their 2022 release.

I'm trying to decide if Dynazty was always in the synth metal style (a la Beast in Black) or if this is a shift for them.  Still, it makes for a very powerful, uplifting track that's backed with some crunchy guitars and a soaring chorus from vocalist Nils Molin.

I'm not quite sure where these guys are from as there are a bunch of bands with the name Spitfire (Germany, maybe?), but this one seems to have a pretty solid mix of hard rock and heavy metal that's pretty energetic.  Can't go wrong with some chest-beating, fist-pumping music!

Well, that was pleasant!  A nice prog epic that seems equal parts Billy Sherwood, Jethro Tull, Rick Wakeman, and Pink Floyd.  It also has that laid-back third-wave prog vibe, establishing some nice atmosphere and giving plenty of room for folky organ noodles and a nice guitar solo.

Last Played - December 2021 Part Three!

Merry Christmas!  Here's a handful of reviews for your present!  Seriously, though, this month has been a ride, catching up with all these albums.  Here we've got a good mix of pop, power, and heavy metal, along with Vega's new release.  Let's get into it!

Vega - Anarchy and Unity

Vega have been a pretty solid band when it comes to more melodic hard rock.  Only Human was solid 80s anthemic cheese that I loved.  Grit Your Teeth loosened things up a bit and let the band feel around a little more, which I liked, but Anarchy and Unity might have taken things a little too far.  While I liked the early singles, now that I've listened to the album, this band has shifted slightly.

It's definitely a little strange compared to the previous two, as the keyboards seem to take a backseat to a more guitar-and-vocal focused approach.  While the guitars are pretty thick and chunky, giving some great rock riffs, the song-writing and production felt much more modern.  The comparisons I kept making was to anthemic alternative rock bands of the 2000s, like Daughtry, The Calling, and the Goo Goo Dolls.

That being said, there's some solid stuff on here.  "Beautiful Lie" and "Sooner or Later" are a great start to the album, with big riffs and a great uptempo vibe.  I also liked "Bring the Riot," which had a bit of a punk rock vibe.  They also try to mix it up, such as the finger-snapping jazzy grove on "C'mon" and an interesting shift in the middle of "Live For Me," where it changes from a power ballad to a straight-up rocker for one very shreddy solo before dropping back into power ballad territory.  "2Die4" is also a strange one, trying a few different dynamics than I'm used to for these guys.  

To be honest, I think I'm a little disappointed.  After I loved the other two so much, I guess maybe I got my hopes up.  Perhaps I should take it as a sign that the band are trying to push themselves, and sometimes you have to stumble to really know what works and what doesn't.  It's still a decent album, with a lot of anthemic rockers, but this had less of an impact on me, overall.  

Victory - Gods of Tomorrow

Victory started in the mid-80s, and despite getting an international hit or two, generally got overshadowed by other German bands like Scorpions and Accept.  Herman Frank joined in 1986 and stayed with the band until they disbanded in the mid-90s.  However, they reunited in 2003 with Frank, and the lineup has generally changed around him since then, including a lot of members from Frank's solo band.  At first, I just thought he had joined a long-running band, but looking over the history, this has pretty much become another Herman Frank solo project in all but name.  As such, the music bears a lot of similarities to Frank's solo albums, and to much of the classic German metal sound established by bands like Accept and Sinner.  

Because of this, I was going in with the expectation of some solid riffing and rockin' vibe, and this album doesn't disappoint.  If there is any difference between this and Frank's recent solo works, I think this is a little closer to 80s rock rather than metal, but it's a pretty subtle difference.  Think AOR, but with a German metal vibe.

Honestly, though, it's not a major deal.  While the album is a little long and there really isn't anything particularly new or innovative going on, it rocks pretty well, occasionally pushing into faster territory with songs like "Gods of Tomorrow," "Rising Force," and "Into the Light."   "Love & Hate" and "On Fire" has a lot of classic Accept vibes, and the album never loses its classic metal energy.  I think I actually like this more than Herman Frank's own album from earlier in the year.  It will be interesting to compare the two as I prepare for my Top 5 of the year.

Crazy Lixx - Street Lethal

Crazy Lixx was one of the bands I discovered in 2019, quite enjoying their 80s pop metal style so much so that they crept into my Top 5 for that year!  While I anticipated this one pretty deeply, I expected to get more of the same, and they certainly haven't disappointed.

Once again, we're deep in the style that made household names out of Def Leppard, Dokken, and Whitesnake.  Full of big, cheesy anthems and arena rockers, these guys haven't lost a step in their 80s-drenched cinematic vibe.  As usual, the uptempo tracks stand out to me, such as "Rise Above,"  and "Street Lethal."  I also liked "Reach Out" and "One Fire - One Goal" with their AOR-heavy elements, and some tracks aren't afraid to get bluesy at times as well.  The album ends with some longer songs, with the closer being a 7-minute epic "Thief in the Night," which a decent mid-tempo rocker with a more dramatic tone.  I also noticed a greater presence of synthesizers on the album overall, though they're mostly used to give the tracks a bigger, AOR-like feel, a la Europe or Night Ranger.

While Forever Wild was a bit on the long side, this one is definitely tighter, with 2 of its 11 tracks being short instrumentals.  That being said, there's plenty of variety, which makes the album feel like it uses its time well.  I don't know if this one is better than the last one, but it's pretty dang close in quality.  However, just as I said about the last album, this one proves that the glam/pop metal style is still relevant and worth listening to!

NorthTale - Eternal Flame

After being reminded that this band exists and enjoying their first album so much, I was excited for their follow up.  While they retain their classic power metal style, they definitely shift their sound more, experimenting with a lot of different things.  However, they seem to be at their best when they build upon the styles of Stratovarius and Sonata Arctica.

Right off, the album kick starts with some high-speed power metal with the great opener "Only Human." From there, the band really starts to try some things.  "Wings of Salvation" has a symphonic tone in a 6/8 style, "Future Calls" features Kai Hansen and his son Tim so it has some strong Helloween elements, "The Land of Mystic Rites" pulls out some flutes and Latin folk vibes which made me think of classic Angra, and then "Midnight Bells" and "In the Name of God" were on the heavier side, the former making me think of Brainstorm or Primal Fear, and the latter having the bass-heavy grooves of Metalium.  The closer is a symphonic outro that doesn't feature metal at all.  It's a nice piece of music (making me think of symphonic Final Fantasy arrangements), but it is a bit of a strange ending.  The rest of the album, however, stays in the Stratovarius zone, and I found I enjoyed those songs most of all.

Like I mentioned on an earlier article, their new vocalist Guilherme Hirose sounds a lot like Timo Kotipelto, and I wonder if that was a deliberate choice.  The solos trade back and forth between the keyboards and the guitars, only strengthening the Stratovarius comparison.  That's a good thing though, as classic Stratovarius is some of my favorite power metal, so I'm pleased to hear a new band write these kinds of songs.  I think my favorite songs were "Future Calls" and "Only Human," and I thought the 11-minute epic "Nature's Revenge" was solid as well.  Overall, though, I don't know if this album is better than the first one.  I'd have to listen to them more to really decide.  That being said, if you're looking for quite the smorgasbord of power metal, this album certainly delivers.

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Well, that's the year wrapped up.  While I know I didn't get to everything I could have, I think I hit all the releases that I wanted to, so I don't have many regrets.  That being said, when I was looking over my charts, I found that I have listened to and reviewed 28 albums this year!  I don't know if I've ever listened to that much new music within a calendar year!  Figuring out my Top 5 is gonna be quite the challenge!  We'll see what I decide when that comes out at the end of January.

I plan on having on more article before the end of the year, catching up on some new videos.  Otherwise, I plan on having a cozy holiday week, and I hope you all have that as well.  Until then, rock on! \m/

Last Played - December 2021 Part Two!

Round two of 2021 catch-up!  Some of these bands I haven't really talked about much this year, but some have definitely been lighting up my New Video articles.  With a good split of epic power metal and 80s hard rock, it's been a lot of fun to listen to these!  Here's what I've checked out this time.

Rhapsody of Fire - Glory for Salvation

While I did check out the singles for this album, none of them really excited me enough to share them in my articles.  However, I'm always intrigued by a story, and this band is continuing on with their Nephilim's Empire Saga from their last album.  They also continue their well-established style of symphonic power metal, full of bombast and epicness.

The story picks up with Kreel, a thrall of the evil gods known as the Nephilim, going about doing their bidding and maintaining their tyranny.  After killing a holy prophet and falling in love with his next target, a desert enchantress, he decides to defy his evil lord, but the lord kills the enchantress in retaliation, inspiring Kreel to start fighting back.  I'm assuming the next album will focus on the epic showdown as Kreel takes on his former master.  It's not much of a story, but as always with these things, it's an opportunity to hang some power metal on all the angst and melodrama.

As for the music, it's pretty typical stuff for Rhapsody of Fire.  Plenty of orchestrations to back up Giacomo Voli's vocals and the noodly guitars.  The album does start with some darker, heavier material, culminating with the 10-minute "Abyss of Pain II," before switching to a more upbeat tone for the rest of the songs, which matches the story.  While I've always kind of struggled with Rhapsody of Fire's style, I did feel this one was more on the accessible side than some of their others.  As for stand out tracks, "Terial the Hawk" moves into folk metal territory, "Son of Vengeance" and "Chains of Destiny" were solid power metal songs, and "Abyss of Pain II" is certainly epic, if a bit too long.  Fans of the band will find plenty to like, but outside of that, it's standard story-driven power metal.

Night Ranger - ATBPO

With all these new bands playing in older styles, it's nice to see some of the originals still kicking it.  Night Ranger has always been one of those bands that I consider pretty solid from the 80s, but I've never dug too deep into their catalog.  I did enjoy their last album, though, and here they are back with another set of decent, if predictable, melodic hard rock.

Fans will probably find this to be more of the same from a band who's style was set nearly from the get-go.  The album itself has an interesting flow, as it starts with a lot of energy, gets a little slower in the middle with those ballads, and then finishes with some bigger sounding songs.  Overall, there are some solid rock riffs, nice melodies, decent guitar solos, and a great vocal performance from Jack Blades.  I liked "Coming for You" and "Breakout," as they start the album well.  "Monkey" was a curious stand-out as well, with a bit of a heavier riff than the rest of the tracks.

It's always tough for some of these bands, as it can feel like their best years are behind them.  Rarely, a band can put out a great album later in their career, long after the spotlight has moved on from their style of music.  As a result, some of these later albums, such as this one, come across as a little safe.  Maybe they'll play a song or two when they tour, but otherwise, a lot of this might be forgotten.  That doesn't mean this album is necessarily bad; I definitely like what I heard.  But in the end, this is probably not one many will come back to frequently.

Eclipse - Wired

Speaking of those newer bands playing older styles, Eclipse hit my radar with their last album Paradigm.  I had heard a few singles and liked what I heard, but it wasn't until I heard the album that I was really impressed by them.  Just solid hard rock from beginning to end.  So when I saw more singles from them announcing a new album, I was definitely excited.  Now that I've finally sat down for this one, I can say that it's a solid follow-up, if not quite as strong.

The basics are certainly still here.  The riffs really rock, and the vocals really soar, making for a lot of anthemic stompers and ensuring that the album retains much of the energy and fun of the previous album.  Even the ballads get into it, often starting in somber, acoustic guitar territory before hitting with a big distorted riff out of the Trans-Siberian Orchestra playbook.  However, some of the tracks do feel a little pedestrian at times, and the album doesn't really move much from a mid-tempo pace.

That being said, those are pretty small nitpicks, and any one looking for some solid, wall-of-sound hard rock will find plenty to like.  "Roses on Your Grave" has a bit of a classic Def Leppard vibe, "Saturday Night (Hallelujah)" is a party by itself, "Twilight" is very epic with its added touch of Beethoven, and "Bite the Bullet" has some great, crunchy riffs and an interesting, ominous slide-guitar solo that builds to some more epicness.  I think some of my excitement for this band has been tempered by this album, but I feel I can continue to expect great things from these Swedes.  I should probably dig into their back catalog as well, as I know they've got plenty of albums behind them!

Brainstorm - Wall of Skulls

Brainstorm is a band I was somewhat aware of.  I had listened to their 2011 album On the Spur of the Moment and found it to be some decent heavy/power metal that's typical from Germany.  However, as 2021 got going, Brainstorm suddenly hit with a number of singles that really got my attention!  Now that I'm catching up, this was an album I was definitely looking forward to!

Once the instrumental intro builds up, the album kicks off with tons of power and the rest of the songs do a decent job of maintaining that level of intensity.  The riffs are heavy, but they're also pretty catchy, and the solos are very tight and melodic.  However, the drumming by Dieter Bernert really nails the driving, epic vibe with his fierce double-kicking power.  Overall, this is some pretty gritty power metal, much in the vein of bands like Primal Fear, Metalium, and Bloodbound.

Not every track is a winner, as a few just seem to jog in place, but they're still decent.  Nothing really brings the album down.  The songwriting is especially tight, with no real frills or extensions, just straight-forward power metal.  "Where Ravens Fly" is a great high flying starter, "Escape the Silence" has some seriously pounding drumming, and "My Dystopia" is another fast one that really stood out to me as above the pack.  As for the mid-tempo songs, "Turn Off the Light" and "Glory Disappears" were pretty enjoyable to hear again.  "Stigmatized (Shadows Fall)" had an unexpected bit of groove, surrounded by some interesting 12/8 riffing.

The end of the album kinda tapers off in energy, but doesn't completely lose its steam.  To be honest, this album might be in my Top 5 for this year.  I knew it will be tough to decide what those five will be, and this album has definitely made it tougher!  This is some solid, crunchy, epic music and worth a look from any power metal fan who likes it on the heavy side but somehow hasn't picked this up.

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Alright, I think I've got one more article to pull together before I'm caught up with all I want to hear.  I'm certain that I've listen listened to more current-year albums this year than I have ever before!  Still, when it's all this solid, I can't complain, or at least I shouldn't, right?  Well, onto the last batch!  Until then, rock on!  \m/

Last Played - December 2021!

This is the first of a handful of Last Played articles, as I have a number of albums to try and catch up on.  There's just so much I want to listen to and talk about!  Of course, this is just gonna make my Top 5 harder to decide.  (I'm wondering if I should expand it to a Top 10!)  In any case, here's the latest handful I've listened to.

Big City - Testify X

Hailing from Norway, Big City was advertised as a pop metal or glam metal group, and based on the singles (which I quite enjoyed), that seemed to be the case.  Sure, there were a few noodly parts, and the synths added some layers, but it mainly made me think of bands like Winger or Europe.  Now that I've listened through this album, there's a lot more going on than I expected.

First of all, the production is very lush.  While there's generally a warmness associated with most 80s-styled rock and metal bands, Big City seems to be reaching for more.  I think they've double-tracked or even triple-tracked their guitars, and with the synths adding more atmosphere, giving me massive Asia vibes, if they were more metal.  As for the music itself, it's pretty solid.  Daniel Olaisen and Frank Ørland provide some great guitarwork, getting in plenty of good riffs and leads.  The solos are also pretty dynamic, with some going for intense noodley fretwork and others settling for some very nice melodies.  Jørgen Bergersen does well with the vocals, soaring over the wall of sound they have created.  I do think he tends to be a little static with his energy, though, as it feels like he's hitting the notes the same way song after song.

However, the big twist is how the song-writing shifts as the album progresses.  At first, it starts very much in late-80s pop metal territory, with maybe a few extra details to give the songs character (like the Winger comparison I've been making).  "Dark Rider" really stands out as a solid, anthemic rocker early on.  Then, as we get further on, the songwriting gets a little more complicated, with the last three tracks "Heart's Like a Lion," "Graveyard Love," and "How Dark Does It Get" suddenly shifting into more prog metal territory, making me think of bands like Vanden Plas and DGM.  The riffs get a little more technical, the rhythms get shaken up, and the tempos even kick it up a notch.  I admit I wasn't quite anticipating that, expecting this album to be solid 80s mid-tempo arena fillers all the way.

I admit I haven't heard their first two albums, so I don't know if this is standard for them, or if this album shows a shift towards more complex songwriting for them.  I know I liked a lot of it, but I think this one is gonna need a few more spins before I really wrap my head around everything I heard.  Still, great production, tight player, and plenty of solid guitarwork make this an interesting gem, and worth checking out, regardless of what genre it is.

FireForce - Rage of War

So this was a band I was aware of earlier in the year, and I checked out a few of their singles.  I thought they were alright, but not worth really adding to my video articles.  However, they released a video for the title track of this album recently, reminding me of them, and I decided to finally check them out.  What we have here is a band that really straddles the line between thrash and power metal!

Right off, the album starts with a double-kicking fury that rarely lets up across the entire album.  The guitars riff and shred with sheer aggression, but often have very melodic solos and leads, sometimes even having some harmonies.  As for their vocalist, this is their first album with Matt Asselberghs, but he fits in so comfortably, I would have guessed he had been with the band for several years.  Honestly, this very tight execution and production, with solid metal front-to-back.  Though this also ends up being a bit of a problem.  Because it maintains a certain level of intensity all the way through, the songs tend to feel a little samey after a while.  Even when they slow it down for "Forever in Time," it maintains the tension by sounding more doomy than being any kind of ballad.

However, I can't deny I enjoyed a lot of this.  The execution is top-notch, feeling like a mix of Sabaton's anthemic lyrics with Primal Fear's sense of melody, and the melodic thrash of bands like Annihilator, Flotsam & Jetsam, and Megadeth.  Mystic Prophecy comes to mind as well, naturally.  I liked the title track, "March or Die," "Firepanzer," "From Scout to Liberator," and "Tale of the Desert King."  This is definitely recommendable to those who like their power metal gritty or their thrash more melodic.  I think this one might grow on me!

Wolfmother - Rock Out

I remember when Wolfmother arrived in 2009 with "Woman" and "Joker and the Thief," being a peculiar throwback to the likes of Black Sabbath, Deep Purple, and Steppenwolf.  (It's kind of funny to think of how many other bands have since picked up on the retro rock trend.)  I liked what I had heard, but I ended up never really following up with them ever since.  So when they suddenly dropped an album last month, I figured it was a good time to get caught back up, and in all honesty, not much has changed.

Despite the 80s-tastic cover art, this is very much a 70s rock sound.  I will say there is a shift from the psychedelic, hammond-heavy style of their early stuff to more of a straight-forward blues rock, almost like a stoned-out Kiss.  The riffs on "Rock Out" and "Upload" definitely have that "Detroit Rock City" vibe.  However, the Sabbath and Purple has definitely stuck around, with "Humble" having quite a heavy riff that would have fit right on Master of Reality, and "Only Way" has a lot of noodley leads and solos, making me think of Blackmore's work.

It's a short album, clocking in at just over 30 minutes, but I suppose 60 minutes of this might get a little much, as the songs don't vary a whole lot, with most of them sticking to the 2-3 minute range.  I understand the band is pretty much Andrew Stockdale's show, and he seems content in sticking to this classic rock style.  I can't blame him as he seems pretty good at it.  Overall, it's a nice burst of chunky, retro stuff, full of tasty licks and solid grooves. 

Sonic Haven - Vagabond

This is another album I was pretty excited about earlier in the year.  Featuring recent Firewind recruit Herbie Langhans on vocals, this seemed like it would be a nice, bright collection of power metal by some talented folks.  However, after a year of some excellent power metal releases, this one ends up being just okay in comparison.

Anyone familiar with German power metal will find a lot of similarities here.  Gamma Ray was one comparison I kept making, as the guitars have a lot of tricky technical riffs and solid melodic leads, often with neat harmonies.  The songs generally don't shift much in tempo outside of a mid-to-upbeat range, though.  Langhans sounds pretty solid, his mix of Udo's grit and Jorn's charm give these songs a decent bit of heft.  While they used two different keyboardists here, they don't add much other than some symphonic elements and AOR-style synths.

One track that stands out, though, is "The Darker Side."  It starts with some clean guitar notes before hitting with a heavy, slow riff out of the doom metal playbook.  It reminded me of Sorcerer, actually.  As for the rest, I liked "Vagabond" as a decent opener, "I Believe" with it's big Gamma Ray energy, and "Striking Back" as a solid, symphonic closer.  The rest of the album is decent as well, but it's not particularly strong material, resulting in a rather average listen.  Perhaps in another year, I would have appreciated it more, but compared to the tracks I've heard from Helloween, NorthTale, and Brainstorm, it just feels a little weak.

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I must say, that was some pretty interesting stuff, and a good bit of a variety.  That will probably be the case with the next few articles as well.  Speaking of which, I need to get working on those!  Until then, rock on! \m/

New Videos - November 2021!

Let's finish off the month with another set of videos!  Now that I'm planning on doing only one of these a month, it does make the article on the longer side, but I assure you, these are all great tracks.  It's mostly power metal this time, but I've got a few others in there to mix it up.

Yup, more German heavy/power metal.  However, I get a very strong Queensryche vibe, but that may be just because vocalist Denis Brosowski makes me think of Geoff Tate.  Still, it's got a decent 6/8 gallop that really carries the song, adding to the dark, epic tone.

So a pair of folks who used to work together in the band H.E.A.T. decided to come together for a power metal project, and they definitely have a mix of classic and modern influences.  It's a promising start, and a project I'll have to keep an eye out for in the future.

Once again, Crazy Lixx and their nostalgia-heavy pop metal sound find their way onto one of my articles.  This one has a lot of energy, and has some great gang vocals in the chorus.  This track, along with many of the other singles, is giving me a lot of high hopes for the new album.

So Sorcerer has been staying busy by doing some covers and releasing them as singles.  While the others have been interesting, this one stood out to me as really fitting their style.  Vocalist Anders Engberg really soars, just like he did on their last album.  Kinda slow and epic, their take on the Saxon classic is a little safe, but very solid.

NorthTale keeps coming with great, high-speed power metal, and they've definitely added some symphonic elements on this one.  Of course, it helps to get power metal legend Kai Hansen and his son involved, just to add that extra level of epicness.  It's a great track that makes me look forward to their new album, which I still need to get to.

I guess Lovebites is going on hiatus, after their bass player left.  So they're filling a gap with a compilation album that features this new song as a single.  Naturally, it's a high-speed power metal stomper with plenty of melodic leads and harmonies.  While the future of this band may be uncertain, this single is a fitting tribute to their career thus far.

Wolfmother kinda surprised everyone with a new album out of the blue, and I've been listening to pieces of it.  Unsurprisingly, they've still got that very 70s metal vibe, with noodly guitar solos straight off of a Rainbow record.  Expect a review of this from me soon!

So the founder of Nuclear Blast started a new label called Atomic Fire, and after bringing over a handful of artists, they've signed some new ones, including these guys.  This song is some solid power metal, somewhere between DragonForce and Stratovarius, with a bit of the Legend of Zelda in the solo, for good measure.  I'll definitely be keeping an eye on them next year.

I remember stumbling across Power Quest in 2011, when they released Blood Alliance, and I thought they were a pretty decent band, much in the vein of DragonForce.  I haven't kept up with them recently, but it seems they've carried on without a hitch, despite nearly a new lineup.  Uplifting power metal is always welcome around here.

After blessing us last Christmas with a power metal adaptation of A Christmas Carol, Majestica seems to have pulled together a few more tracks (including this one) for an Extended Version this year.  While the song follows the same formula of telling the story while using a classic Christmas song as a base, it's still a pretty solid tune, much like the rest of that album.

Last Played - November 2021 Part Two!

I think I'm going to end up spending a lot of this holiday season catching up on this year's releases.  I know there are a lot of albums I want to get to, but I'm also starting to wonder how on earth I'm going to decide my Top 5.  While I don't know if I've heard any obvious winners, there has been a good chunk of great music this year, and this article is gonna go over some of them.  Here's what I've been checking out lately!

Dream Theater - A View from the Top of the World

After the band stumbled with The Astonishing, they set out to recenter themselves with Distance Over Time, and largely succeeded.  I felt that the album was adequate, with not much really standing out to me.  Now we have their follow up with this album, and their stated intentions to start exploring again, this time with some heavier, 8-string guitars, which I think helped their songs sound very dramatic and broad in their scope.

Of course, Dream Theater going for heavy isn't necessarily anything new (Train of Thought comes to mind), but I think goal here was to expand their dynamics and tones, which has mostly worked.  Right off, the album starts with some very chunky metal riffs, with "The Alien" and "Answering the Call," setting the tone for the rest of the album, with later tracks adding some interesting symphonic elements.  "Transcending Time" is a curious outlier, surprisingly having a lot of AOR rock energy, and I can't deny that I rather liked it.  However, the center piece is clear the 20 minute epic at the end of the album that has the band really flexing their songwriting muscles.  They really explore a lot of moods on that one, shifting from fast to slow, heavy to light, and back again.  (Par for the course, really.)

Overall, I think this is slightly better than their last one.  The heaviness seems to have brought some energy along with it, and the band do some interesting balancing between heavier and lighter sections.  "Answering the Call" and "Awaken the Master" are probably the best tracks, as I feel they make great use of the heaviness without letting the songs go off the rails too much.  That being said, this is still very Dream Theater, and will likely not appeal to anyone who isn't already a fan.  I admit I'm not a huge fan of them, myself, so take my words with a grain of salt.  Nevertheless, it's a solid showing, proving that this band still have a lot of creative energy in the tank.

Beast in Black - Dark Connection

After enjoying their first two albums, I was pretty keen on hearing what Beast in Black had in store this year.  When the singles landed, the clear switch to a very 80s cyberpunk aesthetic was a bit of a surprise, as they dived deeper into their sonic inspirations.  However, the result is clearly more of the same, for better or worse.

The album has a great opener in "Blade Runner," with some great energy and crunchy riffs.  However, from there, it starts to feel like a repeat of previous efforts.  Some songs are poppy, some are more metal, but all stay within the range the band has covered before.  "One Night in Tokyo" is one of the better ones on the poppy side, "To the Last Drop of Blood" is probably the one that balances the two styles the best, and "Revengeance Machine" has a great "Painkiller" vibe that's kinda ruined by some awkward, profanity-laden narration at the start.  There's a general shift toward more mature, suggestive lyrics as well, so your mileage may vary with that.  The band continues to maintain their solid production and tight performances, however, with Yannis Papadopoulos flexing his dynamic vocals once again.  He gets plenty of opportunities to shift between his lighter and aggressive styles.  Oh, and that Manowar cover is pretty fun.

While it's easy to criticize this as being more of the same, I'm reluctant to do so, as I feel this band is still the best as this fusion of 80s pop and heavy metal (which I have dubbed "synth metal").  I know I certainly don't want them to stop.  However, I do think this is a bit of a step down from the previous albums.  In their attempt to shift the content from fantasy to sci-fi, they tried to be more sophisticated with their lyrics and presentation, with mixed results.  While it's nice to have some epic cyberpunk anthems, it's hard to feel like the band is really stretching themselves.  In the end, it's a decent album, with a few great songs, but not as engaging as their previous efforts.

NorthTale - Welcome to Paradise

So this is a bit of catchup before I do their 2021 release, as I wanted to go into NorthTale's new album with some context of what they had done here.  Honestly, I loved what I had heard from the singles, but then the band just kinda fell off my radar somehow.  To be honest, I feel bad about it, as it's clearly the kind of power metal I love, being very influenced by the styles of Helloween and Stratovarius.

Right off, we start with some high speed, double-kicking power metal, and it doesn't really let up.  Oh, sure, there are power ballads in the middle with "Way of the Light" and at the end with "Even When," but they're kinda forgettable (which is also quite like Stratovarius; I love that band, but I could never get into their ballads).  "Everyone's a Star" is also a bit different, a kind of satirical piece of pop metal.

But everything else is excellent power metal.  I loved hearing a bunch of the singles again, like "Higher," "Shape Your Reality," "Siren's Fall," and "Bring Down the Mountain."  As for rest, "Follow Me," "Time to Rise," and "If Angels Are Real" stood out to me.  Vocalist Christian Eriksson is quite good, providing some epic held-notes, and making me think of Jonas Heidgert of Dragonland.  The guitar solos are incredible, with Bill Hudson throwing in some neo-classical chops here and there, and the keyboards by Jimmy Pitts are right there with him, noodling along like Jens Johansson.

Honestly, this could have been a Top 5 contender for 2019.  This is the kind of power metal that bands should be making more of, in my opinion.  I'm not quite sure how to describe it, but I know it's not the over-the-top style of DragonForce nor the heavier power metal of Iron Savior or Primal Fear.  It's that middle ground where Helloween, Freedom Call, and Stratovarius live, and now we have NorthTale representing the style, and doing it very well!  Great stuff!

The Dust Coda - Mojo Skyline

Hey, remember these guys?  I was digging a lot of their singles earlier in the year, and I've finally taken the time to listen to their new album.  While a lot of retro rock bands lean on the styles of Zeppelin or Sabbath, these guys are going for more of an Aerosmith vibe, and do it well!

This album has three things going for it: First, is the meaty riffs.  Clearly leaning on 70s rock clichés, the production gives them a good amount of heft and power.  They also have a good balance of being catchy and simple.  They won't win any shredding awards, but with hooks this good, my head was bobbing all the way through this record.  Second, their vocalist John Drake really lets it all hang out.  He's got a great, straight-forward rock sound, with just the right amount of grit.  He's as subtle as a brick and it's perfect!  Third, these songs have a ton of energy!  Even though it's mostly settled in a nice, mid-tempo rock groove, these are not passive tunes.  I can see them jumping around all over the stage in my mind as they play these songs.

Basically, I'm saying that I really like this album.  I was a little afraid it would get repetitive, but it really doesn't.  They know how to shake it up a little with some different moods, with things shifting even during the song sometimes.  "Breakdown" is a really good example of this, starting at a mid-tempo groove before going full-on hard rock at the end.  Other stand outs include "Limbo Man," the anthemic "Dream Alright," "Best Believe It," and that super heavy riff on "I've Been Waiting."  Overall, it's a plain straight-up rocking album from start to finish, with no brakes to slow things down.

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Well, that was certainly a fun mix of music!  I have one more article coming before the end of the month, and it's gonna be a bunch of videos, so keep a look out for that.  I don't have much else to say, so until then, rock on! \m/

Anniversary Series - 2016!

Finally, we reach 2016, and I've actually listened to a decent amount of stuff for this year, so I'll be doing a standard anniversary article for this one!  Most of what I have will be power metal and proggy stuff, but there are a few others mixed in for the playlist.

I'm going to start off with an absolutely amazing album: Rulebreaker by Primal Fear.  It was the first album of theirs I had ever listened to, and I was completely blown away.  Definitely leaning towards a Painkiller-style of power metal, it was still very epic, with tons of great riffs and energy.  With massive tracks like the title track, "The End Is Near," "Bullets & Tears," "In Metal We Trust," and "Constant Heart," it's an excellent album from top to bottom.  This was my favorite album of the year, by far!  Of course, there were other good power metal albums that came out this year.  Rhapsody of Fire, Serenity, and Avantasia provided plenty in the symphonic style, while Iron Savior and Mystic Prophecy kept things heavy.

Progressive rock and metal also had a few releases worth mentioning.  While Dream Theater stumbled with The Astonishing, DGM really knocked it out of the park with The Passage, Kansas put out their first album in 16 years with the decent The Prelude Implicit, and Jon Anderson teamed up with Roine Stolt for the dreamy, light-hearted Invention of Knowledge.  Supposedly, they had plans for a second album, but they haven't been able to find time to work it out.  I know I'd definitely be interested in what else they would create.

I know I generally don't cover thrash metal, but they had a decent year as well, with Metallica and Megadeth both putting out albums.  In a bit of a surprise for me, I actually preferred the Megadeth album.  Part of it was that Metallica had gotten back into bad habits with a double album that sounded a lot like Load and Reload, which I've never liked.  "Atlas Rise" was probably the only track I really liked from Hardwired...To Self-Destruct.  However, the other part is that Megadeth picked up Kiko Loureiro from Angra, making the guitar-work on Dystopia quite slick and powerful.  Oh, and Metal Church brought Mike Howe back for XI, including the excellent thrash anthem "Reset."

Finally, I just want to make mention of Airbourne's Breakin' Outta Hell.  While I was aware that Airbourne was a lot like AC/DC, this album was the first one of theirs I listened all the way through, and I found I kept coming back to it.  While they still have the classic blues-rock sound, they pump it up with a lot of energy and power.  With songs like the title track, "It's Never Too Loud For Me," and "It's All For Rock N' Roll," they really hit a stride with an album that flat-out rocks.

So that will do it for 2016 and for this year's worth of anniversary articles.  I really do enjoy makings these, as it gives me the opportunity to see rock and metal history in a different light, so I hope you're enjoying them as well.  As always, there's a playlist below with more, and if I've missed anything, let me know.  Until then, rock on! \m/

Last Played - November 2021!

After doing some current releases, I decided I wanted to kick back and check out some older albums.  This one is all 80s, starting with some new-wave-y prog rock and following it up with a pair of epic metal releases.  Here's what I've been checking out lately!

Discipline - King Crimson

After 7 years of silence, Robert Fripp starting rebuilding his music career.  At first, he worked within the growing new wave space of the early 80s, then grabbed drummer Bill Bruford again for a new project that was going to be called Discipline.  They brought in Tony Levin for bass and Andrew Belew of the Talking Heads to sing, write lyrics, and play guitar along with Fripp.  The result is an interesting fusion of ideas, bringing over the 70s organized chaos the band was known for and meshing it with the more streamlined, new wave sound, making for quite a significant shift for the band.

I have to admit, this is still a pretty challenging listen, though.  I did like the complex melodies of tracks like "Frame By Frame" and "Discipline."  The way the guitars play off of each other is very fascinating.  Fripp in particular really pushes his math rock muscles with some complicated fretwork, and Belew backs him up, either providing more rhythm, or getting some wild animal noises from his guitar.  "Sheltering Sky" has a solid atmosphere, letting the solos just drift over it.  However, there are times with the band gets back to the 70s jam-heavy style, particularly on "Indiscipline" and "Elephant Talk", ensuring that this is still Fripp and company.  "Matte Kusadai" tries to be this proggy ballad, but doesn't really go anywhere, and the use of a frantic recording from Belew on "Thela Hun Ginjeet" makes the song hard to appreciate.  Levin does give the piece a decent funky groove, though.

This album is definitely much more accessible than most anything they have done before.  While there are plenty of proggy noodles and curious time signature shenanigans here and there, this album has a much stronger focus on organized song-writing and more repetitive and trancy segments.  Between the math rock and ambient side, we get an album that shows that prog rock is not a dinosaur, but has potential to move forward in its own way.  That being said, it's still a bit of a struggle for me to really appreciate overall, but I can't learn if I don't try.

Cirith Ungol - King of the Dead

After doing this band's first album earlier this year, I thought I'd check out their critically acclaimed second album to see if they had improved.  Right off, this one is much more consistent in quality and style, really settling into a unique metal sound.  I know other folks have often called this album a staple of early power or doom metal, but honestly, I hear a lot of 70s influences.  I know I mentioned early Rush in regards to the last album, and that tone is still there, but this one has some added power like classic Judas Priest, such as Sad Wings of Destiny or Sin After Sin.  However, it does benefit from a heftier 80s production, letting these songs sound pretty big and crunchy.

Tim Baker continues his iconic, gritty wailing, giving the songs a lot of melodrama.  He has a pretty epic scream towards the end of "King of the Dead" that stood out to me.  "Finger of Scorn" had an interesting doomy vibe, with the acoustic sections, big riffs, and a punchy chorus.  "Cirith Ungol" also brings the doom, with a long outro.  I also liked "Master of the Pit," as it had a proggier vibe, starting and ending with long, noodly guitar solos.  In fact, there's a lot of great solo work on this album, overall.  The Bach cover is interesting, as they're using some kind of pedal to make their guitars sound a bit like an organ.

I don't know if I was completely enthralled by what I hear.  The album has a bit of a lackluster start, and takes a while to really get going.  Once it does, though, it settles into a nice, mid-tempo groove with a lot of atmosphere and great guitar work. This is definitely an improvement over their first, and certainly has some interesting, epic moments.

Dio - Dream Evil

I'm surprised I haven't talked more about Dio's solo career, but it's another one I've been slowly working my way through.  At this point, listening to any of Dio's stuff feels like it's more about the mystique  of the man than the music itself, though he's certainly been responsible for many great songs.  Dream Evil feels like a general continuation of what he had built with the previous three albums, with maybe an extra layer of polish.

At this point, the group brought in Craig Goldy on guitars and Claude Schnell on keyboards.  While I don't know if I feel like the guitars are doing anything other than just being very 80s, the keyboards definitely feel stronger on this album, providing a lot of ambience and atmosphere that I don't exactly recall on the other albums.  While synths aren't anything new for Dio, their prevalence on this album does kick it up a notch in the epicness department.  Another thing I noticed this time was how each song's chorus is just basically repeating the title a lot.  Again, not a new thing for Dio ("Rainbow in the Dark" comes to mind), but the fact that it happened on every track made me wonder if things weren't getting a little too formulaic. If there is a shift from previous albums, I think there's a greater emphasis on anthemic tones, designed for stadiums.  I can easily see folks clapping and singing along to these quite easily.

That's not to say this is bad album, by any means.  This is definitely stronger overall than their last one, Sacred Heart.  "Dream Evil" is a very solid rocker, and "All the Fools Sailed Away" feels like a "Children of the Sea 2.0" and mostly works.  I particularly liked the proggy shift about halfway through, topped with some nice solos.  The rest are a bit of a mixed bag, but are mostly decent rock and metal numbers to support Dio's trademark vocals.  

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I admit things have gotten a little slow around here, lately.  There are still a handful of 2021 releases I want to try and get to before the end of the year, and I've got one more anniversary article coming up that I need to decide what I'm doing with, so I'll probably have at least two more articles this month, but I'm thinking about focusing less on the videos and more on the reviews.  While I do enjoy writing all these different articles, I certainly don't want them to become more work than they're worth.  Hopefully, I can find a good balance going forward.  Until then, rock on!  \m/

New Videos - October 2021!

Sorry for the lack of posts.  This month ended up being busier than usual.  Still, late on Halloween, I was able to get this article of videos together.  I've got some great metal this time.  Also, I want to make a minor change to my Spotify playlists: I'm going to have them go by quarter than by month.  Anyway, let's get started!

Starting off with some more Manimal, this track has a ton of Judas Priest energy.  Not only do you have some nice mid-tempo riffing, but singer Sam Nyman really channels that Halford energy with some epic wails.  This one is real solid, fist-pumping kind of stuff.

More Firewind!  It looks like Gus G and folks have another neat single for us, and while it may not be anything they haven't done before, it's solid power metal.  Herbie Langhans really seems to fit well with the band, now that he's had an album with them under his belt.

Now that I'm aware that Herman Frank is a part of this band, each new single definitely gets my attention.  Here, we have a nice, mid-tempo rocker, giving me some AC/DC vibes along with the classic German metal sound.  Vocalist Gianni Pontillo really lets it hang out, and it's great stuff!

Oh, hey!  These guys are back!  Once again, they've taken melodic metal and added a powerful swing-step to it, making a pretty catchy and groovy track with some nice, crunchy riffs.  I guess they're preparing an album for next year, but it's nice to hear they're still rockin'!

Here's another band I hadn't heard of before.  I guess this is from an album that came out last year, but this video was pretty new.  It's kind of a mix of heavy and power metal, but it has a some catchy riffs and good melodies.

Yup, Sabaton is back and doing more World War One stuff.  Of course, given the subject matter, they've added a strong layer of symphonic elements, giving the track a Trans-Siberian Orchestra vibe, going for both somber and anthemic.  Say what you like about the band, they certainly don't do things half way.

Anniversary Series - 2011!

I can't believe it's been ten years since 2011!  I swear it wasn't that long ago last time I checked!

Despite the flight of time, this is another pretty decent year, and while I had more for this year than 2006, most of it was power metal.  HammerFall would go a little darker (and have some very different album art) with Infected, Power Quest had a few fun tracks on Blood Alliance, and Alestorm continued their screwball pirate metal by going Back Through Time to beat up some vikings.

Outside of that, Saxon had a few good tracks, and Yes would release their first album in ten years with the decent, if lackluster, Fly From Here.  I'll give more details about this on that Yes Retrospective I'm slowly working on, but the epic title track (a revamped leftover from the Drama days) and the closer are really the only tracks that stand out to me.  There are a few other songs I've thrown on, but it is a very power metal heavy list.

So once again, I'll be reviewing a few albums from 2011 that I haven't listened to before.  Hopefully, this will help balance the playlist out with other genres, though I do get to one power metal album for this article.  Let's get started!

Haken - Visions

After reviewing their debut album last year for the 2010 article, I figured I'd do their follow up for this year!  Haken certainly has their own take on progressive metal, and while this album isn't as ambitious or eclectic as Aquarius, they still know how to lay down some dynamic, noodly tracks.

Once again, we get another concept album, this time focusing on the thoughts of a man who saw a dream when he was young that he took as a premonition of his own death.  Believing it to be true, it kind of messes with his life and perception of reality until he finally sees the premonition be fulfilled, but in a sort of a time loop?  I'm getting the impression that this band isn't as interested in storytelling as they are exploring a concept.

Still, there are some pretty good songs building on this.  The album actually kind of starts off pretty mellow, making me think of bands like Transatlantic and The Flower Kings, as they use a lot of clean guitars and feature a lot of jazz-fusion segments.  However, as the album goes on, it gets chuggier, and soon the noodly guitar solos and synth runs come out.  It's a nice build, overall, but it does tend to leave the album a bit overloaded at the end.  I definitely enjoyed "Insomnia" and "Portals," though, as I thought they had some neat ideas, and generally the album does feel more focused and streamlined than Aquarius.  I definitely got a stronger Dream Theater vibe this time around, especially during the solos.

If there is a problem, it's that it maintains a kind of bleak and depressing tone for most of the album.  Even during the lighter sections, it keeps this mysterious, foreboding atmosphere.  And the lyrics often are morbid, often through introspective existentialism, but do reference self-harm, to whom it may concern.  I understand it gets more hopeful towards the end, but it can still be a heavy listen.  And that's not just from the last track's 22 minute runtime!!  It's a decent closer, but I do think it runs on for a little too long.  Overall, it's a solid proggy experience, really meant to be listened through as an album.  The tracks are pretty fun and epic at times, but I don't know if really earns its length, as the good moments feel a little too far apart.

Lionville - Lionville

After enjoy one of their tracks last year, I thought I'd add some more AOR to this article by listening to Lionville's debut album.  Right from the get-go, they have the style down, and sound great.  However, as I've mentioned before, it can be hard to really review this style of music as it's clearly dedicated to an established sound, and Lionville really do well to meet those expectations.

If there is one thing that can be said, there are quite a few ballads.  They're not bad, and they tend to have a more 90s feel, but they do bring the energy down a little too much for me.  However, those who like their AOR to not just be rockin' the whole time will probably appreciate the variety, as they are well-performed.  As for the stuff that does rock, I did enjoy "Here By My Side," "The Chosen Ones," and "Dreamhunter."  "With You" also was pretty good, going from a mellow piano start before the guitars kick it into arena mode.  I also liked the use of keys across the board, adding little touches and moods to the songs, and even getting in a solo or two.  Overall, a solid collection of melodic rock.

Dragonland - Under the Grey Banner

Yup, I thought I'd take this opportunity to finally wrap up the Dragonland discography.  I remember hearing a lot of good things about this album, but I never got around to it until now.  The result is very much an evolution of the band's sound, now returning to their Dragonland story with all the things they've learned.

Right off, this feels like they've finally reached the epic heights the early albums were striving for, as this has massive atmosphere and majesty, much like Rhapsody of Fire.  They've also recruited a few other singers to take on a few roles, making it a bit like Avantasia as well.  However, it's all very well produced, and along with the improved song-writing and vocal melodies, this is easily the best of the story-based albums.  "Shadow of the Mithril Mountains" sets the stage well, "The Black Mare" is a great travelling track, and "Dûrnir's Forge" has these epic, slow riffs, with a proggy section in the middle that's really interesting.

I don't know if it's their best album, overall, as Contact is just about as good as this one.  However, Contact had some more progressive metal elements (not always a bad thing) and this clearly has the fantasy power metal style in spades.  I did notice that the guitars weren't as prominent on this one as previous albums, as the emphasis was on the orchestral elements, but there were some decent riffs and solos throughout.  While it remains unknown as to whether the band will put another album out, at the very least, Under the Grey Banner would be a great note to end on, as it's a very solid collection of symphonic power metal.

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Well, that's 2011.  Hopefully, I'll get around to more stuff and help balance this playlist out, but I think it's a solid collection of songs.  If I've missed anything, be sure to let me know.  Now that I've listened to all the Dragonland albums, I could just pull my reviews together and do a retrospective article, if I'm feeling lazy.  We'll see.  I still have plenty on my plate of albums to check out, both old and new.  Until then, rock on!  \m/

Last Played - October 2021!

We're starting off a little different this month, as I've got a Last Player right here for you already to go!  After the power metal fest that was last month's article, I've decided to focus on more classic-rock-styled bands for this one.  Still, I got to hear some really great music on these.  Here's what I've been checking out lately.

Europe - Start from the Dark

So after Prisoners in Paradise was swallowed up in the grunge wave of the early 90s, Europe decided to call it a day.  However, after a few reunion shows in 2000, they decided to really give it another go in 2004 with this album. Bringing back John Norum who hadn't worked with the band since The Final Countdown, you'd think it would be a return of the 80s pop metal sound, but they decided to go in a darker direction.

Right up front, they've got a heavier, grittier guitar tone, likely something borrowed from the post-grunge sound of the time, and the song structures do feel like something out of the 2000s alt-rock playbook.  But then Joey Tempest comes in singing, and John Norum brings out some very classic guitar solos, and this odd mix of 80s pop metal and 2000s alt-rock sort of comes together.  Looking at some of the history, I get the impression the band felt like they were starting over again, so they wanted to prove to newer audiences they could still rock.

It's an odd combination, but it almost works at times.  Most of the tracks have some solid riffing, and Norum's solos are really nice.  However, the keyboards are pretty limited, often put pretty far back in the mix, letting the guitars do all the work.  I did like the title track, and "Wake Up Call" has a solid post-grunge vibe that I liked.  Unfortunately, the second half of the album kinda lags, and feels uninspired at times.  The fact that this isn't even on Spotify seems to indicate that it's a bit of a black sheep in the band's discography.  It's an interesting comeback, showing a darker, grittier side of the band.  However, I don't think this sound is where they really excel.

Vega - Grit Your Teeth

After enjoying Only Human a lot, I don't know why I didn't prioritize the follow-up last year.  Maybe there was just a lot to cover or I was distracted with something else.  With their new album Anarchy and Unity out already, I figured I should try to catch up real quick before I gave that a listen, and I'm glad I did.

Unsurprisingly, Vega brings more solid, 80s-inspired hard rock.  However, the first thing I noticed is the production, which feels a little looser and allows the band to have a few different tones and vibes.  Only Human had a solid sound, going for a thick, tight, anthemic style, but Grit Your Teeth feels more fun.  Everyone is on point, with great riffs, solid layers from the keyboards, and Nick Workman's vocals dominating center stage.  His voice is perfect for this kind of stuff.

As for stand out tracks, the first three are great!  "Blind," "(I Don't Need) Perfection"), and "Grit Your Teeth" come out swinging and set the expectations for the album very well.  "Save Me From Myself" and "How We Live" are some solid anthemic rockers, and I also quite liked "Consequence of Having a Heart," as it had a more mysterious vibe, making me think of the atmosphere in "Enjoy the Silence" by Depeche Mode, of all things!  To be honest, looking back over my top 5 for 2020, I think this might have squeezed out Primal Fear.  I honestly wished I had taken the time for this album last year, as it's a very solid set of melodic hard rock tracks!

Creed - Creed

I'm sure this is going to need some explanation.  This is not the well-known post-grunge band of the late 90s, but rather a completely different group from the late 70s, and they play some really solid southern-fried rock.  I admit I don't know a whole lot about this band, other than they're from Memphis, and they made this one album in 1978, but I'm honestly surprised they didn't go on, as they have a good sound.

What's interesting is that, while they're certainly in the same ballpark as bands like Molly Hatchet and Lynyrd Skynyrd, they have a simpler blues-rock sound, augmented with some interesting keyboards and synths, making them sound rather unique.  At first, they start with some solid rock tunes with "Keep On Rockin'" and "Tied Down," but then with tracks like "Firecracker" or "Just Can't Stop," they have these lush keyboards and synthesizers, like the kind you'd hear on a Styx or Kansas album from the same time period.  The rest of the album does pretty much keeps up the rock and roll, with lots of trading guitar riffs and some fun synths thrown in for good measure.  The final track "Time and Time Again" even dabbles in some space rock before kicking it into gear and shredding those frets.

Honestly, this feels like a weird mishmash of 70s rock ideas, but it's all in this fun southern-fried rock framework that ensures the things keep rockin'.  And I cannot stress enough how good the guitar work is here.  Lots of tasty licks, solid riffs, and electric solos!  This really is a solid, neat album that's worth listening to from top to bottom.  Fortunately, this album isn't completely buried, being available on sites like Spotify and Amazon, so you don't have any excuse.  Check this out!!

Yes - The Quest

The big one!  When your favorite band puts out a new album, you definitely pay attention to it.  After their last album Heaven & Earth was an underwhelming pile of slightly proggy soft rock, I was hoping they would follow up with something more driven.  As such, I've been cautiously anticipating this one ever since I was aware of it, and when "The Ice Bridge" (once the credit kerfuffle was sorted out) turned out to be a solid single with some great energy, my hopes rose a little.  Now, for their first album of new material in 7 years (not counting the From a Page tracks that Oliver pulled out for us), where does Yes stand now?  Unfortuntely, not much better.

Right off, I do think this is an improvement, and a lot of it has to do with the production and layering.  Much of this album reminded me of parts of Tales of Topographic Oceans or "Awaken," as they have a stronger sense of the mysterious.  However, the pace of these songs really do drag for me, as most tracks seem to start with a solo instrument before building up to a mid-tempo, soft rock atmosphere.  I'd still consider it prog, as the tracks do have some interesting shifts and movements, but the rock part is debatable.  Another problem I had is the vocals.  While Davison is a good singer, he doesn't seem to give anything a memorable quality.  It's more like his vocal lines are laid on top of the song at times.

That being said, there are parts I do like.  "The Ice Bridge" is a great opener and definitely the best track on the album, with some solid riffs, a great bassline, and nice solo/jam section at the end.  I can see that one doing well live, letting the band members rock out for a bit.  "Leave Well Alone" has some interesting segments as they shift from a funky groove to a more pastoral vibe with mandolins.  "Future Memories" has an interesting minimal approach, but I wish it went somewhere instead of just languishing in the mood it creates.  "Mystery Tour" is an amusing tribute the Beatles, but really isn't much more than a novelty.  Unfortunately, the rest of the album just passes in one ear and out the other.

Overall, I feel disappointed.  What happened to the drive from songs like "Yours Is No Disgrace" or "Roundabout"?  Even some of the later albums when Howe returned has some upbeat stuff, like "Lightning Strikes," "Finally," and "Spirit of Survival."  I know some of the main members aren't getting any younger, but I feel like there are bands just as old as they are and they're still cranking out some energized material.  Maybe as the years go by, I'll appreciate this album more, as the production makes this pretty listenable, but for now, this lineup of Yes only seems to show some slight improvements.  

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Well, that was an interesting mix of things.  Some of it was great, some of it kinda lackluster.  Still, I think it's worthwhile to go over all kinds of albums, as they broaden my perspective as to all the different ways people approach the concept of rock and what they want it to be.  In any case, I've still got plenty to listen to in these last few months of 2021.  Not only do I want to review things for the upcoming anniversary articles, but there are some major releases I need to pick up.  It's gonna be a busy fall!  At least there's a lot to look forward to.  Until then, rock on!  \m/

New Videos - September 2021 Part Two!

I know I'm cutting it close, but here's one more for September before we dive deeper into the stacked autumn season.  Definitely got a good variety here, so there's sure to be something for everyone. 

Between Worlds is another Frontiers Records project, this time revolving around Ronny Munroe, a metal singer who has been kicking around for a few decades, with well-known stints in Metal Church and TSO.  Here it seems to be leaning into a symphonic rock/metal project that has some decent crunch and some potential, along with a catchy chorus.  I'll have to keep an eye on this one.

Kissin' Dynamite is always good for a fun song, and this is no different.  Finding a nice groove between 80s rock and metal, it's not surprising that it's uplifting and anthemic.  Surprisingly, this is for an album not coming out until January, which seems a little early, but I suppose it will serve as a good start for 2022.

Carrying on with more 80s cheese, Crazy Lixx is back with more Def-Leppard-style pop metal.  After enjoying their last album so much, I'm definitely interested in more from them.  While "Anthem for America" was a little weird, this one is much more straight-forward, with a mid-tempo rocking vibe that feels nice and laid back.

It's been a while since I've listened to Ronnie Romero.  I kinda forgot this was one of his bands as well.  The music is some pretty straight-forward melodic metal with some dramatic heft, but it's Romero who really shines with his iconic vocals.  Overall, a satisfying track.

I clearly need to get caught up on Tremonti's solo band, as this stuff is really solid.  It does wander into alternative metal territory with that very crunchy opening riff, which isn't necessarily outside of Mark's wheelhouse (I still remember "Bullets"), but the chorus falls back into classic post-grunge, allowing for some decent juxtaposition that doesn't feel too jarring.

Wow, this has massive Stratovarius vibes!  This makes me think of classics like Visions and Destiny.  Even vocalist Guilherme Hirose is reminding me a lot of Timo Kotipelto.  High speed riffing with nice neo-classical touches throughout, this is power metal done well!

Last Played - September 2021!

Time for some album reviews!  I'm finally catching up to some new releases, and this time, it's all power metal!!  There's been some solid stuff released this year, and it's great to hear that this style still has a lot going on in it.  Here's what I've listened to lately!

Paladine - Entering the Abyss

Well, I said was going to get this one, and here we are!  Just as a recap, Paladine are a power metal band that focus their songs on the D&D Dragonlance setting, which is what got my attention in first place.  Right off, there really isn't much that's different than the last album, but the production is definitely better, as things are more balanced between the performers.

Once again, we're back into tracks that are kinda crunchy, kinda melodic, kinda epic.  Blind Guardian and classic Dream Evil feel like the main reference points, especially with Protonotarios's grittier vocal delivery.  However, these songs are pretty straight-forward power metal, providing a lot of the same vibes multiple times, I feel.

Overall, it's not bad, as it is all generally solid, but the only real stand-out tracks for me are "Entering the Abyss" and the speedy "Hourglass in the Sky."  Still, fans of the D&D franchise will find plenty to enjoy, and I'm sure power metal fans will dig the solid atmosphere and slick guitar leads.

Helloween - Helloween

I've been a fan of Helloween for a while, but I haven't really caught up with their more recent releases (I've listened to everything up through Better Than Raw).  Combined with the fact that they've brought back both Kai Hansen and Michael Kiske, after touring so successfully together, I wasn't sure quite what to expect.  I should have figured that it would feel a lot of classic Helloween, which made me pretty happy.

Sure, some of the songs are on the longer side, due to some intros and prog-lite shifts, but otherwise, anything that one could expect from a Helloween album is all here.  The riffs are catchy and melodic, the solos are absolutely spot on, and the double-kicking makes me think it's late-90s power metal all over again.  As for the vocals, everyone is on point, though Kai doesn't take too many leads, focusing more on his guitar work.  However, they do this one section together on "Fear of the Fallen" where they trade words, and it's amazing!

The album is pretty solid power metal from top to bottom.  "Fear of the Fallen" is an incredible track that goes back and forth between high-tempo shredding and more mellow parts.  "Mass Pollution" is very anthemic.  "Indestructible" has a solid, traditional metal vibe.  And "Skyfall" is a great epic like "Halloween" all over again, with a dash of Bowie's "Space Oddity" for good measure.  The rest of the tracks are decent as well, without ever getting tedious or monotonous.  This might be the best album I've heard this year, so far!

Antti Martikainen - Carmina Gloria

I'm not quite sure when it happened, but I discovered Antti when I came across a track or two of his Northern Steel album on YouTube, I instantly loved it.  Epic folk metal that really felt like it was made for his homeland of Finland.  Nearly 2 hours of solid awesome.  So when I discovered he was busting out his guitars again for another album, I knew I had to give it a listen.

Much of what made Northern Steel so great is here as well, though the folky elements are mostly gone, replaced for a more straight-forward symphonic metal approach, with a few dashes of power metal.  However, given the theme of crusaders, there are a few middle-eastern style sections with exotic ouds to expand the soundscape, allowing for a bit of variety as well giving the music even more lush layers to work with.  Meanwhile, the guitars are on point, with some huge riffs and leads that are very melodic and tasty.  And its hard to go wrong with track names like "Metal Crusade" and "Claymore in the Face"!

If there is a problem is that it insists a certainly level of intensity throughout.  While it does have dynamics from section to section, it maintains its epic tone from beginning to end, so it might be a bit much for some folks, especially with the longer tracks.  However, I enjoy it quite a bit.  I don't know if this will hit my Top 5, but it's a lot of fun to listen to and have on in the background.

Hammer King - Hammer King

When I first heard "Hammerschlag," I knew this would be an album I couldn't ignore.  Featuring solid mix of heavy and power metal, this album actually has more going on than one might assume from the album art and power metal name.

First off, I'm just going to say it: they sound like HammerFall, and I mean that in a good way.  However, it's definitely an older HammerFall style, making me think of albums like Glory to the Brave and Legacy of Kings, where the leads were more noodly and the songwriting more expansive.  Fortunately, these guys are not just a clone, as they bring in a few other influences, like the Iron Maiden-like leads on "Into the Storm," the Manowar-esque epicness on "King of Kings," and the Savatage/TSO vocal rounds at the end "Atlantis (Epilogue)."  There's also a good variety in tempo and tone, helping to break things up.

This stuff is really up my alley, as HammerFall is the band that got me into metal.  I'm not sure of the acoustic outro "Holy" was really necessary, though, as "King of Kings" was a solid closer.  My favorites from this album are the solid opener in "Awaken the Thunder" and of course the memorable, anthemic "Hammerschlag," and the rest of the album keeps it pretty classic.  It's a solid effort, one that makes me think I should dig into their back catalog.  If I do, you'll be sure I'll review it!

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Well, that gets a few off my plate, but there are certainly others, including a few still to come out this year, like Dream Theater and Yes.  Hopefully, I can get caught up on all the ones that I want to hear before the end.  However, that will make the Top 5 for this year harder to choose!  A good problem to have, I suppose.  Well, until then, rock on!  \m/