Friday, December 31, 2021

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.

Friday, December 24, 2021

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.


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/

Thursday, December 16, 2021

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.


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/

Thursday, December 9, 2021

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.


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/