Last Played - December 2023!

Wow, December disappeared in a hurry!  I admit I didn't get to all the albums I had hoped to, but I was able to check out a few different ones, mostly albums with a lot of epic pretentions (not that that's a bad thing!).  I think I'll try to work in a few more before I get to my Top 5, but here are the last few I checked out.

Nospūn - Opus

Building upon the template established by Dream Theater and Haken, this band of prog metallers are starting off at a pretty solid point with their debut Opus, a concept album full of strange imagery and diverse musical sequences.  At first, it feels like it might be a bit too much, but the songwriting just keeps it together enough to make the album feel whole and complete.

Starting at a house with many tenants, a young man sees a tragedy that causes him to become more and more reclusive over time, focusing on his musical masterpiece.  However, he ends up shutting the world out, and many years later, tries to use time travel to complete his work.  Instead, he ends up in a time loop where another version of himself tells him to leave his work behind and instead go back to prevent that initial tragedy and learn how to work with the world instead of avoiding it.  I admit I had to do some digging to get all these details out, as upon first listen, I was expecting something a little more metaphorical.  Nevertheless, it serves as a unique idea to hang these songs on, featuring plenty of time signature and tempo changes to match the freewheeling tone of the story.

Those entrenched in contemporary prog metal probably won't find anything particularly new or innovative, but the execution of the ideas is certainly top notch, as these players are very in-sync with each other for their performances.  There's plenty of shifts and changes, but none of it feels too jarring, and even becomes uplifting at times, especially with the grand, triumphant conclusion.  The songs that stood out to me included the theatrical "Death of Simpson," the quirky single "Earwyrm," and the classically proggy instrumental "4D Printing."  I'm probably going to have to give this one a few more spins before I can really wrap my head around it, but this might be the prog metal album of the year, and I know I'm not alone in thinking that.

Atomic Symphony - Nemesis

After enjoying their last release, I was surprised to see them come out with another so quickly.  However, I didn't jump on it until now, only to discover that the band is on hiatus for the forseeable future.  Hopefully, they find the time to come back together, as I do think they've carved a unique niche in the prog metal space for themselves.

Right off, they carry on with their dynamic riffing and symphonic wall of sound, and prog metal fans will be right at home with the quirky rhythms and proggy jams scatter throughout.  However, compared to Hybris, this one is a darker, slower, more melodramatic flair, trading in some of their adventurous songwriting in favor of more somber storytelling.  Again, I'm not quite sure if this is a concept album or not, but the artwork certainly seems to link it to the previous album, nonetheless.  While the band performs their material well, it's Jasmin Baggenstos who stands again with her iconic alto vocals.  This time around, she seems to have a more soulful approach, especially during the softer jazzy sections.  

The album is also on the shorter side, barely clocking at 36 minutes, and yet, it feels about right, as there really isn't any padding or any ideas that feel undercooked.  While all the songs keep a steady, mid-tempo vibe, they create a great sense of atmosphere, as this album feels much more cohesive and whole.  "Phoenix" does bring in some good energy in the middle, but otherwise, it's a dark tale that winds its way to its somber conclusion.  While I do think I like Hibris a bit more, as it is more lively, this is still some solid progressive metal from a band that probably didn't get much attention.  I'll have to check out their debut at some point to round out their discography, and if it's as good as their other two, it will be worth the listen.

Sacred Outcry - Towers of Gold

I know hype can be a dangerous thing, but when this album was suddenly getting good reviews saying it's the best power metal album of the year, I certainly raised an eyebrow in curiosity.  It's not often that the genre gets attention from the more mainstream metal press like that, so I decided to check it out.  While it certainly tells an epic tale, I think this is some pretty standard power metal.

I was first surprised to discover that Daniel Heiman of Warrior Path was the singer for this band as well, providing his epic vocals and wails.  However, despite him being the only member to be in both bands, this album shares a lot with Warrior Path's sound, going for big riffs and epic story-telling.  The major difference is the lush production, with plenty of synthesized strings and choirs to help fill the wall of sound.  They also bring over some of their clunky songwriting, often shifting from mood to mood, and I noticed that there really weren't many choruses on these songs.  This brings the focus to the story that's being told across the album, which is a dark fantasy tale about the titular towers promising wealth and knowledge to whoever can find them, if they can make the journey unscathed.

For what it's worth, I did go into the album with a measure of caution, as I know the dangers of being overhyped for something, so I don't want to say I was let down by any means.  I'm just surprised that so many think this is some kind of revelatory album, considering that Warrior Path was doing much of the same thing two years ago..  I don't know if much really stood out, though I'm glad to say that the 15 minute title track was pretty good (as sometimes those can be a gamble).  In the end, this is just a very solid power metal album with an epic tale to tell, plenty of good riffs and solos courtesy of Steve Lado, and the epic singing of Daniel Heiman.  While I've certainly heard worse, I don't know if this has what it takes to be in my Top 5.  (We'll have to see.)

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With the end of the year, it's time to wrap things up.  I'll probably do a few more articles in January to take care of things (including my Top 5 of the year!), and then it will be time for another year of rock and metal!  I'm thinking about changing up my formulas a little, but those details will come later. For now, I hope we've had a good and safe holiday season, so that we can reflect on all the great music we've enjoyed.  Until then, rock on! \m/

New Videos - November 2023!

So I admit that things have been quiet lately (ironic, really), but I think I finally will have some time to catch up on some albums.  In the meantime, here is another handful of great videos to check out!  We got classic bands along with some newer ones, but it all rocks the same!

I still think it's crazy that Judas Priest is sharing these songs so early on, but I suppose they gotta ramp things up for their new tour with Sabaton somehow.  In any case, this is a solid 6/8 stomper and nice, catchy chorus.  While I think I liked "Panic Attack" a little more, it's by no means a bad metal song.

Firewind is also winding things up for an album coming out in March.  Gus G provides another track full of crunchy riffs and shreddy solos while Herbie Langhans sounds as good as ever for this band.  I remember liking their last album, so here's hoping this one will just as good.

It ain't flashy or sophisticated, but The Rods continue to do what they do best, and that is to play old-school metal like it's 1980 all over again.  While I have featured them in the past, this is another one of those bands that I should probably dig more into, as it seems like they have fun songs.

Scanner seems like a band that has sort of existed in the background of Germany's heavy/power metal scene without much recognition.  I think I had seen the name here and there, but never really took the time to check them out.  When this single came across my feed, I was delighted to hear a lot of energy and noodly riffs, not unlike Gamma Ray.  The lyrics are a little clunky in the delivery, but otherwise, it's a solid enough track to put them higher up on my radar!

Once again, Final Strike provide another slab of melodic, uplifting European-styled power metal.  It's not doing anything particularly new, but they seem to have the right pieces to fit right in with Freedom Call's particular camp of metal.  I need to get to this album!

Another song from an album I need to get to sooner rather than later.  This time we have Sorcerer going for an epic gallop, chugging along at a faster tempo than usual for these doomsters.  However, Anders Engberg's vocals soar just as before, and there are plenty of noodly guitars, which are a staple of the band, by now.

Anniversary Series 2018!

Once again, I haven't been to active around here, as I admit I've been focused on other things lately.  However, these Anniversary Articles are always priority, as I enjoy going back through the past.  For this one, I actually did consider doing a regular article, as I probably had enough to talk about, but there were some albums I wanted to check out from this year, so I decided to focus on reviews again.  Still, this is a great year for rock and metal, as you can see in the playlist below.

Lovebites - Clockwork Immortality

Well, this takes me back!  Nearly five years ago, I stumbled across a song from this album, and was impressed by what I heard.  While I didn't jump into them right away, once their next album came along, I fell right in love with it.  Since then, I've reviewed both their first and their latest albums (as well as an EP), making this the last full-length album I need to hear to have heard them all, and it really feels like things have come full circle.  As for the music, it's more bombastic power metal.

Honestly, these gals are very consistent.  This album is just like their others, with plenty of energy and high-speed fretwork, each member performing admirably.  As usual, they try a few things to break up the flow and keep things interesting.  "Empty Daydream," "Mastermind 01," and "Journey to the Otherside" have a bit more of a rockin' vibe, with "Mastermind 01" being especially fun.  Things get a little thrashy with "M.D.O." while "Epilogue" is a nice piano ballad that goes full symphonic metal towards the end.  All of this is bookended by some very solid power metal, with "Rising" having some Helloween vibes, "The Final Collision" making me think of Stratovarius a little, and of course "Pledge to the Saviour" still being excellent, five years later.

I am hard-pressed to think of a new power metal band that's come out in the last 5-8 years that has impressed me as much as Lovebites have.  Sure, new bands have shown up and given some good performances, but this Japanese band has been incredibly consistent, starting off with great shredding melodies and carrying on with their unique blend of power metal and J-pop.  While I still think Electric Pentagram is their best, they certainly established an incredible foundation, one that will hopefully result in a long career with many more great albums to look forward to.

Gygax - Second Edition

Gygax's first album of old-school tabletop RPG madness came out in 2016, and was a solid debut, featuring some very 70s metal, with some Thin Lizzy thrown in for good measure.  However, I didn't follow up with their later releases so this article gives me a pretty good excuse to catch up them.  Naturally, much like any campaign, they shake it up a little, but not too much.

While the first album was very much polished in a classic metal style, this album sticks much closer to the blues rock harmonies of the aforementioned Thin Lizzy.  I also think there is a stronger "live" quality to the album's production, like they're recording the instruments simultaneously instead individually, and there is some count-ins and weird shouts in the background sometimes.  Fans of blues rock will find plenty more licks to enjoy, I wonder if they might be turned off by the overt D&D-inspired lyrics.  Even with "Pure Hearts," it takes what seems like a song about falling in love and fills it with references to spells and towers.  They do shake up their sound with the nice instrumental "O'Ryant - Nocturne of Negligence" and some horns here and there, but otherwise, it's fantasy and blues-rock all the way through.

Ultimately, they're aiming for a very specific cross-section of old-school rockers and old-school tabletop gamers.  Growing up both classic rock and my dad's 1st Edition D&D books, you'd think I'd fall right in.  While it does have some fun little grooves, I generally prefer more escapism in my fantasy-driven music.  The first album did that in a way, but this second album leans more into the fun vibes of their sound, leaving the fantasy to their (admittedly clever) lyrics.  It's certainly not a bad album, as "Dice Throwers and Rock 'n' Rollers" starts things with a strong groove, "Song of the Silverhands" is fun a tribute to the Harpers from the Forgotten Realms setting, and "Second Wind" is a great energetic closer.  It would just be hard to recommend to anyone who doesn't fall into the particular slice of nostalgia they're aiming for.

Visigoth - Conqueror's Oath

This is another band like Lovebites were I stumbled on them, liked them, but didn't immediately follow up, so I'm definitely taking the opportunity to get back into this band and their brand of epic heavy metal.  Referencing all kinds of pop culture fantasy, they provide another slab of fist-pumping anthems.

While it may seem like much of the same as their debut, there are some differences.  First is the production, as they've gone for a bit of a cleaner, crisper sound, making me think of Gygax or Tanith.  This certainly allows for all the excellent guitar harmonies to stand out, but they've lost some of their "wall of sound" epicness as a result.  The other thing is that these songs are a little more straight forward, without the transitions mid-song into a different mood or tone.  That doesn't mean the songs are bad, but maybe not as story-driven or proggy as they were on the first album.

Still, this is some solid stuff.  Jake Rogers's vocals sail excellently over everything, and he is often boosted by great harmonies.  They also shake it up, really bringing the rockin' on "Salt City" and "Warrior Queen," while the epicness of "Traitor's Gate" is titanic, and "Hammerforged" certainly evokes elements of other hammer-themed metal bands I love.  The title track wraps things up with another doomy epic with a great 6/8 gallop and plenty of guitar solos.  While I don't know if this really surpasses The Revenant King, it certainly stands next to it with confidence.

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And that's the last Anniversary Article for this year.  Check the playlist below and if there is anything you think is missing, let me know in the comments.  Until then, rock on! \m/

New Videos - October 2023!

Happy Halloween!  Once again, I've got another handful of new videos for you to rock out while you celebrate the spooky season.  Well, okay, not all of these are really Halloween-themed, but they're all pretty good songs, which are never out of season!  Check these out!

While this is a band I keep meaning to catch back up on, but it seems they're plowing ahead with a new single, which hopefully will lead to a new album!  As expected, it's a solid anthemic rocker with a good chorus, as it seems the band hasn't lost a step in all these years!  I'm definitely looking forward to what they do after this.

After they blew me away a few years ago, Sorcerer is back to bring another slab of epic doom metal, with the emphasis on "epic!"  Back are the thick guitars, intense noodly solos, and Anders Engberg's soaring vocals, channeling a bit of Rainbow-era Dio a little.  The hard tempo shift for the solo also got my attention, as this song is more than just another plodding doom rocker!  I need to get into more of this band!

Trying to find a vein of hope in the midst of all the negativity, Firewind sticks with their heavy/power metal sound, which is still pretty solid.  Herbie Langhans gives the song the energy it needs with his charismatic gritty vocals and Gus G provides his pyrotechnic fretwork, making for a crunchy-but-anthemic piece of uplifting music.

While I admit I haven't kept up with Sonata Arctica lately, a number of folks are calling this a return to form of their old school power metal days, and I hear it!  The uptempo harpsichord synths channel the likes of Ecliptica and Winterheart's Guild in a way I haven't heard from them in a while!

I can't believe it's been five years since Firepower.  That was a good album, and with a bit of a synthy start, these legends are intent on carrying on their classic metal assault with another album due next year.  While there are no surprises here, the band is still executing their sound at a high level.

Anniversary Series - 2013!

While I was able to do a good summary for 2008, I'm back to doing reviews for 2013.  Sadly, I don't have much to share for the year in my playlist below; it's a gap I plan to fill as I carry on with this blog.  However, I do want to draw special attention to Dimensionaut by Sound of Contact.  It's a fascinating sci-fi prog rock concept album that was a highlight.  While its the group's only album, members of it would go on to form groups like In Continuum and eMolecule, both of which I've featured before.  Now, onto some reviews!

Find Me - Wings of Love

After enjoying one of their albums in the past, I knew I needed to at least give their debut a shot when the opportunity came around, and this article certainly provided one.  Unsurprisingly, it's another solid block of melodic rock a la Journey or Asia, with typical modern production.

Right off, singer Robbie LaBlanc dominates the mix, coming front and center.  However, he has a great voice for this kind of music, singing the sentimental lyrics with confidence and ease.  While the guitars do a good job of holding down the rhythms, its the keyboards by Daniel Flores that really provide the 80s ambience and energy, providing all kinds of reverby synths to augment the emotions behind the songs.  That being said, there are some decent guitar solos through out.  It's no wonder Frontiers Records has hung on to this band for all their albums, as it's exactly the kind of stuff the specialize in.

The album starts with some good rockers in "Road to Nowhere" and "Another World," before dipping a little in energy, with "Eternally" filling the ballad slot on the album.  Things pick up again with "One Soul" and "Bottom of My Heart," and it carries through to the end of the album.  I know that AOR like this is pretty straight-forward, without any surprises, but this album is a high quality example of what the genre can provide.  

Magnus Karlsson's Free Fall - Free Fall

Magnus Karlsson has been in the business since the late 90s, and quickly got picked up to work on a variety of projects for Frontier's Records, playing, composing, and producing all kinds of albums.  He also joined Primal Fear in the late 2000s and has been with them ever since.  However, this is the only project that bears his name, and the debut album falls in nicely for this article.  Drawing upon a quite the list of vocal talent, it shifts back and forth between symphonic rock and metal.

My first thought listening to these is the Allan / Lande project he worked on for Frontiers, going for full sentimental lyrics, with melodic hooks, symphonic arrangements, and providing sonic platforms for the vocalists to soar over.  Speaking of which, this is quite the lineup, drawing from hard rock and AOR to power metal and more.  Magnus does sing a few as well, and he's not bad, showing that there's more to him than just shredding guitars and bombastic arrangements.  If there is a problem, it's the lyrics, as they go for a lot of vague empowerment and drama, sometimes making the songs feel a little inter-changeable.

Still, that could be just nit-picking.  Anyone interested in rock and metal backed by lush arrangements and an incredible lineup of singers will be satisfied.  The standout songs for me include "Higher" (sounding very Primal Fear with Ralf on the mic), "Our Time Has Come" with Mark Boals, "Last Tribe," and "Dreamers & Hunters," with singer Michael Andersson sounding a bit like Jorn Lande!  Perhaps not anything earth-shattering, but it's a fun collection of songs showcasing Magnus Karlsson's abilities as a songwriter and producer.

Haken - The Mountain

So after checking out the first two Haken albums in previous Anniversary Articles, I had to carry on with their third album.  While it's not as much of a concept album as the others, it does focus on the theme of overcoming obstacles and personal challenges, as well as the dangers of greed and ambition.  However, they have definitely retained their peculiar blend of prog metal and quirky jazz.

While at first, it certainly feels like more of the same, but there are some subtle differences that does set this one apart.  Reading up on the album, the band mentioned how this one was a much more collaborative effort, and I think it really shows.  The playing is especially tight, and every song feels pretty meaningful and distinct.  This definitely feels like a band really coming together to make music.  There also is a lot more overlapping vocal parts, with different voices singing different lines.  However, the wild riffing and spontaneous transitions remain very intact, letting the band flex their technical muscles without the songs feeling too long or flashy.

This album got Haken a ton of attention, putting them on the progheads radar and helping them become one of the higher profile prog metal bands out there.  While the whole album does flow well, "Atlas Stone" and "Falling Back To Earth" do stand out as well thought out tracks, with "Cockroach King" being quite the mix of prog self-seriousness and downright zaniness!  I do think this is an improvement, taking what they've done before and distilling it down a little to get a group of songs that solidify their sound.  

Last Played - October 2023!

So I'm finally catching up on some current year releases, some new, some older.  However, they are all certainly metal of the heavy or power variety (and sometimes both!).  While a lot of this is pretty dang solid, I can't deny that last one really blew my mind!  Check out what I've been jamming lately!

Primal Fear - Code Red

I admit I had some hesitation coming to this one, as the last one Metal Commando was pretty underwhelming.  I know I included it in my Top 5 for that year, but I admit it hasn't really stayed with me much since then.  Now for Code Red, I did like their first two singles, and in listening to the rest of the album, I do feel like they've got some oomph back, especially in the second half of the album.

I'm definitely splitting hairs here: the band is as reliable as ever, with plenty of melodic leads, chunky riffs, and Halford-like wails from Ralf.  Business as usual really.  If there is a difference, it's mostly an uptick in melodrama, adding symphonic swells here and there.  The songs are also longer, letting passages linger and going for a more epic, mid-tempo tone.  There's also some frustration boiling up in some of the lyrics as the past few years were an inspiration for some of the songs.  Of course, they also have their standard fantasy tales, cheers of triumph, and anthems for the sake of metal, so it's certainly not some kind of concept album.

Overall, I think it's slightly better than their last album.  "Another Hero" is a good mid-tempo opener and "Play a Song" is an appropriately catch song about using music to get through hard times.  "Steelmelter" and "Raged By Pain" show their continuing love for Painkiller as those are very Priest-like.  Basically another solid effort from a band that's generally pretty consistent.

Weapon (UK) - New Clear Power

Like I mentioned earlier this year, Weapon are a band that started in the middle of the NWOBHM scene, but never really got much notice.  However, all these years later, they've started pulling together a few albums, with this one being their third full-length.  Unsurprisingly, it's some pretty straight-forward heavy metal with a strong emphasis on melody.

Right off, they sound like their compatriots Saxon, with the good rockin' energy, but guitar tone and riffs are definitely on the chunky side, making me think of Grave Digger as well.  The solos played by Oscar Bromvall tend to favor melody over shredding, making me think of Oscar Dronjak's work in HammerFall.  Danny Hynes is a solid singer, and often has layers of overdubs on the choruses, giving the band a touch of epicness here and there.  The rhythm section of Andreas Westerlund and Tony Forsythe keep things moving, sometimes pushing into power metal territory with those double-kicking bass drums.  All of this comes together pretty well, musically speaking.

However, there are a few things that hold it back.  The production is a little muddy, with the guitars very far forward, which sometimes buries Danny's vocals.  The lyrics are a touch on the cliched side, especially on the ballad "Live For Today," but they aren't a deal breaker.  Finally, the album really doesn't move from its comfort zone, sticking pretty closely to it's NWOBHM sound.  Still, it's a decent sound, and I ended up liking the two openers "Drumbeats of War" and "Take It or Leave It," with "Hard Road" as a bright spot later for having some nice, crunchy riffs.  Overall, the album is pretty level in quality, feeling like a solid update of a classic sound.

Blood Star - First Sighting

Like I mentioned earlier on my blog, this is a side project of a few folks from Visigoth, featuring female vocalist Madeline Smith, and their debut album certainly has elements of US power metal, here and there, along side a very strong 70s hard rock feel.  There's also a sense of pulpy sci-fi, as teased by the album artwork, making me think of this stuff as a soundtrack to a system-spanning galactic thrill ride!

Right off, Madeline makes her presence known, her great alto voice blending in well with the mix without getting buried.  She really brings an epic tone to the songs with her excellent vibrato and long notes, enough so to make me wonder if she's classically trained or something.  Otherwise, the music is pretty spartan, not a lot of overdubs, but that gives them a distinct old-school style.  They do touch things up with a bit of synths, but only on a few tracks, with the instrumental "Dawn Phenomenon" being where they are most prominent.  The guitars have a very classic chug to them, making the songs meaty without losing the opportunity to rock out from time to time, usually in the form of some very 80s shreddy solos.  The last song "Wait to Die" even pulls out some double-kicking bass drums to really end on a high note!

Overall, it's a decent collection of songs that seem to sit somewhere between 70s Judas Priest and Blue Öyster Cult.  If there is a problem, its that the album is pretty short at just over 30 minutes long.  I probably could have liked getting a few more songs, but I suppose that's not a bad takeaway, as I did like what I heard.  I don't know what the future is for Blood Star, but these folks do have something pretty good here, especially with Madeline Smith in the band.

Iron Savior - Firestar

Okay, look: when I brought up two of the singles for this album, I mentioned how they hit all the right notes and tick all the right boxes.  But what do I do when I feel like the entire album does that?  I know this is just Iron Savior and they've been doing the same thing since the late 90s, but when it's this good, I just don't care!

Musically, it's pretty much business as usual for these guys.  Driven by precise rhythms and double-bass-drum kicking, the riffs are allowed grounded and gritty while letting the solos melodically soar.  And between it all is Piet Sielck's perfect vocal delivery, providing all kinds of triumph and heroism on nearly every track!  They also know how to shake it up from track to track, so listening to it never becomes tedious, but a delight.  After listening to a plethora of power metal bands, it's easy to hear the tropes and feel like it's all been done before, so it's amazing when I hear a band that still knows how to maintain that epic spirit and feel fresh at the same time!

This is album of the year territory.  I know I brought up Twilight Force, Lovebites, and Kamelot as being contenders, but now they're gonna have to compete for second place!  It's not a perfect album, as there are a few tracks in the back half that aren't quite a strong, but those are just nitpicks for an album that's going to have quite a few tracks on the Best of 2023 playlist!  Superlative power metal from a group that hasn't lost their way at all!

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I'm looking down the pipeline and I'm afraid I may have to repeat some things I did last year, binging several albums at the end, as there is still a lot of stuff I haven't gotten to!  I think I've got things slightly settled in my own life, so I'm hoping I'll have time to get to them all.  In any case, it's going to be a pretty busy last few months for me as I crank out these articles!  Until then, rock on!  \m/

New Videos - September 2023!

I'm catching up on other things, but I think the rest of my year might be a little busy.  We'll see what I have time to get to.  Still, I found quite the collection of new videos, ranging from prog rock to power metal, and a few things in between.  I'm definitely excited for the albums these ones are teasing!

Well, if I thought the first single of Trevor Rabin's new solo album was unique last month, this knocks it further from the norm!  Definitely leaning into some proggy sections and songwriting, this feels like some of the noodlier parts of Talk turned left somewhere and found itself deep in some other dimension!  The while piano runs make me think of "Endless Dream," and the ending falls into this bouncy, symphonic arrangement, making for a song that I had no idea where it was going for its entire run time, and I loved it!

After their last album, Vega seems to be back in the 80s anthemic rock vein, providing a catchy chorus and some solid, crunchy riffs.  While the last album wasn't bad, it did feel like a letdown compared to what I had heard from them before, so here's hoping the new album sees a return to what they do best.

After Christian Eriksson left NorthTale, I guess he ended up fronting this new band.  Naturally, it's classic European power metal, very much in the vein of Freedom Call and Helloween, so I'm all for it.  It's certainly on the cheesy side, but I'm definitely curious how the rest of their debut album will sound.

I featured this band a few years ago and liked their style, and now they have a new album out!  Definitely falling into the more dramatic style of power metal like Kamelot and Blind Guardian, this track has some good dynamics to go with their crunchy riffs.

Yup, even more power metal!  While having Ralf Scheepers is enough to get me curious, the band's own singer Carlos Zema is very good in his own right!  While it's a very high speed blend of heavy and power styles, much like Brainstorm, I had never heard of this group until now.  Definitely on my list!

I know I've liked DGM in the past, but here it sounds like they've really fused their AOR sensibilities with their proggy chops to create something really dynamic and sentimental without losing any of their technical heft, with Mark Basile's vocals soaring over everything.  A good start for their new album!

Anniversary Series - 2008!

Sorry for the lack of articles lately; things have gotten a little hectic for me lately.  Nothing serious, just real life being less convenient than usual.  However, it does mean I don't have the time or energy to look at new albums or doing reviews, so despite planning on reviewing more albums, this Anniversary Article is going to be a normal rundown.  Fortunately, there is some really good stuff this year.

While power metal had since peaked, at least in its popularity, the style carried on with artists old and new.  DragonForce followed up their Inhuman Rampage with an Ultra Beatdown.  While it was largely more of the same, it was still a pretty solid set of shredfests.  Sabaton solidified their themes and sounds with The Art of War, featuring titanic anthems like "40:1" and the title track, and Edguy would shift themselves into more of an 80s hard rock style with Tinnitus Sanctus.

However, in my opinion the big power metal release from this year is Amberian Dawn's debut album River of Tuoni.  Finding a curious space between symphonic theatrics and Stratovarius style riffing, and drawing upon their native Finnish heritage, the album is full of tight, epic tracks with just the right amount of grace provided by Heidi Parviainen's vocals.  

Another album I want to draw attention to is PowerWorld's self-titled debut.  Sometimes called melodic metal, they feel like a mix of Queensrÿche and later HammerFall, but they have some pretty solid songwriting, and a decent cover of "(I Just) Died in Your Arms."  Speaking of covers, Northern Kings returned with another slab of symphonic takes on 80s pop songs.  It's a shame they never did more, though.  Other highlights of the year include Disturbed's Indestructible carrying on their melodic groove metal style, and Metallica's brief return to thrash with Death Magentic, which I praised highly in my Metallica Retrospective earlier this year.

As for rock music, I'm sure there are a number of albums out there, but there are two I want to talk about.  First is the Asia reunion album Phoenix, which features the original lineup working together again, bringing back their proggy AOR sound with tracks like "Never Again." And finally there's AC/DC's Black Ice, which saw the band really channel their classic 80s style with a very good album of anthemic stompers, like "Rock 'n' Roll Train" and "Decibel."

Well, that covers the year pretty well, I think.  I know there are a bunch of other albums I didn't get to, so be sure to check out the playlist below and recommend others in the comments.  In the meantime, I'll work on getting myself back on track!  Until then, rock on! \m/

New Videos - August 2023!

After reviewing so many albums, it's nice to just check out some music videos.  I've definitely got a mix of rock and metal this time around, with a few surprises along with some familiar faces.  Let's wrap up this summer by turning these songs up!

Taking a break from doing movie soundtracks, Trevor Rabin is coming back to recording vocal hard rock for the first time in decades.  This single is interesting, with a big, anethmic hook and some neat fretwork on both lead and bass guitars.  I kinda wish the production wasn't quite so muddy, especially with the vocals, but it's still pretty different and unique compared to a lot of the AOR that comes out these days.

I don't know what it is about Iron Savior, but they just keep ticking all the right boxes for me.  Otherwise going for a fantasy theme instead of their usual sci-fi, this is business as usual for them: catchy riffs, great energy, and Piet Sielck's excellent vocals.  October can't come soon enough!

Here's another Noveria single full of noodly solos and an anthemic chorus!  This one has a bit of an Arabic twinge, but otherwise, the chunky riffs and epic strings make for a solid track of melodic prog metal.  I'm definitely hearing stuff similar to DGM in this one, and that's a good thing.

While I've featured The Defiants on my blog before, it's been a few years, and I guess they've shifted from their 80s pop rock sound to something heavier and more anthemic.  Not that I mind, of course, it's just surprising to hear them rock this hard.  

The Dust Coda seem to be expanding their sound, this time coming out with a 70s style country rocker.  I admit when I started this song, I wasn't sure if I would like it, as I find country to be a little same-y (not that I've listened to a lot of it).  However, the band brings in some of their unique transitions, letting things build pretty well to a very anthemic ending.

Meanwhile, the Queen of Metal keeps things classic, sticking to some catchy, melodic, old-school metal.  If you've followed Doro at all, there are no real surprises here (though they look like they're having fun with their Mad Max aesthetic), but there's nothing wrong with keeping things simple, and this is about as straight-ahead as metal gets.

Anniversary Series - 2003!

Just like last time, I decided to do another set of reviews.  While I do have more diversity in my playlist below for this year, it's still pretty power metal heavy, especially when you have excellent albums like Kamelot's Epica, Sonata Arctica's Winterheart's Guild, and Twilightning's Delirium Veil.  And yet, here I am, adding even more power metal!  Seriously, the stretch from the late 90s to the early 2000s really was the peak era for this genre, with plenty of solid and fascinating albums!

Dream Evil - Evilized

This is a band that has carved it's own peculiar niche.  While they're very safely within the bounds of typical heavy/power metal, their approach has been to embrace the cheesiness with a unique gusto, often getting tongue-in-cheek about it.  Their first album provided many of the typical power metal clichés, involving all kinds of double-bass-kicking fantasy and triumph, but I've always come back it as a solid gem in its own right.  Now that I've listened to the follow up, it largely is more of the same, though with a stronger theme of horror and madness.

Not that this is a concept album by any means, but they've certainly traded in their swords and dragons for nightmares and insanity.  However, the songwriting remains pretty solid, focusing on tight song structures, good melodic hooks, and excellent guitar work courtesy of Fredrik Nordström and the now iconic Gus G, back when he was in a few different power metal bands.  However, I think the real key is Niklas Isfeldt's vocals.  I'm not quite sure what it is, but he brings the right mix of melodrama and power to these songs, singing some pretty cheesy lyrics that might not have worked coming from anyone with less confidence and bravado.

Things start off well with the opener "Break the Chains," with its 12/8 rhythms kicking into high gear at the end of the song.  "Fight You 'till the End" has a pretty solid chorus, "Children of the Night" has an interesting hard rock vibe, and "Fear the Night" is pretty catchy for being on the darker side.  While I think their debut Dragonslayer is a little stronger, this is still a solid effort by a band who knows how to be consistent without becoming tedious.

Black Majesty - Sands of Time

Does anyone remember Pandora Radio?  When I first got into metal in the late 2000s, Pandora got big at around the same time, and so I made a power metal station, which helped me to discover a bunch of other power metal bands.  In the mix were a handful of songs from this Australian band, and while I liked them, I hadn't sat down and listened through one of their albums until now.  So once again, I'm using the Anniversary Articles to check out the debut of another band I'd been meaning to get to for quite a while.  The result is an album that's definitely rough around the edges, but has plenty of energy and drive.

Despite coming out in 2003, I feel like this album would be right at home in the mid 90s, beside the early works of bands like Edguy, Kamelot, or HammerFall.  Vocalist John Cavaliere gives me some Geoff Tate vibes, so there's some Queensryche in there as well.  The production is a little chunky, and not as clear as I think I would have liked, but it doesn't hold the band back much.  Pavel Konvalinka drumming keeps things driving ahead, making for a very tight, high-energy listen.  There were a few times where it felt like the lyrics weren't quite fitting the vocal melody as well as they could, but otherwise, this is some very melodic metal, featuring some very good vocal harmonies and other layering effects.

"Guardian" and "Journey's End" stand out as being particularly catchy, but the rest of the album is pretty consistent without feeling too tedious, and they're not afraid to let a song just flow for a bit, creating their own atmosphere.  While it doesn't stand out from the power metal crowd, it's definitely a solid start for a band.  I'll need to check out the rest of their albums, as I'm sure the production will improve from here.

Masterplan - Masterplan

This is another band I first heard of through Pandora, but never really got around to, outside of a song or two.  This started as a side-project for Roland Grapow and Uli Kusch of Helloween, but when they got fired from that band, they decided to go full-on with it, grabbing the metal journeyman Jorn to sing their lyrics.  Now that I have an excuse to check it out with this Anniversary Article, the result is some decent, if curious, power metal anthems.

To be honest, I was expecting a stronger Helloween vibe, but as I listened to it, the songs felt more like a combination of a lot of power metal bands from the time.  Of course, Jorn brings his soulful crooning, and he sounds excellent.  However, the songwriting is what really stands out here, as there is some interesting ideas here.  Starting with a pretty standard power metal sound, most of the songs have very curious bridge and solo sections that change things up quite a bit.  I wouldn't say they're proggy, necessarily, but there are parts where it feels like it's kind of trying to find something new in the power metal box, and it largely succeeds.  I don't know if any of it is really innovative, but it does provide more than a few shake-ups to the formula.  

That being said, this is still very much in power metal territory.  The opening track "Spirit Never Die," "Heroes," and "Crawling from Hell" all have strong Helloween vibes, "Kind Hearted Light" has a synth riff on top that makes me think of Stratovarius or Freedom Call, and Jorn's vocals keep things pretty epic all the way through.  While I don't think this outshines some of the better albums of the year, Masterplan's self-titled debut has more meat on the bone than I certainly expected.

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So I guess that will do for 2003.  I feel like I'm doing double-duty between these articles and the Last Played ones, listening to and reviewing all kinds of albums.  However, I'm planning on a more typical Anniversary Article for next month, as plenty of interesting albums came out in 2008.  As always, check out the playlist, and let me know if you think there's anything I've missed for 2003.  Until then, rock on! \m/

Last Played - August 2023!

I'm not sure if it's just me getting older, but I felt this summer has been busier than others, taking up a lot of my time.  Nevertheless, I was able to squeeze in a few listens here and there.  It's a bit of an eclectic trio of albums, but there's pretty solid stuff to talk about.  Here's what I've been listening to lately!

Primal Fear - Primal Fear

(So this is a bit awkward.  I had originally written this to be part of the 1998 Anniversary Article.  However, when I took a closer look, I realized this album came out at the end of 1997!  So I've decided to move it to this article instead.)

In the mid 90s, singer Ralf Scheepers left Gamma Ray in hopes of being auditioned for vocalist position in Judas Priest after hearing that his name got onto a short list of potential candidates.  However, when Ralf heard nothing, and then saw that Tim "Ripper" Owens got the job, he was approached by Mat Sinner to start a new project, which turned into Primal Fear.  Since then, Ralf and company have been tearing up the power metal scene with their Painkiller inspired sound.  While I have enjoyed many of their recent releases, I recently decided to check out their debut, and unsurprisingly it's another slab of solid heavy/power metal.

If there is a difference between this and the newer albums, it's that this is much more typical power metal, which makes sense, as the scene was really growing at the time.  The band really did go right at the start for the nexus between Judas Priest and Helloween or Gamma Ray (and they even get Kai Hansen to come play on a few songs!).  While they do mix it up with the occasional anthemic stomper or power ballad, they really lean on the uptempo chugging and bass drum double-kicking for most of these tracks, not that I'm complaining.  There are a few moments where there could have been a bit more polish, either on the lyrics or the transitions, but otherwise, it's pretty standard, satisfying stuff.

Ralf Scheepers makes his presence known all over this album (which makes sense, as he was the main reason the band was made in the first place); he really soars here.  The rest of the band is tight as well, with Tom Naumann's guitars putting out riff after riff, with some great solos.  "Chainbreaker" is an excellent opening track, "Promised Land" has some interesting 6/8 riffing, and both "Battalions of Hate" and "Running in the Dust" have a lot of old-school charm.  While it's not a mind-blowing debut, it's pretty clear these guys had something special from the beginning and they've made it their core going forward, resulting in a lot of excellent music.

Rick Wakeman - A Gallery of the Imagination

I had been aware of keyboard legend Rick Wakeman had worked on and released a new album early in the year, but when the first few singles were lackluster, I didn't really pay attention to the album when it came out.  However, now that Yes themselves have put out a new album, I felt the need to give Rick his due.  I really did enjoy his last album with the English Rock Ensemble, so I hoped that this would be a decent follow-up.  While there are some interesting ideas across a diverse set of songs, the album doesn't feel quite as strong or cohesive as The Red Planet did.

Probably the first big difference is the inclusion of Hayley Sanderson as a vocalist.  She's not bad, but maybe a little high and light, and the mix makes her seem slightly shrill once in a while.  The lyrics mostly stay in figurative and flowery territory to help evoke the imagery that Rick and his band are trying to create.  However, the main problem, and it's kind of a big one, is that the album focuses on a kind of proggy sophisticated pop rather than any kind of rock.  Not that I can't enjoy other genres outside of the rock sphere, but when I think of Rick Wakeman, I don't think of chilled, pop-oriented, art pieces (though I suppose that better fits the cover art).  I wouldn't have been surprised if he had covered "Smooth Operator" by Sade.

For what it's worth, what it lacks in way of rock or adventurous spirit it makes up for with some decent variety, shifting between soft layers of synths to solo piano to latin jazz grooves, with the occasional synth or guitar solo here and there.  "Hidden Depths" brings in a bit of rock, "The Man in the Moon" made me think of the Alan Parsons Project, and "The Moonlight Dream" has some interesting, dreamy synth layers and solos that trade between guitar and keys.  He also has just some straight up solo piano pieces that are nice and atmospheric, but overall, there really isn't much to recommend outside of the occasional decent synthesizer solo.  Perhaps it's just a consequence of having bad expectations, but after his last effort was such a solid proggy tribute to the red planet, this is quite the let down.

Monkey3 - Monkey3

After having enjoyed their last album so much that it was my album of the year in 2019 (good heavens, has it really been 4 years?), I knew I needed to dig into the backlog of this band and hear more of what they've done.  With 2003 being the next target for my Anniversary Article series, I figured I could sneak their debut in here on this article.  It's a bit of a shift from what I heard on Sphere, but they remain excellent at maintaining a spacey, rockin' atmosphere.

The first thing I noticed was a lack of the Pink Floyd sense of emotion, instead leaning in harder towards a riff-filled stoner rock with massive riffs that dominate the space.  However, they remain experts at dynamics, letting their songs drift between high intense sections and softer, brooding moments, without ever feeling jarring or strange.  The songs just ease themselves between the sections with jammy rhythms all the way through.  I felt like they were aiming for a space between Tool and Seven Planets with maybe a dash of Pearl Jam: solid grooves and big riffs bound together with good atmosphere.  Sometimes, a section will feel repetitive without much going on, but for psychedelic rock, this is minor gripe, as setting an immersive tone is the priority, and sometimes that requires a bit of repetition for the trance-y vibes to settle in.

Because the songs have such good flow, it's hard to identify which tracks are the best, especially when they often transition seamlessly from one to the next.  "Last Gamuzao" is a solid opener, setting the tone for the album and having excellent moments on its own.  "Bimbo" gave me Blade Runner vibes, and "Darkman's Nose" has some nice heavy riffing.  Overall, it was a solid listen, though not as mind-blowing a Sphere was when I first heard it.  Still, it's a good start for the band, and it's easy to see how they could build on this.

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While things remain busy, I still plan on trucking along, with the next Anniversary Article coming up next.  I know there's a lot of new releases I've been neglecting, but I intend to get to them soon.  As always, it's overwhelming to see just how many new releases come out each year, but I'll get to as many as I can, eventually.  Until then, rock on! \m/

New Videos - July 2023!

Wow, this summer is going faster than I expected!  I know it's been dang hot for everyone, but hopefully we can endure for another month or so.  In the meantime, I've got another handful of excellent new songs for you to check out.  

Despite enjoying some of Noveria's singles in the past, I never did get around to that album, and now they have another one coming out!  They've still got that technical riffing and epic sound, this time with a bit more of a symphonic flair.  Italian melodic prog metal really is a distinct and fascinating sound!

Yup.  Another Anthem single.  This one definitely aims for more of a Painkiller vibe with that double-kicking bass drum and driving chugs.  Also, that guitar solo is pretty solid.  I'm starting to think I need to get into this band sooner rather than later, as their singles are surprisingly consistent.

Is it bad that the most I knew about this band is that they were the reason Herman Li & Co. changed their name to DragonForce?  Well, it turns out they've got a solid heavy/power metal sound, much like Grave Digger.  With a catchy chorus and some solid guitar work, this single might inspire me to give them a shot now that they've got a new album coming out.

Yup.  More Primal Fear.  This one is definitely a mid-tempo stomper, getting to their classic metal roots.  So far, Ralf and company seem to be keeping their consistent quality with this one.  While it's definitely much like what they've done before, I'm still looking forward to their new album. 

So I guess earlier in the year, some of the guys from Vanden Plas started this side-project that's more of a hard rock/heavy metal group.  Finally catching up on it, I think they have a solid sound, though I think I could hear Andy Kuntz sing over just about anything.  In any case, it's got some crunchy riffs and decent melodies, with some synth layers behind it for good measure.  Check it out!

Anniversary Series - 1998!

So I thought about doing a regular Anniversary Article for this year, but I noticed that most of what I'd end up covering was just power metal.  Now, sure, there were other things going on, but between HammerFall, Edguy, Stratovarius, Kamelot, Nightwish, Helloween, and Symphony X, the genre would have definitely dominated the article.

And yet, as I was looking around, I discovered there were three more power metal albums that were kinda important that I hadn't listened to before.  So yeah, we're doing epic fantasy metal anyway!  I figured instead of talking about how much I love Legacy of Kings or Oceanborn for several paragraphs, having some reviews would be the better choice.  Turns out 1998 was just simply an incredible year for power metal!

Rhapsody (of Fire) - Symphony of Enchanted Lands

While I have reviewed some of this iconic band's more recent albums, I haven't talked much about their discography as I haven't listened to much of it.  I did listen their first album before I started this blog, but I found it to be just okay.  However, this article gives me a chance to follow up with their second album, and I think it's quite the improvement.

As usual, the band has a story tell: a chosen hero of the northern lands is on a quest to find the legendary Emerald Sword from a gothic tower so that he can defeat the evil armies of the black lord that are threatening the Enchanted Lands.  Oh, and he rides a dragon through most of it.  So at least the cover art is on point.  Musically, it's another exercise in symphonic power metal bombast, with layers of orchestrations boosting the guitars, bass, drums, and vocals to another level of melodrama.  While these orchestrations are clearly synthesizers, they don't sound to bad, making me think of a 90s PlayStation RPG, and they work to give the album the fantasy charm they need.  The one thing that did stand out was all the classical music stylings, invoking the likes of Mozart and Bach for some sections, while others featured more medieval folk music elements.  The tone and tempo can also change at the drop of a hat, sometimes, making for a chaotic listen.  Nevertheless, the power metal was still there, with plenty of double-kicking bass drums and shredding solos.

For what it's worth, I wasn't bored with it, even if it's pretty much the same sound that the band has been doing for decades now.  While none of the individual songs stuck with me, it mostly holds together as it tells this chapter of the Emerald Sword Saga, flowing from section to section pretty well.  It's easy to hear how this influenced later bands like Dragonland and Twilight Force, with its melodramatic and operatic pretentions.  I don't know if the band will ever be one of my favorites of the genre, I can certainly appreciate the effort they make, with their complex arrangements and dedication to telling their stories.

Angra - Fireworks

Given that I've listened to their first two albums now, their third lined up quite well to be reviewed for this article.  And since I enjoyed those so much, I was looking forward to the last of the Andre Matos era of the band.  Unfortunately, I don't think this one is as strong as the others.

For what it's worth, there certainly are some interesting ideas, as they blend their power and prog influences into something more cohesive across the album, combining the high speed riffing with some mixed meter sections.  However, this ends up making the songs feel kind of sloppy and disorganized.  The production was a bit iffy as well, as it would get a bit muddy from time to time, and the drums lacked the impact of the earlier albums.  I liked moments here and there, but there really wasn't a song that felt strong all the way through.  I'm even a tad disappointed that "Mystery Machine" had nothing to do with Scooby-Doo.

With Bittencourt and Loureiro, there's plenty of solid riffing and shredding the album, and Matos sounds solid, though maybe a touch less inspired as before.  The songs are certainly dynamic, often shifting tempos mid-track, and showing both their high speed technical work as well as their melodratic side with more ballad-like segments.  "Wings of Reality" is a decent opener, showing their diversity of ideas, and "Speed" is a solid uptempo closer.  However, as a whole, I feel rather lukewarm about the album.  Maybe I just got my hopes up too high after enjoying the first two.

Blind Guardian - Nightfall in Middle-Earth

After having enjoyed their recent album, even getting into my Top 5 for last year, it was time to get back to the grind through their discography, and once again, this article gave me a good chance.  This album is probably the best known and most highly acclaimed from the band by fans, and I can see why, as there is a maturity here that wasn't on the previous albums.  While I don't know if I'll call it a power metal masterpiece (as my favorites still loom large), they definitely pushed themselves to new places with this one, going for big concept and giving it their all.

While this band has certainly covered fantasy literature before, this one is a full-on concept album based on the stories of the First Age of Middle-Earth as told in the Silmarillion (yes, I have read the book, so I knew what these songs were talking about).  It's not a comprehensive retelling, as there are so many stories there, but it covers a lot of the bigger moments, starting with a flash-forward to Morgoth's imminent defeat before going back over what led up to this moment.  Chronologically, it jumps around a bit, but thematically, it focuses on the themes and emotions of the stories rather than the plot or details.  The result is a lot of songs about revenge and tragedy, with the occasional bittersweet triumph, and the music follows it all perfectly.

Once again, the band have outdone themselves musically, drifting from epic orchestral bombast to somber ballad to aggressive metal riffing to folk melodies.  Oh, and a heavy dash of Queen, of all things.  The lyrics are often layered like "Bohemian Rhapsody," and the guitars throw in a handful of Brian May-isms here and there.  André Olbrich guitar solos are also a stand-out, often shreddy, but never losing the melodies and hooks, and occasionally throwing in a folky lilt.  And Hansi Kürsch lays it all out, going from somber to epic to triumphant to tortured all through the album, matching the emotions of the stories they're telling.  "The Eldar" in particular stands out as an example of his range, as at first it's just a soft piano ballad before he explodes with energy and emotion at the end.  If there are any hiccups, I'd say it's with the songwriting.  While some of it is great, there are times where they suddenly shake things up with some odd transitions and mixed meter segments, making some of the songs a little too chaotic for their own good.  The little interludes also feel a little excessive, but I don't think they interrupt the flow the album much.

I won't deny that, as a big nerd, I have been kind of looking forward to hearing this album, as how often have there been epic concept albums based on the works of Tolkien, let alone the Silmarillion?  I definitely enjoyed this romp through Beleriand, with "Into the Storm," "Mirror Mirror," "Time Stands Still," and "When Sorrow Sang," as the stand out tracks for me.  Overall, it's a solid album, and probably their best that I've heard so far, but I've still got another five albums to check out.  There's still just so much to look forward to!

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So there you have 1998.  I'm sure there were other good or important albums that came out this year, but as a massive power metal fan, I couldn't help myself, I guess.  As always, there's a playlist below, as well as a comment section if you feel like I've missed something from the year.  Until then, rock on! \m/

Last Played - July 2023!

After having a very busy June, I've finally got some time to catch up on some newer releases from earlier in the year and an older album that I admit is mostly just marking off an item on a checklist.  Still, it wasn't all bad, and the newer albums had some decent moments as well.  Here's what I've been listening to lately.

Big City - Sunwind Sails

This band blew me away a few years back with their curious blend of pop and prog metal, and when they announced their fourth album, I knew I had to give it a listen.  The first single showed that they have retained their particular style, and the rest of them album provides more of the same, but it struggles to really grab me.

The album has a lot of things going for it.  The production is big and anthemic, everyone's performances are solid, and they certainly don't rely on clichés for their ideas or lyrics, often dipping into science fiction elements.  The guitars provide a lot of noodly solos and crunchy riffs (Daniel Olaisen and Frank Ørland back again), and Jørgen Bergersen voice is huge and natural, their 80s rocking style ringing out with confidence.  The songwriting isn't afraid to mix it up at times either, throwing in a darker riff or a softer section, letting some songs drift in the five or six minute territory.  However, I can't deny that there seems to be something missing.  Maybe the melodic hooks aren't really working, making the songs less memorable, as they tend to pass delightfully in one ear and out the other.

I'm wondering if this is an album I'm gonna have to spend some time with in order to get a better idea of what these guys were going.  There certainly seems to be a push to make things more cinematic, taking their pop metal sound and boosting to a bigger scale, but I don't know if it's really making the music better.  I did like "I'm Somebody" as a solid opener, and "After the Raid" felt like it was inspired by Gamma Ray, but overall, initial impressions leave me lukewarm.  

Iron Maiden - Virtual XI

Yup, it's finally time to talk about the other Blaze Bayley album.  I was pretty underwhelmed by the first one, but from what I had heard, this one is just as bad, if not worse.  As it turns out, I think Virtual XI is actually an improvement, if only a minor one, as many of the problems from The X Factor return.

Primarily, the muddy production comes back, as well as the extended song lengths.  Honestly, many of these tracks feel long just for the sake of long, often repeating choruses over and over, as if they felt the need to pad them out for some reason.  "The Angel and the Gambler" is the biggest offender, as that song had maybe enough ideas for 4 minutes, but it goes on for 10!  The songwriting does have a few shake-ups, but most of the songs follow the same "Fear of the Dark" formula that the last album did.  

While I do think the band feel a little more energized, they still sound like they lack a lot of inspiration.  There are some solid guitar melodies and solos, the dynamics shift in ways that are pretty typical (though they are boosted by some synthesizers adding a few layers), and Blaze sounds decent, but it's hard to shake this sense that they're still in cruise control.  "Futureal" and "The Clansman" are probably the only songs that stand out, as the first has good energy, and the second does build to a decent level of epicness.  Overall, it's not awful, and not as sluggish as The X Factor was, but it's easy to see why most Maiden fans consider both of the Bayley albums to be so skippable.

Silver Bullet - Shadowfall

After stumbling into the band with a neat little power metal song about the Soul Reaver games, I decided to check out what else this band had to offer for 2023.  What I got was a set of songs that shift back and forth between AOR and heavy/power, like a mix of modern HammerFall and Eclipse, but with more symphonic keyboards.  

Maybe it was just the mood I was in, but the more metal songs stood out to me more.  "Shadow of the Curse" is a solid opener, really using the keyboards to add lush layers.  "Soul Reaver" was fun to hear again, and "Nighthunter" had a bit of a traditional metal vibe (at least until the choirs came in).  "The Ones to Fall" and "Creatures of the Night" were more on the AOR side, and "Falling Dawn" was a mix of both styles.  "Dusk of Dawn" gets doomy and dramatic with a slower riff and the massive orchestrations, only to get broken up with an uptempo section for the second half of the song, and "The Thirteen Nails" goes full-on symphonic metal.

Overall, it's a decent album, with a solid sense for dynamics and orchestrations, but otherwise it's pretty standard power metal.  It's also a little on the short side, at 45 minutes, but I think they were able to cover a good range of ideas in that time.  It's not particularly original (as most power metal fans will feel pretty comfortable with what Silver Bullet provides), but it's executed well.  While I had never heard of the band before, I'm curious to check out their older albums to see what they're like, if I can find the time.

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I don't know if I have much to say at the moment, other than that I'm trucking along.  My next article, which will be for 1998, is going to be a doozy, so I need to get started on that sooner rather than later (you'll see!).  I've been seeing some pretty high temperatures around, so I hope everyone is staying cool this summer.  Until then, rock on! \m/

Anniversary Series - 1993!

Due to circumstances, this Anniversary Article had to come out at the end of this month this time, and in the end, I decided to make it a bunch of reviews.  Normally, I don't end up doing this to the Anniversary Articles until the later years, but it turns out that I don't really have that much to say about 1993.  Most of the innovative things in rock and metal were happening in genres I don't generally cover (like alternative rock or extreme metal).  While there were some major grunge albums, and a pair of notable (if underwhelming) albums from Helloween and Gamma Ray, I figured it would be better to instead try and fill in some gaps by review some albums I had never heard before, and what we have this time are four debut albums!  Let's get into it!

Threshold - Wounded Land

Threshold, like many other bands, started out doing covers, with Wikipedia naming Ratt and Testament (which is certainly a bizarre combination).  However, as they started to develop their own songs, they drifted into the territory of early progressive metal, as Dream Theater's first two albums loom as a large influence on their debut album.

Since it's their first full-length effort, such emulation is often forgivable, and it's not like the iconic Berklee band is their only influence, as some of their pop metal cover days do slip in during some of the more conventional parts, mostly reminding me of Europe, largely due to the constant synthesizers.  In any case, they have a solid sound, even if it is very 90s, with the snappy production and the cheesy synths with tones that feel like they came from several video game soundtracks of the era.  However, they don't go into lengthy prog digressions, instead leaning into more of a melodramatic style in order to serve up their very didactic lyrics.  While it's not overly preachy, it's hard not to feel like the band worked with Captain Planet in the writing of them, with all the environmental and social issues they discuss.

That's not to say this isn't worth listening to, as they do have some solid songs here.  Nick Midson and Karl Groom's guitars provide plenty of chunky riffs, and Richard West's keyboards provide more than just some symphonic layers, as he gets in a solo or two.  Damian Wilson definitely sounds like he's aping James LeBrie, but he's certainly a good match for what they're doing.  The songs themselves are mostly decent, with the opener "Consume to Live" really setting the tone for the album and "Paradox" with it's more uptempo blend of guitars and synths being the major stand outs.  It's definitely a decent start in the same vein of melodic prog as Vanden Plas and other bands that followed in the wake of Dream Theater.

Candlebox - Candlebox

While progressive metal certainly picked up in the early 90s, it was grunge that had taken over.  Candlebox formed in Seattle just before it became the new mecca of rock, and they benefited greatly when their debut album came out at the peak of the grunge wave.  Listening to it, they definitely epitomize the sound, sounding particularly like Pearl Jam, but with the edges trimmed off.

Jam is definitely the vibe this album goes for, though.  While "Don't You" starts things off with a lot of energy, after that, it immediately drops into mid-tempo hard rock for most of the songs, giving it this default grunge feeling.  There are a few shake-ups, such as the jazz-fusion elements in "No Sense," or the bluesy "Rain," and some of them maybe go on for a little too long, but honestly, this feels like the most safe, profitable thing one could have released in 1993.  Maybe for someone new to grunge, this would be a good introduction to the genre as it doesn't have much of the weirdness that the other bands had (like Pearl Jam's psychedelia, or Nirvana's caustic angst). 

That's not to say that it's a bad album.  Kevin Martin's vocals drift between a laidback, dreamy style to outright wailing, with rambling sections here and there. The rest of the band plays well, as Peter Klett gets in some pretty solid solos, and the production makes them all sound huge and immediate.  The big problem is that it's mostly the same ideas all the way through: quiet verses, loud choruses, a dash of jamming here and there, and then fade-out, on almost every track.  I did like "Don't You" and "Arrow," but I found my mind drifting as the album went on, as it didn't have any ambitions other than to blend in with the crowd of bands that were big at the time.

Glass Hammer - Journey of the Dunadan

Shifting back to progressive music, Glass Hammer formed in 1992 and released their debut the year after.  However, I first became aware of this band much later, when Jon Davison, who had been the band's singer for a few years, joined Yes in 2012.  I did check out If and Cor Cordium at the time, and I thought they were okay.  It's only been lately, as I've been hearing their new singles which have a much stronger Rush feel, that I've began to wonder if there isn't more to this band that I first thought.  So, letting this article work as a good reason to do so, I've checked out their debut album.  (Of course, having it be a concept album about Aragorn from The Lord of the Rings certainly piques my interesting, being the fantasy nerd that I am.)

Narratively, it's basically a greatest hits of the adventures of Aragorn (though skipping the events of the Two Towers for some reason).  Of course, these songs are based on the books, as the movies had not come out yet, so it's a bit of a different interpretation of the character.  Still, it's a decent story to build an album around, mostly revolving a very synth-heavy sound that makes me think of Emerson Lake & Palmer.  However, they include elements of folk music and even dark ambient styles to tell the story, resulting in a pretty diverse listen.  Unfortunately, the whole thing is hampered by the cheesy production.  If I felt that Threshold's synth tones were video gamey, many of the ones here feel borrowed from edutainment PC games.  Despite the excellent playing, it's hard to take them seriously when they sound so cheap.  The lyrics mostly work, often using narration to bring the story along, but sometimes they also dip in the cheese, making the album sound like an Andrew Lloyd Webber adaptation of the classic legendarium.

Still, there are some good moments.  "Something's Coming," "Pellanor Fields," "Anduril," and "Return of the King" in particular lean pretty hard into the ELP sound, with those hammond organs taking center stage.  The album also features some decent ballads in "The Way to Her Heart," and "Why I Cry."  I know it's kinda tacky to do this sometimes, but I do wish this album got a complete re-recording, as I think it would hold up.  As it is, it's a solid album with some good ideas, but it's sadly hampered by the limitations of their budget and tools.

Angra - Angels Cry

After enjoying Holy Land so much, I figured I should move back and check out their debut as well.  The band's lineup hadn't quite stabilized yet, but they already have their iconic prog/power metal sound right from the first track.  

To be fair, their sound is a little rough at this point, and their influences of Dream Theater and Helloween do peek through pretty often (I suppose getting both Kai Hansen and Dirk Schlächter, who were together in Gamma Ray at the time, coming to guest star on a song together and recording the album in Kai Hansen Studios in Germany would be a factor as well).  They also include extended references to many different pieces of classical music, with the intro being a piece of Schubert.  Oh, and there's a cover of "Wuthering Heights" by Kate Bush for some reason.

As for their own songwriting, it's pretty solid stuff.  There are a few clunky transitions, as the songs will sometimes shift from prog to power and back again within the same song multiple times, and it doesn't always work.  However, Andre Matos bellows his vocals with confidence, the teamwork of Kiko Loureiro and Rafael Bittencourt is right on display, Luís Mariutti is shredding right along with them on bass, and while they relied on a session drummer named Alex Holzwarth, he nails the double-kicking energy the band needs.  The stand-out songs for me were "Carry On" which is punchy and energic, the title track with its ambitious transitions between styles, and "Evil Warning" for it's neo-classical power metal epicness.  While it doesn't really shine all the way through, as there are still a few elements to polish, but this is still an excellent entry in the early history of power metal.

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I guess that will have to do for 1993.  Certainly an interesting group of albums, exploring different ideas at a time where there was a lot of that going on.  As always, be sure to check out the playlist and let me know if I've missed anything in the comments below.  Maybe as I listen to more albums from this year, I'll have more to say about it, but for now, I've got to move on to my next set of articles.  Until then, rock on! \m/