While I've been going through all these albums this year, I have to admit this article is a little different because it features some albums that I considered back in 2020, but never got around to, for one reason or another. In the end, this is turning into a great opportunity to catch up on some stuff that I liked. I don't know of any of these will break into my revised Top 5 (as that was a very good year!), but I won't know until I give them the chance! In any case, here's another chunk of reviews here at the end of the year.
This is largely a project built around Zak Stevens, singer for late-era Savatage and Circle II Circle. While I checked out a few of their videos, for whatever reason, I never got around to this until now. For what it's worth, this is some decently executed symphonic metal, much like other Frontiers Records projects like Allen/Lande and The Ferrymen.
Naturally, there's also a good dose of the Trans-Siberian Orchestra, especially on the opener "Fallen" and the overlapping lyrics on "Under the Spell." I think the main difference is that the symphonics, while well arranged, are further back in the mix and in the song-writing, letting the guitars and vocals take center stage. Speaking of guitars, Aldo Lonobile leans more into the melodic style of soloing but also has some pretty chunky riffs throughout, and his fretwork sets this album apart from other bands in this style. Overall, it's some solid symphonic metal, with "Rise" and "Twilight" as the standouts for their uptempo energy, while the epic closer "Return of the Storm" makes the most of their symphonic style into something bombastic and fun. They released another album a few years later, which I will get to sooner or later, as this one was pretty good.
Here's another group who had their debut album in 2020, where I checked out a few songs, and then didn't follow up. Featuring a few members from the melodic metal band Dynazty, Paralydium aim for a very melodic-but-noodly style of prog metal with catchy choruses, much like DGM or Vanden Plas.
One thing that sets this band apart is a greater emphasis on chuggy riffing, giving the band a bit of a heavier feel. Mikael Sehlin's vocals easily slip back-and-forth between soaring and having a touch of grit, giving the songs a bit of range, and the synths feel fresh without necessarily being experimental (and Mikael Blanc gets plenty of keyboard solos along with John Berg's guitars). The production gives the band plenty of space, whether they want to power through or jam around a bit, adding to the metaphysical, sci-fi/fantasy aesthetic they have going. While I don't know if this is a concept album, the lyrics have plenty of epic melodrama that fits the music well.
And yet, I don't feel that the band isn't doing anything to really stand above the pack in the field of melody-heavy, symphonic-driven progressive metal. All the pieces are here, and they have plenty of talent and great atmosphere, but the songs don't really seem to stick with me much after I've heard them, especially since the tracks do feel a rather interchangeable. However, none of it was bad, so maybe I need to give this more spins to really get a feel for it. I see that they have done at least one other album, so I'll be sure to give that a shot as well at some point.
After their first album was a solid blues-rock jam, and their second took them further into spacey atmosphere, their third effort really is just more of the same, but that's not a bad thing. Their tight rhythm section and effects-laden guitar leads put the listener in the right mood for another set of psychedelic rock.
Things start off well with "Vanguard," which has a very Led Zeppelin kind of energy to it (as does "206" and "The Buzzard"), while the title track builds up and breaks down its dynamics quite well, flowing from section to section with ease, making me think of early 70s Pink Floyd. "Great Attractor" was basically a slow build-up revolving around some thick reverb with a pretty satisfying ending. There is no 10 minute epic this time, but there are a few nearly reaching seven minutes, and none of this drags at all, as their repetitions only serve to enhance their atmosphere. With their groovy riffs and spacey soundscape, I just bang my head along and enjoy the ride. As far as I can tell, this is their last album as well. The band may still be going somewhere, and if they decide to record a new one, I will certainly look forward to listening to it. Until then, Explorer is probably their best, though their self-titled album was quite good, and all three are absolutely worth a listen.
A few years ago, I checked out this band's first release, which was a decent little EP full of epic US-style power metal. Now that I'm reviewing a bunch of albums for my Top 5, their debut full-length crossed my radar and I figured I'd check it out. Naturally, I got some pretty epic stuff, built on plenty of 80s tropes and techniques.
The boost in production certainly helps, but the songwriting seems to have eased up as well, making me think of the likes of Dio and Ozzy. The album starts with the high-speed tracks "Frozen Star" and "Drop the Hammer," both of which were good, but then it feels like they then pick up a dose of rock 'n' roll, being very noticable on "Don't Wait for the Wizard" and the 6/8 swing on "Masters of the Sky." Even "The Rising Sign" sounds like a classic 80s glam metal ballad, but the band adds some clever dynamics to turn it into a storytelling song, and it turns out pretty good. And of course there are plenty of guitar solos and harmonized melodies all over the place. While it does get cheesy from time to time, those who don't mind some sincere affection for classic fantasy and old-school metal will find plenty to enjoy here like I did.
After enjoying their latest album, I figured I should go back and check out their debut, which came out the same year as the rest of these. With basically the same lineup, this is another slab of well-made doom metal. The band continues to have great atmosphere, with Melissa Pinion's haunted vocals wailing over it all. While it's easy to point out similarities to other doom bands, such as Candlemass and Sorcerer (to say nothing of Black Sabbath), I do think they create their own space by really leaning into dark, mythological story-telling.
If there is a difference, I'd say that the band isn't quite as experimental as they were on the second album. These songs are relatively straight forward and don't feature much outside of the standard doom template (though it is well-executed). Still, there is plenty to like here, as the melodies feel as morose as the lyrics, and most songs have some playful mixed-meter elements and tempo shifts. If you like epic doom metal, there is little to criticize here, as it's quite a solid chunk of mournful, grandiose tracks.
Here's another situation where I enjoyed the band's recent release, so I figured I'd go back and check out the debut. As it turns out, much of this was written and recorded in the early 2000s, but set aside for some reason. Then, the album was mostly re-recorded much later and finally got released in 2020, though I understand some of the earlier work was reused. While their newer album was a solid (if rather overhyped) power metal concept album, their debut clearly paved the way for it, as much is the same here.
As with Warrior Path, we have Yannis Papadopoulos singing before he was replaced with Daniel Heiman, and he does a great job here, as one would expect. His wails are great, and when the songs has him harmonizing with himself, it sounds very powerful. I'm not sure if this one is a concept album, like the later album was (it's possibly about Elric of Melniboné?), but it follows some similar elements: soft acoustic guitars often give way to epic metal theatrics, a sense of adventure in the tone and lyrics, and a massive, 14-minute epic towards the end of the album. It's all pretty competently performed and nothing feels particularly out of place, but there is a sense that I've heard better elsewhere.
Naturally, I end up liking the faster songs, like "Sacred Outcry" and "Lonely Man," while the title track (the aforementioned 14-epic) goes through some interesting moods, drifting between somber and intense. In comparison, I think this debut album might have some better moments (especially with Yannis's vocals) than the second, but Towers of Gold was definitely supported with a cool, epic story, so they may be even overall. On its own, this album certainly gets quite epic, but I don't know if this band really impresses me as it seems to impress others.
