Retro Reviews - August 2025!

I admit the schedule I had planned for this year has been falling apart as this summer has been rough for me.  For now, I'm mainly going to get these articles out just when they're done.  At the moment, I'm focusing on 1990 for a Top 5 article, and as a consequence, listened to some stuff that I hadn't heard before now.  Featuring both hard rock and heavy metal, this trio of albums turned out to be pretty decent!

Dio - Lock Up the Wolves

While Dream Evil was by no means a bad album, it wasn't a successful as earlier efforts.  This led to quite the shake up in the lineup.  First, Dio brought in Rowan Robertson on guitars, and the two worked together on the new songs.  Jimmy Bain and Vinny Appice would contribute to the writing, but they left before the band got into the studio, replaced with Teddy Cook and Simon Wright, respectively.  Keyboardist Jens Johansson also joined, coming over from Malmsteen's band.  With all these new pieces, Dio crafts his new set of tales, this time with much more atmosphere.

Things start off well with "Wild One," an uptempo speedster (for Dio, anyway), but then the album settles into a slower pace, even doomy at times, as if Dio wanted to reach back to his proggier 70s Rainbow days.  "Between Two Hearts" in particular focuses on a rather sad love story, and the title track, at a stomping eight minutes, provides a lot of mood, much like Dio's work in Sabbath.  There's also a stronger bluesy element, especially on "Evil on Queen Street," with its menacing 6/8 riff.  The album picks up again with "Walk on Water," then settles into cruise control for the rest.  While these slower songs aren't necessarily bad, their long runtimes make a long album feel longer.

I will say that Robertson has some great solos, though, and the rest of the band does well, with Dio still charismatically wailing away as always.  As an album, I'm not sure if I'd say it's an improvement so much as Dio and company flexing some different muscles to provide another slab of epic metal, one that's easy to leave on in the background and headbang away.  While this lineup would not stick around after the tour, their album represents one last hurrah for the 80s style metal that Dio helped define.

AC/DC - The Razors Edge

After truckin' on through the 80s with some mediocre albums, the band carried on, building on the strength of their live touring.  With new drummer Chris Slade, the Young brothers took control of the songwriting.  This time, they've injected a bit more energy, making for quite the capstone for their growing comeback.

"Thunderstruck" starts the album and has been one of their best songs for a good long time.  From the start with the rapid-fire riff, all the way through to its anthemic end, it's peak AC/DC, without a doubt.  The energy sticks around for "Fire Your Guns," "Rock Your Heart Out," and "Are You Ready."  Meanwhile, "Moneytalks" has a catchy, lilting melody and the title track has some very peculiar riffing and chord progressions that got my attention.  The album loses some of its drive by the middle, content to cruise to the end, but none of it is a dealbreaker, largely because of the great production, courtesy of Bruce Fairbairn.  After all the muddy stuff of their last few albums, this clearly is an improvement, making the songs feel big, no matter how simple they are.

Of course, much of what I've said really are nitpicks.  AC/DC remain largely consistent as ever, and my thoughts on any of their albums seem to reflect the band's energy and drive on each one.  With The Razors Edge, the band is more alive, and while it might be a tad too long, there are some good headbangers and solid energy through its runtime.  It's certainly hard to beat this band when they're on top of their game!

Blue Tears - Blue Tears

While Dio was forging ahead and AC/DC was making their comeback, other bands were just getting started, only to be dropped on their heads due to shifting tides and bad timing.  Blue Tears is one such band.  Despite kicking around through most of the 80s, they didn't get picked up by a label until the end of the decade, with this debut album coming out in 1990, just as glam metal was starting to wear out its welcome.  It's a bit of a shame, as this is some pretty solid stuff.

By this point, most glam metal was getting some very shiny production, and this album is no different.  The guitars are crunchy, and the gated reverb makes that snare drum hit like thunder, and most importantly, the vocal harmonies are tight and lush.  Their inclusion of some synths in the back give the band an AOR vibe, not unlike Night Ranger.  Of course, ballads were big winners by this point, and they provide more than a few, though they're not bad.  "Blue Tears" does get a bit cheesy, but otherwise hits all the right marks.  As for the rockers, the album starts with their iconic track "Rockin' with the Radio," and their other single "Innocent Kiss" has a bit of a cinematic tone.  Other standouts include "Crush," with its massive riff, and the energetic closer "Thunder in the Night."

Naturally, comparisons to other glam metal bands like Europe, Poison, and Def Leppard come to mind, but honestly, this album is about as good as any of theirs.  It's not perfect, as a song or two do drag the album down, but otherwise, I found this to be pretty enjoyable.  Unfortunately, when the band started recording their second album, their label dropped them in the wake of the grunge and alternative rock explosion.  Years later, the band would release those tracks (and many others) in some compilations, and later a reunion album (sorta), and I may have to check them out at some point.  Despite some good, catchy tracks, Blue Tears just ended up getting lost in the cracks.

Top 5 of 1985!!

Well, this took a lot longer than it should have!  Turns out that there's a lot of rock and metal for this year, most of which was decent, but not amazing, so it took quite a few listens to figure out where to rank things.  While I do have an obvious winner (or two; I'll explain), the rest of the list was not easy, but eventually I decided I couldn't listen to everything and had to cut things off and choose.  I'm not as confident in this list as I am about the previous ones, but I have to move on.  So, for now anyway, here is my Top 5 for this quirky year.

5. Dio - Sacred Heart

It was tough to decide fifth place, as I was considering everything from Ratt and Accept, to Rush, but Dio's grandiosity won out.  It's not as strong as his first two solo efforts, as the band was starting to fall apart at this time, but you wouldn't really know it from the music.  Perhaps cheesy at times, but still a good amount of fun.

4. Asia - Astra

Once again, it's a drop off compared to this band's first two, as the inclusion of Mandy Mayer of Krokus pushed the band in more of an AOR style, but I think they make it work.  It's not as rich or proggy as the earlier albums, but there's enough of the classic Asia sound for me to put it up here.

3. Helloween - Walls of Jericho

As far as I'm concerned, European power metal started here.  Yes, it's a very rough album, mainly in classic speed metal territory, but careful listening shows the first steps of epicness, between the neo-classical riffing and Kai Hansen's wailing vocals.  While the band would definitely do better from here, picking up Michael Kiske, but I still find plenty of this iconic band's charm on their debut.

2. Dire Straits - Brothers in Arms

If there was an album that really defined 1985, it's this one.  Pushing their roots rock sound toward more commerciality, only to land on MTV's most sarcastic hit with "Money for Nothing," the band was thrown to the forefront of music listeners around the world.  Fortunately, the rest of the album is solid as well, with the somber title track, the easy-going "So Far Away," and my favorite from the album, the nostalgic "Walk of Life."  While the band had succeeded before, this album made them superstars.

1. The Alan Parsons Project - Vulture Culture/Stereotomy

Okay, so maybe I'm cheating here, putting two albums at number 1, but when they're both by one of my favorite bands, I was left with a hard choice?  Do let them take up two slots on a top 5?  Do I drop one in favor of the other?  Or maybe I just insist that it's my list and so I can make my own rules!  Seriously, though, this is some solid songwriting from a talented core of people.  The first carries on the formula of the previous two albums while the second sees them experimenting again a little.  While I do think Vulture Culture is the better of the two, Stereotomy is no slouch and has plenty of catchy melodic rock to enjoy.  Again, nostalgia plays a major role in putting these two albums at number 1, as I grew up on this band, but I can't think of any other album that can overtake either of these two for 1985!

New Releases - December 2024 Part Two!

Yup, I'm still catching up on stuff, this time in the realms of AOR and melodic rock.  This is a genre I should be better at covering, but when this stuff is good, it occupies a fun, uplifting vibe in the rock space that isn't easily found elsewhere.  What I've got here are four albums that provide some interesting variety within the genre, but they all are worth listening to, for one reason or another.

Find Me - Nightbound

When I reviewed their third album, I felt that they had leaned pretty hard into the synths, and while I skipped their fourth album (an act of negligence I will likely fix in the future), here on their fifth, the guitars are very much forward this time around.  Otherwise, this is more solid melodic rock that catches the right balance between big and sentimental.

Once again, we're very much in Journey territory, with synthesizers on loan from Asia, and if there's a touch of Survivor in there, it's because they got Jim Peterik to help write some of the songs.  Robbie LaBlanc soars over the songs with confidence, Andi Kravljaca gives the songs plenty of classic shreddy solos, Daniel Flores provides the right ambience with his sythesizers, and the rest of the band is on point in giving them that classic 80s tone that makes these songs sound so big.  Things start well with the opener "Never Be Alone," which has some good energy, and that uplifting charge carries on with "Can't Wait Here Anymore," "Love Always Finds A Way," "Speechless," and the closer "The Time Has Come."  The title track takes things a little darker, and "I See You in Everyone" and "Distant Lovers" are full of cinematic sentimentality.

There is one problem, and it's the production.  While everything is pretty clear and easy to follow, something about it makes the songs feel narrow, like they're confined or compressed in a way that doesn't quite match the epicness I was expecting.  Once you're into the album, it's not a deal breaker, but part of me thinks the album would have been better if they could expand the soundscape of the songs.  Still, there is plenty of classic, energetic rocking, I enjoyed a lot of this album, and it's likely to be one of the best of the year for AOR.

FM - Old Habits Die Hard

Now that I've been becoming more aware of what's in the AOR space, this is definitely a band that comes up a lot.  Starting in the 80s, they had a few minor hits before breaking up in the mid 90s.  Then, starting back up in 2007, they've apparently been pretty consistent with releasing albums of melodic rock.  I don't know if this was a good place to start with them, but based on this, they rock like it's 1981.

While most AOR bands borrow from Journey, these guys glean quite a bit from Foreigner instead, sitting in a spot between cool and uplifting.  Despite not knowing this band before, I can tell that Steve Overland's voice has aged well, and Jim Kirkpatrick's solos have this ease to them that make me think of guitarists like Ian Bairnson or Steve Lukather.  Overall, it's a pretty laidback affair, with most songs settling into a mid-tempo groove, with the subtle use of acoustic guitars and 80s synths establishing a cozy, yacht-rock tone.

I admit I'm not completely sold on the band, as I prefer my rock to have more energy than this, but I could see this growing on me as it does capture a pleasant mood that few bands are able to do.  At the very least, I'm curious to go listen to their earlier albums to see what (if anything) has changed over the years.  The album doesn't blow me away but sits well with the rest of the stuff in the article.

Lionville - Supernatural

Looking at my previous reviews of this band's works, it's hard to say if this band has really done anything great, but rather maintained a strong consistency in their style.  Once again, they offer typical 80s rocking, with some appropriate synth ambience here and there. It's all written and performed competently, and fans of AOR will find plenty to like.  Compared to the others on this article, it's like they've found a comfort zone between Find Me's energy and FM's soft rock groove.

So is there anything that really stands out?  The title track, "Breakaway," and "The Storm" have some good energy, powered by some well-arranged synth choices.  However, much like FM, this is very much about capturing a very nostalgic and sentimental atmosphere.  Lionville's strength lies mostly in their production and soundscape, making each song feel like a melodramatic movie scene.  In the end, there aren't any surprises, but it's another solid collection of melodic rock from a band with a good track record for it.

Eclipse - Megalomanium II

While I thought their last album had some decent stuff, it was still a bit clunky, especially at the start, so making a sequel seemed like a weird decision to me.  Still, they insist on pushing through with another chunk of uptempo rockers.  This is another band I should probably dig into their earlier records to really get a feel for how they've evolved over the years.

As for this one, they're still crossing over into alternative rock, with "All I Want" sounding like pop punk, but in all honesty, it feels like they're taking anything that rocks and making it work for them.  The album starts well with "Apocalypse Blues," and much of the album is about grappling with desperation of all kinds.  "Divide & Conquer" is another stand out with its stomping drive, "One in a Million" has some darker vibes that make me think of 90's Metallica (in a good way), and "The Spark" probably has the best chorus for singing along with the band.  I think the biggest improvement though is that they added much more heft on the guitars, making them really chug.  While there's still plenty of energetic songwriting and playing on display, it's not quite as strong as Paradigm, but I do think it's better than the first Megalomanium.  For now, it's a solid entry, with a lot of momentum that pushes it above the pack.

Retro Reviews - July 2024!

I know I've complained about the heat of summer in years past on the blog, but this summer seems to be especially brutal.  Fortunately, I've been staying in doors and listening to music.  Once again, I've got some Anniversary Article inspired reviews.  After this month, though, I want to get back to listening to some new stuff.  In the meantime, here's what I've been listening to lately!

Asia - Aria

Continuing my journey through Asia's discography, this album is full-on AOR.  While they've always had it as a part of their sound, it had been increasing since Astra, and has reached full transition for Aria.  I'm not surprised, really, but it does mean I need to shift my analysis and comparisons.  As it is, it's a nice album of soft rock with lush layering, but doesn't really aspire to be much more that.

Most of what was good about their last album, Aqua, carries over to here, mainly the nice melodic phrasing and broad production.  The biggest shift is the lyrical focus on relationships and emotions, making them feel more like a typical melodic rock band.  While the production is very 90s, the songwriting and synths definitely reach back to the 80s.  As for the performances, they're fine.  John Payne is a solid singer for this kind of material, Michael Sturgis holds down the rhythm well enough, and Al Pitrelli gives some nice melodic solos (though he would leave after this album to join Savatage and Trans-Siberian Orchestra).  Honestly, if it weren't for Geoff Downes' banks of synthesizers (which sound great, by the way), it wouldn't feel like Asia at all.

There are a few interesting flourishes.  "Don't Cut the Wire (Brother)" has a decent shift from cinematic storytelling to anthemic rocking, and "Feels Like Love" also has a mid-song transition to a bigger cinematic sound.  In fact the whole album feels like songs that wouldn't feel out of place in some 80s movie.  As for the more standard rock songs, "Are You Big Enough" has a catchy chorus with tons of reverb on the vocals and "Military Man" probably has the strongest classic Asia sound.  In the end, it's not a bad album, but certainly a far cry from their first two in terms of songwriting and scale (though that may just be my nostalgia talking).

Dream Theater - Metropolis Pt. 2: Scenes from a Memory

I can't believe it's been two years since I last reviewed a Dream Theater album.  While they've ever really blown me away, they certainly are a fascinating band, eager to push into prog metal when both prog and metal had fallen out of the mainstream for good.  This album brings in Jordan Rudess on the keys, and it's their first concept album, picking up from where Part 1 left off from Images and Words.

The story is kind of convoluted, focusing on a man named Nicholas who has been haunted by past.  Trying to make sense of them, he goes to a therapist who uses hypnotism to figure out what happened, only to learn that, in a past life, he was a woman named Victoria caught up in a tragic love triangle between two brothers.  However, once Nicholas thinks he's got it figured out, the album introduces some new twists that makes things worse than initially thought.  All of this is told pretty well, as the band switches tones, tempos, and even sometimes genres, exploring all these themes.  While I don't think it's their best album, it is certainly a peak of creativity for them, and I can see why this is celebrated among prog and metal communities.

(Funny story: I actually listened to this album once back in high school.  I borrowed the CD from a friend and while I don't remember much of the music, I do remember feeling pretty unnerved by it all.  I wasn't really into metal yet, and as certainly not prepared for the complex song-writing or psychodrama they were going for.  Listening to it again brought nothing back, which is interesting, but now that I'm more familiar with the band, and metal as a whole, I can now appreciate it for what it is.)

All the Dream Theater staples are here: weird rhythms, call backs to older prog ideas, dramatic shifts in tone and tempo, and plenty of technical wizardry from all the playing members.  I'm not necessarily a big fan of the story, but it allows them to push their songwriting and technical chops, matching the blending of narrative elements with musical ones.  One thing I will say is that this album flows very well from song to song, making this an album that easy to lose time to as it moves from part to part.  Highlights for me were "Strange Deja Vu," "Fatal Tragedy," of course the impressive instrumental "Dance of Eternity."  If nothing else, this album proves why Dream Theater are at the top of the list for progressive metal.

Gamma Ray - Power Plant

Speaking of being two years since the last review, it's time for another pair from Kai Hansen.  I decided to do Gamma Ray first, even though it came out two months after the Iron Savior album.  While I enjoyed their previous album well enough, Power Plant is a serious step in my opinion.

Gamma Ray have never been too shy about their influences, but this album seems quite transparent with many of their songs.  Things start off with a deliberate Iron Maiden reference with "Anywhere in the Galaxy."  Then later on, "Short As Hell" sounds like it could come from Metallica's Black Album, "Heavy Metal Universe" is their take on Manowar's style, and they dip into Queen again for the epic closer "Armageddon."  I felt like I heard some influences from their contemporaries like Blind Guardian and HammerFall as well, and they even have two covers, one of Rainbow and one of the Pet Shop Boys, of all things.  The covers are kind of basic, but the original songs are so good that they work as Gamma Ray songs anyway.  However, I think the biggest sound I heard was Kai Hansen's own classic Helloween chops coming back.  I really do think this album is the most Helloween they've ever sounded.  (Not that I'm complaining, of course!)

But how is it as an album?  Quite good, honestly!  This is probably my favorite album of theirs now, as I feel like every track works.  Even the weaker ones are solid enough.  Stand out songs include the opener "Anywhere in the Galaxy," the very catchy "Send Me a Sign," the grittier "Strangers in the Night," and the energetic riffing on "Wings of Destiny."  I've always loved the original "It's a Sin" from the Pet Shop Boys, but Gamma Ray's cover is pretty fun.  Overall, a very satisfying album, full of power metal staples, but using them well to create some very interesting songs.  I hope Kai Hansen can get some things together soon, as I've love to hear what a modern Gamma Ray album would sound like!

Iron Savior - Unification

And here's the other one.  Following up from their sorta concept album from two years prior (which I thought was decent if a bit clunky), Kai Hansen and company carried their sci-fi storytelling forward for another solid slab of power metal.

The concept picks up from the last album: Atlanteans who escaped destruction travel the stars, only to come back home to see that their Iron Savior (who was supposed to protect them) has taken over earth.  So they have to unify with the remaining people of earth, revive a long-sleeping Atlantean, and work together to take on this rogue AI that seems to be developing ideas of its own.  Perhaps typical for this band, but it has inspired some very good power metal that drifts between speedy and heavy in a very satisfying way.  Whatever problems the songwriting had last time seem to have been smoothed over, as Kai and Piet work great together, not only on the vocals, but their guitar leads are very on point and downright satisfying. (The covers at the end are fun, and there's an extra track by another band called Excelsis that won a contest. Their song is an okay piece of fantasy-based heavy/power metal, though the vocalist is quite gritty.)

The album starts off well with the one-two punch of "Coming Home" and "Starborn," and carries the high energy narrative through "Forces of Rage," "Prisoner of the Void" and "Unchained," and the rest of the album is consistent in it's heavy/power storytelling.  If it weren't for the slightly dated production, this would sound just like their recent albums that I've been loving so much lately.  This band is quickly becoming a new favorite for me, as their style of power metal is exactly what I seem to want right now.

Anniversary Series - 1989!

Another month, another Anniversary Article!  1989 is an interesting year, as rock was in the middle of a lot of transition.  Grunge and alternative rock was slowly growing, pop metal was as big as ever, thrash and death metal were finding their audiences, and other genres were bubbling up.  Here's how this year went!

The year starts of with a number of big hits, as Skid Row and Warrant release their debut albums.  The former provided "18 to Life," "Youth Gone Wild," and the big ballad "I Remember You," while Warrant was about the "Down Boys" and "Heaven."  Great White would soon follow with ...Twice Shy, and the sort of title track cover song "Once Bitten Twice Shy."

However, the beginning of the year, saw other iconic releases, such as Doro's Force Majeure, her first album on her own, Metal Church picking up Mike Howe for Blessing in Disguise, and Dream Theater released their debut with When Dream and Day Unite, carving a small niche for progressive metal that they would widen later.  Meanwhile, Seattle was getting a taste of the future with Nirvana's debut Bleach and Soundgarden's Louder than Love.  In the midst of all this, Jon Anderson would leave Yes and form a group with former Yes members called Anderson Bruford Wakeman Howe.  Their self-titled album would be a unique prog rock highlight for the year.

As the year goes on, we get more epic hits, with Mötley Crüe's Dr. Feelgood being a massive single factory, including the title track, "Kickstart My Heart," and "Same Ol' Situation."  Alice Cooper would comeback with his own take on the genre with "Poison," John Sykes would form Blue Murder and record their debut album, while his former bandmates Whitesnake would carry on with Slip of the Tongue, featuring "Judgment Day."  

However, in my opinion, the winner of the year is Candlemass.  Their fourth album Tales of Creation is peak doom metal, in my opinion.  I know I don't talk much about the genre on the blog, but this album is my standard for what a good doom metal album sounds like.  From the epic riff on "Under the Oak," to the atmospheric plodding on "Dark Revelations" and "The Edge of Heaven," and even the sudden high-speed instrumental "In the Unfathomed Tower" are all highlights.  A favorite album of mine, from any year.

Wrapping things up, we see Blind Guardian's follow up Follow the Blind, featuring their classic closer "Valhalla" with Kai Hansen showing up with some vocals of his own.  Stratovarius released their debut Fright Night, being more of a speed metal group before they became power metal titans.  Guitar legend Michael Schenker teamed up with Robin McAuley and release Save Yourself, a unique team up that probably should have lasted longer.  Finally, Savatage would really lean into a Queen-like theatrical style with Gutter Ballet, definitely showing signs of where they would end up, to say nothing of their Christmas-themed spin-off.

So that's another year wrapped up again.  Once again, check out the playlist below for more, and let me know in the comments what else stands out to you from this year.  In the meantime, I've got some more albums to listen to, so keep an eye out for more reviews.  Until then, rock on!  \m/

Retro Reviews - January 2024!

Alright, now that the Top 5 of 2023 is behind me, I can focus on looking ahead, which means more classic rock and metal?  Like I said before, I'm going to be splitting my reviews between classic and new albums, and this will be first of the former.  Of course, I have more Anniversary Articles ahead of me, the first being for 1974, so I've got a handful from that year as well.  Here's what I've been listening to lately!

Trouble - The Skull

Trouble is often considered one of the pioneers of the doom metal subgenre.  When I heard their first album, it felt like a standard small label traditional metal release.  However, the doom really comes out on The Skull.  Many of these songs were being worked for quite a while before they recorded them here, but they come together quite well to make a solid, if clunky, album.

The production is actually pretty clean, not really having the thickness often associated with doom, so it feels a bit stripped down.  But the riffs are certainly there, and Eric Wagner's haunted singing helps to bring the atmosphere along with the slower tempos.  However, I don't know if this really made me think of the likes of Candlemass so much as it did early Savatage, but that might be because Wagner's voice has a charismatic grit that feels similar to Jon Oliva.  As for the songs, they shake things up quite a bit around their chunky sound.  While they bring out some great, slow riffs and melodies, they are often broken up with some mixed-meter riffing and tempo changes.  Some of it works, but at times, it does feel like they just decided to throw in the odd section for its own sake.

Still, I enjoyed listening to it, as it does create it's own vibe quite well, and the solos are diverse, going back and forth between melodic and shreddy.  While it may be a bit long, "The Wish" was certainly interesting, especially when the chorus finally comes, it makes me think of Metal Church's first album.  "Wickedness of Man" has some interesting change-ups in their formula, and "Gideon" is weirdly uplifting, which isn't typical for doom.  Some of the biblical themes might be off-putting (though I wasn't bothered), but they mostly fit their sound and don't come across as preachy so much as yearning to make sense of life.  In any case, it's certainly a doom metal classic, and while I think later bands would make improvements to the style, this was definitely a significant step forward in helping to define the genre.

Boston - Third Stage

Boston is one of those bands that feels like they blew up and then just fell off the face of the earth (though there are good reasons for that).  Their first album is a classic rock masterpiece and their second was a decent follow up (though maybe a little lackluster), but then they got embroiled in legal drama and other setbacks, pushing their third album to 1986.  While I had heard "Amanda" on the radio before, I figured I should finally check out the rest of the album, only to discover that they've really drifted into AOR, with a lot of power ballads.

That's not to say this is a bad album.  There are plenty of solid moments, featuring their iconic vocal harmonies and dual guitar melodies.  However, I can tell that they've lost a step.  I know that the lineup changed, with only singer Delp and guitarist/writer Scholz the main ones still around, but it seems the bright, energetic spirit of the first album is a distant memory in favor for stadium filling soft rock anthems.  I know it's the 80s, but I think I would have liked to hear the band get back to their proggy, 70s flourishes that made them such a big deal when they debuted.  Sure, they do some instrumental sections with transitions, and the album does flow well, but it's hard not to feel like this is "diet Boston."

Uriah Heep - Wonderworld

Can you believe I'm already on their seventh album?  (You can check out the Uriah Heep tag to see my reviews of the other sixth.)  Anyways, they really are just doing more of the same, though I suppose there is less of a fantastical feel to what they're doing.  Still, they maintain their Vanilla Fudge/Deep Purple inspired sound for another set of songs, though I admit these albums are starting to blend together a little.

Still, there are a few stand out moments.  "Something or Nothing" feels like a callback to "Easy Livin'," and "Dreams" even references "Sweet Freedom" from the last album.  However, what caught my attention the most was "Suicidal Man," with its aggressive, proto-metal riffing!  I'm not sure what the band was going through to write that one, but it's definitely one of the darkest songs I've heard them do so far.  Otherwise, the rest of the album is some solid rocking, though I did think "The Easy Road" was kinda cheesy, and the bluesy stop of "I Won't Mind" got repetitive.  I know this band is one of the unsung heroes of the 70s, but it's hard not to feel like most of this album is more of the same.

Blue Oyster Cult - Secret Treaties

Once again, I'm giving the Cult another shot by checking out their third album.  Interestingly, the lyrics were all written by guests, but they're just as weird as anything else they've done.  I don't know if I would have noticed if I hadn't looked it up.  Musically, compared to their first two, this one definitely sticks to a stronger blues-rock core, without as much deviation.

Most of this definitely feels like leftover 60s psychedelia with some 70s rock techniques and noodles.  I admit most of the album didn't really click.  Most of the middle tracks felt like weirdness for its own sake, which is not always easy for to get into.  I will say that "Career of Evil" was kinda fun, like if a Bond villain was in a musical.  However, at the end of the album, things really picked up.  "Harvest of Eyes" had an interesting 6/8 blues groove, "Flaming Telepaths" had a decent chorus and some good synth work, and "Astronomy" was a solid closer, starting off moody then building and dropping a few times before getting to the big ending.  (Of course, I was familiar with the last song due to Metallica's cover, but I can definitely see why they covered it, as it matches their sense of moodiness.)  So, after some middling rock songs, the album ends pretty well!  I don't know if I've quite gotten on board with this band, yet, but some of the potential they showed earlier is starting to show up.

Scorpions - Fly to the Rainbow

As I mentioned in my review of their first album, the Scorpions broke up only to reform around Uli Jon Roth's Dawn Road.  With only Klaus Meine and Rudolf Schenker carrying over, this album definitely has a different sound, one that is much more stripped down to some pretty straight-ahead 70s rock.  While Roth's guitar work is pretty incredible, both getting in some shredding as well as some melodic solos, the album really just plods along, keeping things relatively basic.

There is still a bit of a hippie flair to things, especially with the hammond organs in the background, but the psychedelic spacey elements are replaced with a lot of guitar solos, which are good, but does make the songs stand out less.  Part of the problem is that they tend to be kinda repetitive, repeating a lot of ideas.  I did pick up on a bit of a prog rock influence, as a few sections made me think of early Yes or classic Pink Floyd.  The nine-minute closer "Fly to the Rainbow" has a lot of these elements pulled together into one song, and is probably the best song on the album.  If there is one thing that's consistent with the first album, it's Klaus Meine's vocals, as he sounds great here again (though he curiously shares lead vocals with the guitarists on some of the songs).  While it's a step closer to the sound they would be best known for, I do think this one is pretty drab compared to the debut album as I felt Lonesome Crow had a lot more going on with its songwriting.

Top 5 of 2023!

Top 5 Time!  This past year has been pretty all over the place in terms of the quality of rock and metal I heard.  While I didn't listen to everything I wanted to, I still got to several albums, and narrowing them down to just 5 was difficult!  I know I've said that in years past, but usually, upon multiple listens, they shake out and it becomes pretty clear.  NOT THIS YEAR!  I think I had a five-way tie at one point, and I even considered expanding the list to a Top 10, but I finally got nit-picky and was able to narrow it down.

Speaking of which: honorable mentions!  Sorcerer nearly made it, and Twilight Force was in consideration early on, but I felt their albums weren't as consistent as the ones below.  Silver Bullet even had an outside chance, as their album started to grow on me a little the more I listened to it.  However, when all was said and down, I couldn't put them in when I compared them to these five.  Let's get this started!

5. Metallica - 72 Seasons

I know.  I'm surprised, too.  But after listening to everything else this year, I cannot deny that Metallica has created something that holds up on multiple listens.  While it still is a bloated album, going for too long, there is a lot that works.  It's certainly not a return to glory, but the chunky Metallica riffs and melodies, powered by Hetfield's personal lyrics, makes for a pretty solid album.

4. Arctic Rain - Unity

As for melodic rock, Arctic Rain knocked it out of the park early in the year.  While I heard some interesting rock albums, these Swedes knew exactly what they were doing, and did it well.  It's also an improvement over their solid debut, making this band one to keep an eye on for the future.

3. Lovebites - Judgement Day

However, I can't deny that power metal really dominated the year for me.  It may not be as good as Electric Pentagram, but Lovebites still has it where it counts, providing some very bombastic songs, full of high-speed riffing and incredible solos.  Definitely another fun album from these Japanese girls.

2. Kamelot - The Awakening

I don't know if I can really say Kamelot is "back," as it's pretty clear they've combined their old and new sounds together.  However, I can't deny they've made a great album, full of symphonic grandeur.  While Lovebites might be more fun, Kamelot edges them out with their lush production, dramatic songwriting, and Karevik's excellent voice.

1. Iron Savior - Firestar

However, when it came to deciding number one, I had no problems at all.  Once I heard Iron Savior's latest, I was delighted.  I know it's just more German power metal, but they do it so well!  They've found the perfect blend of gritty riffs and soaring melodies, and I love it!  As far as I'm concerned, Firestar is everything right about power metal in 2023.

Last Played - 2023 Roundup!

Here's the problem: there are too many albums I want to listen to, and not enough time to listen to them all.  Maybe if this were a full-time job, I could do it, but I'm definitely not to that level at all.  Still, I wanted to at least give some time to all things I listened to, even if it wasn't as much attention as the albums in my regular Last Played articles, so here are a bunch of mini-reviews.  To be honest, it's a lot of bands carrying on their sound, resulting in a lot of albums that were good, but not amazing.  Here's the rest of what I listened to for 2023!

Vega - Battlelines

Vega has been an interesting band to follow.  I started with Only Human, which I loved for it's cheesy 80s anthemic rocking.  Grit Your Teeth saw the band keep their style but loosen up in a good way.  However, Anarchy and Unity felt like a shift into more 90s or 2000s alternative rock.  It wasn't bad, but certainly different.  So how is Battlelines?  It's pretty similar to Grit Your Teeth, honestly.  The production isn't as thick as it was on Only Human, but otherwise, it's another solid set of melodic hard rock.  The opener "Heroes and Zeroes," and "Embrace the Grey" have some good energy in particular.

DGM - Life

This is one I wish I could have given more time, as their last album was my number one choice for 2020.  However, it's hard to deny that Life isn't more of the same as what was on Tragic Separation.  Of course, this means more chunky, syncopated riffing in the guitars, more catchy, AOR-style choruses, and more great soaring vocals from Mark Basile.  This is clear from the beginning as they start with their lead single, and the rest of the tracks carry on just like that.  Sure, they shake it up here and there with some clean piano or an a cappella section, and they throw on some appropriate synths for "Neuromancer," but otherwise, they remain pretty consistent.  Unfortunately, there wasn't much that stood out compared to what I've heard them do before.

Sorcerer - Reign of the Reaper

After Lamenting of the Innocence blew me away a few years ago, I knew I had to keep an eye out for what Sorcerer would do next.  Once again, we are back into the weird blend of big doomy riffs and melodic shredding solos.  This time, I feel like there's an increase in classic metal (which maybe isn't a surprise after doing an EP of covers during the lockdown).  I continually got vibes of Judas Priest, Saxon, and Rainbow, which were blended very well into their wall-of-sound approach to doom.  Anders Engberg soars over everything, and Kristian Niemann and Peter Hallgren bring another excellent set of heavy riffs and shreddy solos.  If there is a difference, I feel like the songs are more uplifting and heroic.  It's not something across the album, but I did pick up on it here and there, and I found it pretty refreshing, actually.  While I don't think it's quite as good as Lamenting, it's about on par with The Crowning of the Fire King and is another solid release from a band who clearly has their own stamp on the epic doom genre.

Final Strike - Finding Pieces

This is the new project by Christian Eriksson, formerly of NorthTale and Twilight Force.  Bringing along a few mates from NorthTale, this group sets out to do power metal in a very classic way.  I know I enjoyed two of their singles, and I'm hearing everything from Helloween, Gamma Ray, and Edguy to even bits of Hammerfall and Stratovarius.  Eriksson sounds solid, and the guitarwork by Martin Floberg is full of noodly shredding and uptempo riffing.  While they do change things up, occasionally having a mid-tempo stomper, it's mostly high speed, double-bass-kicking anthems.  "Finding Pieces" and "Freedom" remain as good songs, and I also enjoyed the closer "Turn of the Tide."  However, this year has had some excellent power metal, so I will have to give it a few more listens to decide how well it stacks with the competition.

Eclipse - Megalomanium

Eclipse makes no major changes, but why fix what isn't broken?  While Paradigm remains my favorite of theirs, this is another solid set of rock songs, though they have pushed more in an anthemic direction (if a song simply named "Anthem" wasn't a clue already!).  However, in an effort to sound big, I think they've lost some of the meat, especially since the opening tracks do feel a little lackluster.  They even lean into pop punk a little with songs like "Got It" and "The Broken."  However, things pick up with "Children of the Night," starting with a riff that could have come from Bark at the Moon, and the second half of the album gets back into some solid rocking.  Overall, they haven't fallen into a slump as they continue to provide good, energetic tunes.

Tanith - Voyage

After enjoying two of the singles, this album is certainly a solid follow-up to their debut, carrying on their Thin-Lizzy-meets-Blue-Oyster-Cult style of rock.  However, some of Russ Tippins' NWOBHM background has slipped in, as I sometimes thought of Iron Maiden's Killers, with some galloping guitar rhythms.  Still, their of 70s fantasy lyrics powered by cosmic descriptions still makes them feel like something from another time.  Tippins provides plenty of old-school fretwork on his guitar, and Cindy Maynard continues her role of vocal counter point, though this album has a lot more of them singing together.  While a few songs get into some proggy or atmospheric sections, most of the album has a lot of solid, straight-on rock, making for a pretty consistent listen.  I don't know if this is better or worse than their debut, as it's close, but this certainly confirms what they started, making them a pretty unique band in the current rock music landscape.

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.  

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.

Last Played - May 2023!

Does anyone else get bad allergies this time of year?  I feel like they've been rocking my sinuses this spring, more so than usual.  Still, I've been able to power through and get some new albums listened and reviewed.  Between the rock and metal, both fast and slow, here's what I've been listening to lately!

Journey - Departure

Journey is another one of their bands where I've loved the radio singles but haven't done much with their albums.  I have listened to their early jazz-fusion stuff, and I reviewed Evolution a few years ago, but otherwise I haven't checked out any of their 80s albums, even for the anniversary articles.  However, after doing so much metal last month, I was in the mood for some classic melodic rock, and figured reviewing this would be a nice change of pace.  Right off, we have "Any Way You Want It" as the opener, and this is classic arena rock.  Starting from that iconic beginning with the vocal harmonies, the song goes straight into huge melodies and chords, and has ingrained itself in the minds of rock fans for decades since.

However, the album starts to go a bit sideways from there.  "Walks Like a Lady" is this strange, chilled blues song that never gets beyond setting a little groove for Neal Schon to solo over.  Then it goes into some very curious songs that get a little proggy.  I actually thought of 80s Rush when I heard them, but I wonder if that has more to do with the production than the songwriting.  Still, they're very curious pieces, with "Precious Time" being the strongest, as it has some interesting dynamics, ultimately ending on a decent little jam.  After that, the album becomes rather inconsistent.  "Where Were You" and "Line of Fire" are cute little rockers, but between them is a few ballads that don't feel very complete.  "Good Morning Girl" and "Stay Awhile" in particular feel like halves of songs missing more development.  Then the album ends with a very Led Zeppelin inspired rocker, with a decent riff and some solid grooves.

So, despite such a promising start, the album is a bit of a wash.  It's a shame, too, as there are some good performances.  While Steve Perry's lower register can be a bit of a mixed bag, when he needs to hit the high notes, he's great.  Neal Schon also puts in some solid soloing, and finds plenty of gaps to throw in a lick or two.  And while this would be the last studio album with keyboardist Gregg Rolie, his keys and hammonds do give the band a massive sound (along with some orchestrations). Unfortunately, it's the songwriting that really holds this album back from being as great as it could be, leaving most of the songs (outside the big hit) as a novelty at best.

Robin McAuley - Alive

Going from one rock legend to another, Robin McAuley and Frontiers Records have put together another solo album full of 80s-style rockers.  While I enjoyed the first album quite a bit, this one does make a shift into darker, grittier territory, but the shift makes Alive feel pretty tedious, overall.

Don't get me wrong; it's still a solid collection of anthemic rock songs.  As is the case with AOR these days, the production is spot on, the guitar leads and solos are melodic, and Robin sounds good.  However, I do think the guitars got some extra crunch to them, and the riffs get a little chuggier here.  While on its own, that's not really a bad thing, somehow, it makes this album feel a little monotonous.  It's nice while it's on, but most of this stuff just passes in one ear and out the other.  The only real standouts are the title track, which is a decent anthemic opener, and "The Endless Mile," which has some nice noodling on the chorus.  Maybe I'm just nit-picking, but the first album stood on its own better, and felt more majestic, while this one settles into some pretty average melodic rock that isn't as alive as its title would imply.

Candlemass - Ancient Dreams

It might seem weird going from anthemic rock to epic doom, but I really don't give doom metal enough time on this blog, as I really do like it, and Candlemass is one of the best at it.  This time, I've checked out their third album Ancient Dreams, which carries over most of the same lineup from Nightfall, which I reviewed three years ago.  Once again, they've provided a thick, heavy album full of grimness and despair.

The album starts of well with "Mirror Mirror," featuring some double-kicking bass drums, noodly doom riffing, and Messiah Marcolin soaring over everything.  The epicness is at max level, and it carries through the next few songs.  "A Cry from the Crypt" has a nice 6/8 gallop, "Darkness in Paradise" features a solid chorus and very interesting shift into a chuggy section in the second half, and "Incarnation of Evil" just has great atmosphere.  Unfortunately, the second half isn't as strong.  Sure, the doom carries on, but the songwriting gets a little underwhelming.  The lyrics on "Bearer of Pain" are a little clunky, the title track just drones on this melody and doesn't seem to go anywhere, and "The Bells of Acheron" is an interesting idea, but the groovy riff doesn't feel like Candlemass.  Their cover of Carl Michael Bellman's "Epistle 81" is also rather drab.  Maybe it's meaningful to these Swedes, but it doesn't do much for me.  At least the album ends with a decent medley of Black Sabbath classics.

Still, as I'm going through these early albums, I can hear them getting closer and closer to the amazing sound that's on Tales of Creation.  I don't know if I'll review that one for the blog, as I've heard it many times, but it's pretty much the pinnacle of classic epic doom metal.  As for Ancient Dreams, there's some solid stuff here, and I'm sure I'll come back to those first four songs, but your mileage may vary on the rest.

Kamelot - The Awakening

Finally!  After catching up on all the Karevik albums, we reach the latest opus that Kamelto has to provide.  Once again, the mainstays have returned, but with new drummer, Alex Landenburg, they seem to have brought back even more of the classic power metal sound that I've been missing.  If I thought The Shadow Theory was a comeback, this one is even more so!

Once again, they seem to be channeling sound that mixes The Black Halo and Ghost Opera.  After the symphonic intro track, the band just jumps right in with "The Great Divide"!  Full of epicness and double-kicking bass drum energy, it's a solid start to a solid album.  Much of this power metal energy comes back for "Opus of the Night" (a sequel to the track "Ghost Opera"), "Bloodmoon," "Nightsky," and "The Looking Glass."  Even the chunky, symphonic tracks keep the energy high, as "One More Flag in the Ground" and "My Pantheon" are pretty epic.  Of course, there's a few ballad's for Tommy to croon through, but the lush orchestrations give them a great theatrical feel.  It really does feel like they've successfully blended their classic power metal style with the newer symphonic metal style they've had for the past handful of albums.

However, it's not quite perfect.  "Eventide" is a little underwhelming, "Nightsky" and "Looking Glass" sound a little too similar, and "New Babylon" tries to go for this Rhapsody of Fire level of bombast, but the song structure is a little disorganized, despite the epic choir singing.  Also, while they are nice, the symphonic intro and outro do feel a little pointless.  Still, these are not major flaws for what is probably the best album of the Karevik era.  I was hoping this would be an excellent album of symphonic power metal, and I'm glad to say my anticipation has been rewarded here.  Between this, Twilight Force and Lovebites, figuring out my Top 5 for this year is going to be difficult!

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While I'm glad to have finally caught up with Kamelot (and discovered they still had some chops), looking ahead, I feel like things are going to get very busy for me!  There's already quite a stack of new releases I need to check out, and I'm also learning that my Anniversary Articles might be leaner than I was expecting!  Plus, there's another surprise that I've been slowly working on.  I had hoped that I'd get it out sooner, but it hasn't come together quite yet.  In any case, there's a lot to look forward to, if I can just get to it all!  Until then, rock on! \m/