Retro Reviews - September 2025!

Here's the other article focusing on 1995, this time clearly decided to power metal debut albums.  While a lot of it was clunky, it was also a lot of fun, not only to hear the promise these bands have, but they all did things just a little differently, making for some decent variety.  Here's what I've been headbanging to lately!

Wizard - Son of Darkness

I wasn't able to find much about the origins of this band, other than they started in the late 80s and were finally able to put together this album in 1995.  It's an eclectic blend of various styles of epic metal, making for an interesting mess.

Similarities to bands like Manowar and Running Wild are obvious, especially on songs like the solid opener "Sign of the Wizard," "Son of Darkness," "Masters of the Seas of Gods," and "Lonely Wolfe."  However, they do have a few songs in the style of European power metal, namely "Death or Glory" and "Enemy Die," which really stood out to me.  Then there's "Rain of Death," which had almost a glam metal vibe (which was a little strange, considering the lyrics are very dark), while "Dawn of Evil" feels like a combination of all these things, plus a bit of doom metal as well.  And if that wasn't enough, they try a classic 80s power ballad with "Lovesong" which feels very bland, like it was there to just have it (and the less said about the last track, the better).

So it's definitely a strange album.  I get the impression that the band just gathered their influences into a pile and emulated them (which isn't a bad way to start, really).  I liked "Death or Glory" and "Lonely Wolfe," and they certainly have the right attitude for this kind of music.  However, I can tell their sound needs some more work to polish out all the clunkiness, and I look forward to seeing how they do that with their later albums.

Nocturnal Rites - In a Time of Blood and Fire

Jarring artwork aside, this is another band who's debut came out in 1995.  Interestingly, they started as a death metal band in the early 90s, but after a few lineup changes, switched to power metal.  I've heard a few of their later songs and liked them, so checking them out was on my list and once again, my articles are giving me this chance to squeeze them in.

Right off, they sound very much like Helloween (with little bits of Dream Evil and HammerFall), though with a stronger neo-classical flair and some dark fantasy lyrics to set them apart.  Unfortunately, the production is a little on the thin side, perhaps a consequence of a small budget, as I wished these songs had more punch to them.  Otherwise, they provide a pretty solid set of double-kicking power metal, with Anders Zackrisson's vocal harmonies really standing out well.  "Sword of Steel" is a good, uptempo opener, the title track has some interesting time-signature switching, and both "Winds of Death" and "Rest in Peace" are epic and satisfying.  The song-writing does get a little clunky, but at this point, power metal was still a pretty new genre, and it's not like there are any terrible songs.

Overall, it's an unpolished album while showing a lot of promise.  The band clearly has some good energy and are talented, but I feel like they're held back by the production and some awkward transitions.  Like Wizard, I'm very interested to see where they go from here, as they have the pieces for making some great power metal.

Paragon - World of Sin

After enjoying their last two releases, I decided to go back to the beginning for this band as well.  While this line up would only last for this album, as band-founder and guitarist Martin Christian would be the only one to carry the torch forward, this is a solid enough debut to get Paragon rolling.

While I was expecting to compare their work to Accept as I have done before, this album definitely leans into melodic thrash metal, occasionally giving me Megadeth or Metal Church vibes.  Once again, the riffs are chunky, providing some good head-banging, and Christian's solos feature quality shredding and melodies.  Kay Carstens is a decent singer, having a nice mix of grit and melody, which works with these lyrics, which are pretty apocalyptic and violent.

In all honestly, though, this stuff isn't that much of a surprise, as their recent albums feel like a blend of heavy, power, and thrash metal styles.  The title track and "Into the Black" are solid, uptempo slabs of Accept-inspired metal, while "Beyond the Void" is more somber and doomy, but maintains its brooding energy well.  Finally, the closer "Bring the Hammer Down" is a fun bit of heavy/power metal.  If there is a problem, it's that the music feels not quite as punchy as it could.  The production is fine, but they aren't quite the sledgehammer of sound I've come to expect with their recent albums.  Still, I enjoyed quite a bit of this album, and, once again, look forward to the rest of their discography.

Iron Savior - Condition Red

In between all these power metal debuts, I decided to add this one in my continuing quest to listen through Iron Savior's discography.  This one is notable for being the first without co-founder Kai Hansen, so the crew carry on without him, putting together an excellent album of power metal.

This time the story starts when the Iron Savior's creator wanted to merge with his creation, but was denied.  After being sent into space from the initial war, he spent his time making a new Savior, but his desire for revenge corrupted him and it, turning it into the Protector, and he begins ruling other planets with an iron fist.  He also gains the ability to control others with his mind, but he discovers he can't control those who originally came from Earth.  In his wrath, he goes to war with Earth itself, and so humanity and the Iron Savior have another epic fight on their hands.  Honestly, it's pretty typical and in line with everything they've done so far, but it certainly makes for a decent story to inspire some triumphant tunes.

Musically, this is business as usual, but I'm really starting to hear the band become more of what I'm used to.  Piet's gritty voice is really becoming part of the band's character, and the riffs are deliciously chunky.  The album starts off great with "Titans of Our Time," and "Ironbound" carries that uptempo energy further.  Meanwhile, they channel their influences Judas Priest quite a bit, especially on "Protector," which sounds a lot like "Electric Eye," and I doubt that's on accident.  The album's energy carries on with great tracks like "Walls of Fire," "No Heroes," and "Paradise."  I think this might be their best album so far (not counting the more recent ones I reviewed), as it has plenty of epic melodies, energized double-kicking bass drums, and grandiose atmosphere.

Retro Reviews - April 2025!

Well, I hope your Spring has been more stable than mine.  I've already had both snow and hail!  In the mean time, I'm still working through some classic releases, partially to check out some albums for my Top 5 articles.  Here's what I've been jamming lately!

Druid - Toward the Sun

I was in some prog rock community when I saw someone mention this band and how Yes-like they were.  Curious, I figured I'd put it on my list of bands to check out, and now that I'm doing these Top 5 lists, I thought I'd listen to their debut from 1975.  While this band didn't last long, they certainly have the pieces of something interesting, though it's much softer than I was expecting.

I want to say that there's a big Canterbury Scene vibe, as this is largely a very mellow album, similar to some of Yes's softer songs, like "To Be Over."  The rhythm section is solid and jazzy, with bassist Neil Brewer throwing in a few Squire-like melodies.  Andrew McCrorie-Shand puts in a ton of work with his Mellotrons, so if you like that sound, it's here in spades.  However, the vocalist, who simply goes by "Dane," seems to be trying a little too hard to sound like Jon Anderson, stretching his falsetto just a tad too far here and there.  Otherwise, they sound pretty cohesive as a unit, with plenty of nice, pastoral melodies.

That being said, I do wish there was just a bit more rock energy on the album.  There are a few uptempo moments, but it's pretty clear they're more interested in creating atmosphere and space.  Perhaps it's because they're not as technical as Yes, so instead of impressive musicality, we get a handful of songs that just drift along.  I did end up liking the two longer songs at the end the most, "Dawn of Evening" and "Shangri-La," with their expressive dynamics and transitions.  Maybe this will grow on me with more listens, but for now, it's mainly a decent album.

Saxon - Wheels of Steel

Shifting ahead five years, this is the first of two albums this legendary NWOBHM band put out this year (I'll get to the other one soon enough).  While their self-titled debut had some decent ideas, the band clearly hadn't matured into their sound quite yet, mainly being 70s hard rock.  Just a year later, and already I'm hearing more of Saxon's iconic blend of rock and metal.

Things kick off with the uptempo "Motorcycle Man," feeling like they took a few cues from Motörhead, who I learned they were touring with at this time.  "See the Light Shining," "Machine Gun," and "Street Fighting Gang" all have a similar style, and keep the album moving forward.  Meanwhile, their other car-driven speedster "Freeway Mad" made me think of Deep Purple, and "Stand Up and Be Counted" had some nice Thin-Lizzy style guitar harmonies as well as a good, catchy chorus.  I will admit that "747 (Strangers in the Night)" and the title track dragged a little, and "Suzie Hold On" was oddly sentimental, but they were still fine.

Already, I hear the improvement, as the songs are tighter and stronger than the first album.  Biff remains an iconic singer, with Paul Quinn and Graham Oliver really uniting as a guitar duo on this album.  Meanwhile, the rhythm section of Pete Gill and Steve Dawson maintain good energy throughout, ensuring that the album never really loses its steam.  Overall, I liked a lot of this one, as it feels like the band is definitely in their groove at this point.

Motörhead - Ace of Spades

Speaking of which, this legendary band would release their best known album in 1980 as well!  I reviewed Bomber last year, and I thought it was fine, if a bit sluggish.  I know that On Parole came out between these two, but it seems to be largely ignored by the band, so I'll just move ahead to this one.  While it may seem like business as usual for this band, I find this album is more consistent in quality than their earlier ones.

The album kicks off with the title track and probably their most iconic song.  I remember first hearing it as the intro music to Tony Hawk's Pro Skater 3 (which probably dates me quite a bit!), and its infectious energy makes it absolutely timeless.  The rest of the album is some pretty typical rocking from the trio, with lots of chunky, straight-ahead riffs and Lemmy's iconic crooning.  Other than the title track, the stand-outs for me were "Live to Win," "Fire, Fire," and "The Hammer," but overall I can see why this album is their most successful.  While it's not perfect (as the lyrics do get pretty sleazy at times), it has a lot of drive and power, making it very influential on a lot of other bands and a landmark album in heavy metal history.

Iron Savior - Dark Assault

In between all the classic rock I've been listening to, I figured I'd break things up with catching up on Iron Savior's discography.  The next album in my journey ends up being the last with Kai Hansen, so his influence seems particularly prominent, as many of the songs definitely have a Gamma Ray feel to me.  Still, this is same solid, chunky power metal that I've come to love and expect from these Germans.

While not all the songs stick to the Iron Savior story, they do tell the tale of a new threat called the Shadow, causing the Earthlings and Atlanteans to work together to face them, even if it means taking a suicide mission to close the gate they came from.  In the meantime, the titular super computer star ship works out its philosophical crisis and comes back to help humanity fight them off.  Certainly an epic sci-fi tale worthy of some melodramatic power metal.

The album starts off a little odd, as the opening track "Never Say Die" starts with a muted tone, but things kick into gear soon enough.  The energy continues with highlights like "Seek and Destroy," "I've Been to Hell," "Predators," and "Firing the Guns," the last of which features some laser-heavy special effects.  I will say it does get a little cheesy towards the end, with "Back into the Light" making me think of Queen's theatrics, and "After the War" is a power ballad, leaning pretty hard on some synthesized strings.  Then they have a few decent covers to wrap things up (at least on the Japanese version).  While Hansen's Gamma Ray style is very prominent, I can also hear the band slowly developing their own sound, and the album brings the story to a solid close, at least as a trilogy.  Of course, things may change with the next album, which I'm looking forward to.  While I don't know if I love this one like I do their most recent albums, but I'm definitely enjoying the origins of this band and their storytelling.

Retro Reviews - August 2024!

Wow, where did the time go?  I was on a good schedule and then fell behind somehow!  I'll work on getting back on track, but I will admit that the next Anniversary Article is gonna be late as well because that's going to be another stack of reviews.  I'll keep trucking along, but for now, here's what I've been checking out lately.

David Gilmour - Rattle That Lock

With a new album coming out next month, I figured I should catch up on this legendary guitarist's solo discography.  I've already reviewed his first three albums, so this is the last one left.  While On An Island was very chill and pastoral, Rattle That Lock goes for a darker tone.

While we're not in Pink Floyd territory (though bits will feel that way with his guitar solos and some of the layering of strings and synths), this definitely feels like a more personal darkness.  The songs end up feeling a bit long with all these slow tempos, but if you can get into the somber headspace it's creating, the time flies pretty quickly.  Gilmour's solos are still beautiful, emotional, and majestic, but his voice sounds a little rougher this time around, but he makes it work.  The songwriting is interesting as well, leaning often into cinematic ambience and some jazzy sections here and there.

The album also flows well, but the songs shake things up here and there.  I did connect with some of the emotions on "In Any Tongue," and I felt that "A Boat Lies Waiting" is the closest to his previous album.  "Dancing Right In Front of Me," gave me some Dire Straits vibe, and the instrumental "Beauty" starts of pretty ambient before getting into some Pink Floyd territory, and I liked both halves.  "Today" was a jarring shift, going from a church hymn to this 80s alt pop thing.  It made me think it should have been on About Face instead of this album, given how upbeat it was.  Overall, I enjoyed a lot of this, and might considering it my favorite of his solo stuff (though I'd have to listen to the others more to really say).  It's a shame I didn't listen to this when it came out, as I did know about it, but I guess hearing it now means I get to share my thoughts with you here, for what they're worth.  Anyway, I certainly recommend this one as I think it's very accessible and easy to get into.

Iron Savior - Interlude

As I continue my quest through Iron Savior's discography, I'm a little baffled that this is considered an EP when it's over 50 minutes long.  Sure, half of it is live stuff, but it's really pushing the limits of "extended."  Then again, Sonata Arctica sorta did that with Successor, so maybe there's precedent.  In any case, this release carries on the story of the Atlantean super-computer with another chunk of power metal.

The live stuff is good enough.  Performances are tight, and there is a bit of stage banter in German with a crowd excited to be there.  The new tracks seem to lean more toward traditional metal, and capping it off with a Judas Priest cover really cements it.  The production seems a little weird, like the bass has been turned up, but without consideration of how it affects everything else.  However, that's just a nitpick for what is a handful of decent tracks.  "Controtions of Time" has some interesting gritty riffing and "The Hatchet of War" feels very Gamma Ray (though with Kai still on board, that's not a surprise).  I don't know if this is really a substantial release, but as an Interlude, it provides a solid collection of songs before the next chapter of the saga.

Angra - Rebirth

While I found their third album underwhelming, the band went through a pretty big change after recording it.  The vocalist, drummer, and bassist all left, so guitarists Loureiro and Bittencourt had to pull together a new band, thus the album title Rebirth.  As far as I could tell, it's not a concept album, but it's still a solid set of progressive power metal songs.

The balance of Helloween and Dream Theater continues on, but some synthisized strings give them a touch of Rhapsody of Fire, provided by Günter Werno on loan from Vanden Plas for this album.  He even gets a few noodly solos along with the guitars.  New singer Edu Falaschi feels like a cross between James LaBrie and Fabio Lione, so he fits in pretty easily.  Aquiles Priester and Felipe Andreoli are the new drummer and bassist, and they keep pace pretty well, while still squeezing in a few tribal beats for some of the more groovy sections.  The songs themselves are an interesting blend of ideas, going from soft to hard, slow to fast, sometimes even within the songs.  For what it's worth, I'm not saying that Angra is a copy-cat; they definitely have their own sound, and it's pretty iconic.

This album just seems to take the best of what worked before and polish it with more modern production for the time.  I remember hearing "Nova Era" a long time ago, and it's still a great power metal track, while "Running Alone" is an interesting blend of power and prog.  The rest is solid, though maybe a bit ballady at times.  They're not bad, but the energy does kinda go up and down across the album, ending on a piece of Chopin that sorta feels like the album deflating.  Overall, there's a lot to like, though, as it's pretty similar to Holy Land, and about as good.

Anniversary Series - 1999!

This article should be better than the last one, even if it means I gush about power metal most of the time, but it was great year for that genre.  After HammerFall had opened the gates, tons of new bands got signed, making it a ripe year for fans of the style.  However, I promise I'll talk a little bit about other genres, and we'll kick things off with some hard rock.

The big album of the year was definitely Creed's Human Clay.  Between the Matrix cameras in the music video and the anthemic post-grunge sound, this was when Creed cracked into the mainstream and became a big name.  I remember hearing "Higher" on the radio and thinking I needed more of this band.  I ended up loving them so much, they ended up being my first band retrospective article three years ago (the fact that they had such a small discography certainly helped as well.)

Other rock highlights include a few bands coming back in one form or another.  Def Leppard got back to their classic sound with Euphoria, Styx tried to make another concept album for Brave New World, and Santana teamed-up with Rob Thomas to give us "Smooth."  Classic rock might not have been the charting success it once was, but they still had plenty of good ideas and fun music.

I've delayed it long enough, though.  Power metal was really strong this year, with plenty of options to pick up.  Primal Fear came back with Jaws of Death, Gamma Ray and Iron Savior carried on their space crusade (which I reviewed earlier this month), Kamelot went into their Fourth Legacy now with epic vocalist Roy Khan helping with the songwriting, Edguy criticized the Theater of Salvation., and Helloween pulled out a Metal Jukebox for some interesting covers.

There were some solid debuts.  Freedom Call started their happy style of metal with Stairway to Fairyland, Metalium rang in the year with Millennium Metal, and Sonata Arctica blew everyone away with their debut Ecliptica.  With magnificent songs like "Kingdom for a Heart" and "Unopened," it was clear they were poised to become a champion of the second wave of power metal.

Of course, prog was making good stuff as well.  Dream Theater would reach a creative peak with their psychodrama Metropolis Pt. 2: Scenes from a Memory, Alan Parsons would check out The Time Machine, and Yes would blow my teenage mind away with The Ladder.  I've gushed about this album before.  Despite being 25 years old now, I still sing along to every word and note and beat whenever I put it on.  Honestly a modern prog rock masterpiece in my opinion.

So there's my thoughts on a pretty dang good year of rock and metal.  As always, check out the playlist below for more, recommend what I missed in the comments, and try to stay cool out there!  August is looking to be a hot and busy month for me, as I have a lot of album reviews planned, so keep an eye out for those.  Until then, rock on!  \m/

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.

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 - 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 - 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.

New Videos - May 2023!

Wow, sorry for dropping the ball at the end of last month!  Life got rather busy and stressful in a real hurry, so this kinda took a back seat.  Still, I've been able to find a few things worth checking out, featuring some interesting throwback styled rockers as well as some regulars on this blog.

Stray Gods are another band that borrows heavily from Iron Maiden.  This means soaring vocals, upbeat energy, and plenty of noodly guitar riffs.  And yet, I can't deny that this is pretty fun!  The Maiden sound when done well can always put a smile on my face, so I'll have to keep an eye out for more from these fellows.

Wow, I don't know if I've heard a band try so hard to sound like Rush.  And it's not just one specific era, as they have the hard rock of the early era, the song-writing of the prog era, and the synths of the 80s all mixed together.  Of course, it isn't just a carbon copy, as this band takes you on a solid journey for 18 minutes.  Between all the catchy melodies and interesting transitions, it's quite the prog rock buffet!

Primal Fear may have gone into cruise control for the past few albums, but I can't deny that they remain pretty consistent in providing solid, crunchy heavy/power metal.  As long as Ralf has the pipes and the band has the riffs, I'm in.  This one is a pretty standard mid-tempo stomper, but it's a decent tease for their new album.  

So Jamison Palmer, guitarist of Visigoth, has this other project that has singer Madeline Smith as the main focal point.  She has an interesting, epic lower register that works well with the traditional metal style they've got going here.  I think this goes for more of a Tanith/70s metal vibe, focusing as much on narrative storytelling as the riffs.

I clearly need to jam more Anthem.  They take on heavy/power metal is just so catchy and epic, and this track is no different.  Big, noodly riffs, double-kicking bass drums, a hooky chorus; it's just one big pile of everything I like, and I know this is the first time I've felt this way about them.  Turn this up!

Man, it really does feel like Iron Savior can do no wrong.  Their epic style of power metal just hits all the right notes for me, and this lead single for their new album is just another example.  Tons of energy and melodies, with an epic chorus and a grand story to tell.  I look forward to hearing more!

Last Played - July 2022!

Good grief, this July has started out unbearably hot!  I suppose it just gives me another reason to stay inside and listen to music!  For the past few weeks, I've been preparing for my upcoming article for 1997, so I've been checking out some major albums by some well-known melodic metal bands.  Here's what I've been listening to lately!

Iron Savior - Iron Savior

After enjoying their two latest albums so much, I figured it was time to start taking this band more seriously, and go back to the beginning.  Of course, this album is notable for being more of a power metal supergroup, featuring not only Kai Hansen of Helloween and Gamma Ray fame, but also Thomen Stauch, who was the drummer for Blind Guardian at the time.  Even Hansi Kürsch makes a guest appearance.  Starting off as a sci-fi power metal side-project, it's an album with a lot of energy, despite being a little rough around the edges.

Reading up on the album, the concept seems to revolve around a starship built by an ancient Atlantean civilization that was supposed to protect Earth.  However, when it came under attack, Atlantis decided to send the ship deep into space, in hopes that the world will be unified when it comes back.  When it does, it determines that Atlantis has been destroyed, and tries to start a war with Earth.  Working with those themes, the title track, "Watcher in the Sky," and "Protect the Law" seem to be interesting spins on the Judas Priest classic "Electric Eye," at least thematically, as the Iron Savior watches all and punishes equally.  However, not all the songs seem to stick to the theme, as "Break It Up" seems to be an anti-drug song.  I'm also not certain if "Brave New World" is connected, or is simply based on the classic novel.   

As for the music, it's all pretty solid, if rather stereotypical of the genre at its time.  The ballad is a little weak, but "Brave New World" and "For the World" have some pretty epic moments.  Piet's voice remains huge and iconic as ever, Kai Hansen provides his iconic noodles, and everything else is a straight-ahead heavy/power metal assault.  However, I do think the songwriting is a little sloppy, much like a new band hasn't quite worked out the kinks yet.  Still, there's plenty to recommend for fans of the genre, and serves as a solid start for Piet and company.

Gamma Ray - Somewhere Out in Space

Kai Hansen was certainly busy in 1997.  After working on Iron Savior, he got his own band into the studio to work out their fifth album.  I have to say, though, compared to their last one, this is another significant improvement!

At first, it certainly shares a lot of elements with Iron Savior's debut.  Plenty of songs about space travel and ancient aliens being seen as gods by humans.  However, the songwriting is definitely more in Kai's wheelhouse.  There are plenty of noodly riffs and solos, and they even get a little bit neo-classical, especially on "The Guardians of Mankind."  The production has also gotten a bit meatier, but I think the biggest improvement is actually Kai Hansen's vocals!  On Land of the Free, they weren't amazing, but they worked.  However, here on this album, Kai is belting it out as well as any other power metal vocalist!  There are also some great vocal harmonies and choirs to back things up, and they all boost the album considerably.

There are a few quibbles, though.  The short tracks do feel a little unnecessary, the ballad "Pray" is pretty weak, and the album is maybe a little bit long, as it's a lot of the same ideas all the way through.  Still, I enjoyed quite a bit of this album.  Stand outs include the high-speed opener "Beyond the Black Hole," the title track with it's odd back-and-forth on the tempo, "Lost in the Future" which is a grittier number, with a strange inclusion of the melody from "Oh! Susanna" of all things, and the closer "Shine On," which has a lot of Queen-like elements so as to end on what feels like a big number.  Also, "Watcher in the Sky" from the Iron Savior album I just reviewed shows up, and while it's crunchier then the rest of these songs, it doesn't feel out of place.  Overall, this is a pretty solid album with only a few bumps along the way. 

Dream Theater - Falling Into Infinity

I think I've mentioned elsewhere that my knowledge of this iconic band is a little strange, as I've only heard the first three and the last three, leaving a pretty large gap in the middle.  With an upcoming article for 1997, I thought I'd start to fill in that gap by giving this a listen.  There are some conflicting stories about the making of this album, but it seems the record label was pushing for more accessibility, which the band seemed to struggle with.  Now that I've listened to it, I think it has some interesting things, but it is kinda front-loaded.

Of course, the performances are on point as usual.  These guys have always known how to get what they want out of their instruments.  "New Millennium," "Hell's Kitchen," "Lines in the Sand," and "Trial of Tears" provide plenty of bizarre rhythms, time-signature shifts, and extended songwriting.  Guitar fans will find Petrucci very on point, shifting between emotional melodic leads and shredfests whenever the songs call for it, and Portnoy finds all kinds of pockets to fill between the grooves.  New member Derek Sherinian brings his organs, providing a classic touch to many songs.

As for the production and songwriting, though, I can kind of see that there is a bit of a leaning toward a more 90s alt-rock vibe.  "Hollow Years" in particular feels like a ballad that could have been written by the Goo Goo Dolls (this isn't meant to be any kind of derogatory remark against the latter band, just that I found similarities).  Still, I found I liked a good chunk of the album, especially the first half.  Stand outs include the very King Crimson-y "New Millenium," the chunky "Burning My Soul," and of course the second half of "Peruvian Skies" is iconic.  However, after "Hell's Kitchen," I do feel like the album doesn't hold my attention as well.  So in the end, it's an uneven album, but certainly not without merit nor is it any kind of failure on the band's part, I think.  Just a middle-of-the-road album by a band that now has a lot of them.

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I know I've been mainly focusing on older stuff, but I promise I'll get back around to reviewing newer releases.  There certainly are plenty of potentially great albums on my radar and I need to take the time to check them out.  Still, I'm happy to be filling in these gaps, as I do have a lot of those.  Again, this month will probably continue with another anniversary article and finish with a new videos collection, but we'll see if I can squeeze in another Last Played before the month ends.  I certainly don't have any reason to go outside!  Until then, rock on! \m/

Top 5 of 2020!

Finally!  I know I've said this before, but this top 5 has been quite a challenge to put together.  As I was relistening to stuff this year, some that I thought were strong started to fall short, while others rose up.  Even when I narrowed it down to these five, it was tough to put them in order.  However, it had to be done.

Before we get started, I do want to give an honorable mention to Judicator's Let There Be Nothing for being a very peculiar prog/power metal concept album.  It didn't quite make the Top 5, but cut it pretty close.  Now, let's check out the five that did make it.

#5: Metal Commando - Primal Fear

Even though it isn't as strong as Rulebreaker from 2016, they still have it where it counts.  It's crunchy, it's solid, and it's Ralf Scheepers bellowing out cheesy lines with authority, and that's good enough for me.

#4: Lamenting of the Innocent - Sorcerer

This album has a sound unlike any I've heard this year.  While it's technically doom metal, with the soaring vocals and dual guitar solos, you'd think it was power metal as a slower tempo.  In any case, it makes for an arresting listen, full of melodramatic tension and dark epicness.  

#3: Skycrest - Iron Savior

Iron Savior got third last year!  Like I said in my review, it's probably not as strong as last year's Kill or Be Killed, but it still has enough going for it to end up at this spot.  I'm just a sucker for German power metal, full of melodic leads and epic choruses!  I can't help it!

#2: Electric Pentagram - Lovebites

However, the champions of power metal this year are Japan's Lovebites.  I knew this band had potential, but this album just puts a big smile on my face.  There are a few weaker tracks, but the stronger ones make up for it in spades!  Tight, epic, melodic, and a ton of fun!

#1: Tragic Separation - DGM

It was either this or Lovebites, and I think DGM edge them out.  They're melodic-but-chaotic leads are just so cool and energetic, Mark Basile soars, and they have this rich layered sound behind it all.  It's also very consistent across the tracklist, and I think that's what seals the deal for me.  They may not necessarily be reinventing the prog metal wheel, but they know how to write an epic track, and this one has several.  

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Well, that's 2020 wrapped up.  Now it's time to start looking forward to what's coming this year, and it seems we've got some big ones!  Right from the gate, we've got Accept, Evergrey, Ordan Ogan, and Helloween right out of the gate.  Should be exciting stuff!  Until then, rock on! \m/

Last Played - December 2020 Part Two!

Finally, I feel like I'm catching up on things I wanted to listen to, actually getting to some albums that released this same month!  While there are too many releases in a year to really listen to everything I want to, I feel like I've done well for 2020.  Here's what I've played this time!

Kansas - The Absence of Presence

After enjoying many of the singles, I figured I had better squeeze in Kansas's latest effort before the end of the year.  While I did enjoy their last album, The Prelude Implicit, I did feel if the members weren't feeling their age, as the album was a touch on the sluggish side.  Here, they double-down the progressive side of their sound, now with Tom Brislin (Yes, Anderson/Stolt, The Sea Within) on the keyboards.

The result is an interesting album, featuring plenty of lush layers and noodly guitar and violin leads, and plenty of going back and forth between the instruments.  The riffs felt particularly crunchy, and I do think they recaptured more of the classic sound this time around, though I also felt like there was a strong dose of Neal Morse in here as well with the very polished, uplifting prog rock style he's known for.

I liked most of it, with highlights being the title track and "Throwing Mountains," both of which show the band really going big and epic.  "Propulsion 1" felt driven for a short instrumental, and "Animals on the Roof" is rather quirky.  However, the proggiest track is the last one, "The Song the River Sang," as it starts off with this dramatic energy that builds up pretty well, before hitting a quieter section full of pokey notes that just loop in their own way.  Very strange.  Still, a fascinating album from a band with a long history of straddling the line between prog rock and hard rock.

Majestica - A Christmas Carol

If my previous remarks about how I enjoy both Trans-Siberian Orchestra and Twisted Sister's Christmas album, then it should be no surprise that I was pretty excited for this one.  I mean, power metal telling a classic Christmas story?  I couldn't wait!

And that's pretty much what they're going for: telling Dicken's A Christmas Carol with tons of double-kicking drums, symphonic theatrics, and high-speed riffing.  Everything here has that extra layer of cheese that makes power metal so decisive.  The extra twist they've done, though, is that they've worked in the melodies of several classic Christmas songs (or carols, if you will), ranging from "Deck the Halls," to "Joy to the World," making the album a bit more a delight than I expected.

For example, I did like the shifts in mood on "Ghost of Marley," and the interesting shift during "Ghost of Christmas to Come" from a kind of polka sound to an epic 6/8 section based on "Carol of the Bells" (one of my personal favorite carols).  The story-telling does take center stage though, as is the nature of such a concept album, and as a consequence, I don't know if the songs really hold up as individual tracks.  It may take a few more spins this season to really decide how I feel about it, but I'm glad this band took the time to do something that's pretty fun to listen to.

Iron Savior - Skycrest

I can't believe they have another album out already.  I was still digging the songs from their last one!  Still, I'm not one to turn up my nose at more epic power metal, and Iron Savior seems to be a pretty consistent band at it.

If there are any differences from the last one, there's a bit more variety, as well as a few more symphonic touches, in my opinion.  I wasn't sure if I heard them as much on Kill or Be Killed.  Also, I don't think this on is as much of a concept album as their earlier ones, as they have all sorts of themes, from end of the world stuff, to werewolves, to a power ballad, to a song that's more fantasy (I guess even Iron Savior gets tired of military sci-fi!).

However, this doesn't mean there's any real deviation in style.  It's still gritty, German-styled power metal, full of fist-pumping choruses, crunchy riffs, and Piet Sielck's iconic voice plowing through it all.  I don't think this one is as strong as Kill or Be Killed overall, but there were a few standouts, such as "Skycrest" and "Hellbrearker" going epic in 6/8, the metal anthem "Raise the Flag," and the closer "Ode to the Brave."  Despite only being familiar with their more recent stuff, I'm getting the impression that this band is a sure thing each time they come around.

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This year's Top 5 is going to be very interesting, I must admit.  I don't know if there's a real standout winner this time, like there was with Monkey3 in 2019.  Still, 2020 was no slouch, and it will take some serious consideration to decide what was the best.

As for the rest of this year, I think I'll try to get in at least one more videos article before the end of the year.  However, I'm already prepping for next year and the articles I have planned, which should be fun.  Until then, rock on! \m/

New Videos - December 2020!

I'm still trying to wrap up videos for this year, and I've got quite the variety here for you.  We're starting to see some previews of what next year will be like, and it seems as promising as ever, with plenty of rock and metal to look forward to.  

I clearly need to get on this album, as I think I've liked every video they've put out for it.  This is definitely the band on their proggier side, with shifts in tempo and mood throughout, with shades of their classic 70s sound.  Kansas has really turned into an interesting and curious band, recently.

W.E.T. is another one of those supergroups that Frontiers Records like to put together, this one being from multiple AOR groups.  I've featured them before, but now that they've got a new album coming, I'll have to check them out more fully.  This is an interesting track, with heavy riffs and a lighter chorus, but solid enough all around for my tastes.

As always, I'm a sucker for epic power metal, and this band has caught my attention.  Sitting somewhere between Gamma Ray's lighting speed riffing and Stratovarius' symphonic keyboards, this some excellent metal right here.  Another band to add to my ever-growing list of music to catch up on.

I'm not quite sure what to make of this, actually.  Technical melodic progressive metal with two lead vocalists and an aesthetic borrowing from 80s gritty sci-fi films.  Epic, yet visceral, with lots of jarring time-signature changes.  At the very least, they're on my radar now, and I'll have to check out more!

So here's a project centering around Joel Hoekstra, who has been a guitarist for Whitesnake and TSO (among others).  While the song is decent hard rock, it has quite the lineup, with Russell Allen on vocals, Vinny Appice on drums, Derek Sherinian on keys, and Tony Franklin on bass.  I'm definitely curious to see what else these guys have for 2021.

So they did another silly music video of them playing in their car.  I like their little flag.  As for the song, it's another one of those metal anthems, along the lines of Judas Priest or Saxon.  Still, Piet Sielck sings it with authority, and the riffs are solid, so I can't deny that it works.  Raise the flag, indeed!

New Videos - November 2020 Part Two!

Well, I hope you had as good of a Thanksgiving as I did, especially one that rocks this hard.  Here's another bunch of new videos from all kinds of bands to help you stay awake through the holidays!

After Walk the Sky blew me away earlier this year, the band has been busy on a new track that they're releasing, along with a bunch of live tracks, in an EP they're calling Walk the Sky 2.0.  This is the new track, and it's heavy.  One of their grittier ones for sure, but very solid and very much in their style.  Great work!

It's hard to go wrong with Iron Savior, I feel.  While, this song is not as strong as the first single, it's pretty solid, straight-forward heavy/power metal.  Sielck still sound great, though, finding that middle point between Kürsch and Dirkschneider.  The album drops next month, and I'm really looking forward to it!

Dee Snider's last solo album was quite the barn burner, and this extra track from a recent live album is much very much in that same gritty, crunchy vein.  I'm really curious to see if he will continue on this path he started 3 years ago, because it could lead to some more great metal.

Inglorious is a band with a really solid blues-rock sound that feels classic without really sounding like anyone specific.  Maybe Whitesnake?  I've liked their stuff before, and this new one has their style in spades.  Nice, crunchy guitars and Nathan James just wailing like a champ over it all.

While I wasn't that impressed with their debut album, I never doubted the talent of these guys, and just from this song, I think there's promise.  There's more energy, and Trewavas gets to do some nice bass lines.  Not sure how I feel about the two different album versions, but the music at least sounds promising.

Another solid power metal track from these guys, though this one makes me think of Sonata Arctica, with the layered keyboards and a tempo that isn't fast or mid-tempo.  While like the last one, I'm not blown away exactly, but it has solid riffs and melodies, and Marco Pastorino brings a lot of confidence to the song.

New Videos - October 2020 Part Two!

I'm back with some more videos!  Definitely got a good mix of things this time, including prog, power, AOR, and even something dark to finish things off.  Let's get started!

I admit I hadn't heard of this band before, but I guess they've been around for 20 years already.  They seem to be a blend of prog rock and metal, going back and forth between solid crunching and nice atmospheric sections.

Frontiers Records seems to crank these kinda bands out like clockwork, but here's another AOR melodic rock group from them, and I can't deny that they've got this nailed down.  Solid rock with great synths backing it up, sounding like the early 80s never left.

Man, I need to sit down and listen to this album.  DGM always satisfies.  This one is more uplifting and has more of a rock vibe, but that doesn't make it any less of a melodic prog metal epic.  Great stuff, once again.

I can't believe Iron Savior is already putting out another album.  I really enjoyed their last one, and this looks to be more of the same: double-kicking, riff-laden, melody-driven, epic power metal.  I'm definitely excited!

Vanishing Point may be from Austrailia, but they fit right in that Italian Prog Metal style.  Chunky riffing, tight melodies, epic vocals, orchestral sweeps, it's got it all.  Looks like this is another band I'll have to dig into.

Let's finish with something spooky!  Blue Oyster Cult is back with a new album after nearly 20 years, and this cut features their darker side quite well.  Melodramatic, with a rather rocking bridge that shows some nice fingerwork from the guitarists, it makes for a moody tune that works well for this Halloween-themed month.

Top 5 Albums of 2019!

Sorry that this took so much time to come out.  I wanted to spend some time relistening to some albums to really determine where they fit.  I admit I didn't listen to as many albums last year as I wanted to, but I figured I had enough to put together a decent Top 5.

Anyways, that's enough excuses!  Let's get started!

5. Crazy Lixx - Forever Wild

Call it a token entry for the retro style, but I can't deny that this really is pure 80s fun.  Taking what made bands like Def Leppard, Bon Jovi, and Motley Crue so big and giving it their own spin, this is an album full of anthemic rockers that have plenty of energy.

4. Darkwater - Human

Full of atmosphere and proggy chops, this one really stood out as being very different.  Henrik Båth gives his all to these songs in a way that really reminds me of Roy Khan, and the rest of the band supports him with a wall of sound that's just massive.  Solid, symphonic prog metal.

3. Iron Savior - Kill or Be Killed

No real surprise to see this here.  Classic power metal always get my attention, and Iron Savior have deliver a top-notch album with this one.  While it doesn't really do anything new, it does lay on the epicness thick and does it well.  Full of anthemic choruses and massive riffs, it's a blast from start to finish!

2. Paragon - Controlled Demolition

I'm actually rather surprised this one made it to the list.  While I liked the videos they released, and felt the album was solid after the first listen, I didn't expect this one to grow on me so much.  Just chock-full of great riffs and epic vocals, it's gritty, old-school heavy/power metal that really grabs the ear and doesn't let go!

1. Monkey3 - Sphere

And yet, despite all the metal, this is the album that really blew me away.  Monkey3's unique blend of psychedelic, stoner, and post-rock elements create a wall of sound that feels liberating and yet emotional, and full of moments where the band just gets to jam for a bit.  A complete album, solid from top to bottom, with all kinds of highs and lows, this was my favorite album I heard all year.

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Now, this list is by no means final.  As I said, I didn't listen to everything I want to last year.  I'd recommend keeping an eye on my "Best of 2019" Spotify playlist, as I'll continue to add songs to it.

In the meantime, I'm looking forward to another great year of rock and metal, and I've got some interesting ideas for articles coming soon!  Until then, rock on! \m/