New Releases 2026 Part One!

Well this certainly took much longer than I wanted it to.  There are plenty of albums coming out this year that have me intrigued, but I'm just not getting to them (so far; still plenty of year left).  I mean, my first one here was the talk of the internet at the beginning of the year, and I'm just now publishing my thoughts on it.  (I've never been particularly great at being timely!).  Eventually I pulled together enough reviews to fill out an article, but I have to warn you, none of these are impressing me much.  Here's what I've been checking out lately.

Megadeth - Megadeth

Of all the most anticipated albums to kick off the year, this was pretty much unavoidable.  Not only was it going to be the band's last album, but it featured a Metallica cover (one of the few Mustaine helped write).  However, I'm not really a big Megadeth fan.  I've listened to their first five, as well as Dystopia and The Sick, The Dying... and The Dead!, but overall, they're kind of hit-and-miss for me.  I also know I'm way behind on reviewing this, as it's been out for months now, but I figured I'd give their swan song a listen, as I was pretty curious.

My first thought is that the songwriting is even more stripped down than Dystopia was, perhaps as much as Countdown to Extinction.  Most Megadeth fans will find very little that's new or surprising, and perhaps might get frustrated with how familiar it is.   While there are a few fun thrashy blast-fests, much of the album plods along as Mustaine sings about his observations and frustrations.  The opener "Tipping Point" and "Let There Be Shred" are highlights for being some energetic thrash tracks, and "Made to Kill" feels like it could have been on Rust in Peace, with its meter changes and dynamics.  "The Last Note" also has some decent energy as he reflects upon his career before ending the album.  And then there's the Metallica cover.  It's alright.  It's a bit of a weird choice, too, as I understand the song changed after Dave was kicked out of the band, so playing this final version is strange.  While the performance is fine (and has Megadeth's typical tightness), the main problem is Dave's voice.

And this is where I address the elephant in the room.  I get that getting older isn't for wimps, and throat cancer is no joke, surely affecting his voice, but it feels really weak and rough on this album.  Much of his snarling charisma is gone, and while it's not bad on every song, it is something that gets a little hard to ignore.  And with "Ride the Lighting," compared to James Hetfield's roaring bark, Mustaine's voice feels so weak and kinda drags the song down.  If he had covered it just 10 or even 5 years earlier, it would have sounded better.  I don't mean to be a jerk about this, as I've heard that his voice has been failing for a while, and I hope he's able to keep it working through the farewell tours he wants to do.  But when Mustaine's singing was such an iconic part of this band's sound, it's a little depressing to hear it struggle so much.

There is something to be said about going out on your own terms, though, and for Megadeth, this farewell is about as Megadeth as it gets, for better or worse.  I'm sure the guitar nerds will enjoy picking these solos and riffs apart as they always do, but otherwise, it's honestly more of the same.  I don't think it's a bad album, overall, but it does feel like a simplified version of the band's sound, which makes for perhaps a bit of an underwhelming last album.

Lovebites - Outstanding Power

Well, I asked for another full album and here it is!  Their last one was quite a blast, and it made it into my Top 5 for that year, and since then, they released an EP that was also pretty solid.  Keeping the same lineup as before, the band seems to be trying to expand their sound beyond power metal, but I don't know if it's really working for them.

Things start off well enough with "The Castaway," but then they go right into thrash metal mode with "Silence the Void" and later on again with "Reaper's Lullaby."  They proved they could do this well on Lovebites II with "Where's Identity," so I'm pleased to hear them do this again.  However, they also try some symphonic metal ideas with "Forbidden Thirst" and "Dream of King," but feel like they might be stretching a little too far from their base with these, especially the syncopated riffing in the latter song.  Other experiments include the AOR-like "Wheels of Fire," a classic metal approach for "Out of Control," and some uptempo rock for "Blazing Halo."  Then they go all-in on the extremely sentimental power ballad "Eternally," which really didn't need to be seven minutes long.  These tracks had some good moments, but it does make the album feel uneven and inconsistent (and your mileage may vary with these genre shifts).  Fortunately, they do bring back the power metal on "Phoenix Rises Again," and the closer "One Will Remain."

I kinda hate to say it, but this is a bit of a disappointment.  After the incredible Electric Pentagram and the worthy follow-up Judgement Day, I was ready to sail with them into the power metal seas.  However, after listening to all this variation, I'm wondering if the band is having a bit of an identity crisis.  While I do like some of the ideas, especially the faster, thrashier songs (I think "Silence the Void" is the best track here), this album doesn't feel as strong as what they've done before and leaves me worried about what they might try next.  

Yes - Aurora

Once again my favorite band has put out another album.  I admit it has been tough to get into their recent material.  The Quest had a decent start but eventually settled into a soft rock pace that I found lack luster.  This was followed up with Mirror to the Sky, which I thought was an improvement, but still struggled in the rock department.  After that one, I had a bit of hope that it was at least an upward trend as they explored this new era of their sound.  When this album was teased at the end of last year, I tried to keep my expectations low, but as the singles were released, I felt underwhelmed.  Now, after listening to it a few times these past few weeks, I think it's about time I gave up on this version of the band recovering the legacy of their rock prowess.

To be clear, this is by no means a bad album, just kind of inoffensive.  It meanders a long from song to song, providing some decent atmosphere, and the increase in symphonic sections shows their theatrical pretensions.  They do have a few interesting shake-ups, with "Outside the Box" messing around with synths and vocal harmonies, "Countermovement" was a decent epic song with some curious twists and references, "Jambustin" is a playful, quirky song that almost works, and "All Hands on Deck" sounds like they're channeling Deep Purple, of all things.  The opening title track is probably the best at embracing the band's current positive mood, which resonates throughout the album.  Overall, it's nice to listen to.

Unfortunately, it's just not very memorable.  Even with their experimentation, there is this intention of a slower, easier pace without really having any impact on me as a listener.  At least The Quest and Mirror to the Sky had tracks that felt like complete ideas or had some energy, but here, they are content to stick to this laidback version of their style, perfect for their Cruise to the Edge events.  It was after I listened to this album the second time I finally had to come to terms that this current lineup just has no desire to bring back the rock music side of their sound, something that Jon Anderson did very well with the Band Geeks.  I understand this album has its fans, but I am not one of them.  It's such a shame, too, because I know these musicians are very talented, but they don't seem to interested in putting their mastery into what I'm interested in.  Maybe in the future, they'll remember to be a rock band, but for now, this is just another disappointment.

Top 5 of 2020 (Revised)!!

Here we are!  Granted a little later than I wanted, as I was hoping to get through all of these Top 5's before the end of the year, but I didn't manage my time well enough.  Still, this has been an interesting Top 5 to consider, or rather, re-consider, as I put one together five years ago for this blog.  However, after relistening to everything I reviewed before and catching a bunch more for good measure, I've ended up with the same five albums (albeit in a different order)!  Apparently good albums stay good.  

Last time, I brought up Let There Be Nothing by Judicator as an honorable mention.  It's still decent, but a few others need to be mentioned, namely PWR/UP by AC/DC (which really is quite solid as an album of hard rock) and Firewind's self-titled album.  Their style of heavy/power metal seems to have grown on me a lot in the last five years.  Nevertheless, let's get into this Top 5, and talk about how these albums have faired these five years later.

5. DGM - Tragic Separation

Let's be clear: this is still a very good album.  It's in the Top 5, after all!  And it's not like I've lost any love for what the band does here.  It really came down to how the other four albums have just grown on me over time.  Admittedly, it also doesn't help that I think Endless was a better album, as they really pushed themselves on that one.  However, I still enjoy much of this album, with all of its technical riffing and melodic choruses.

4. Primal Fear - Metal Commando

Listening to this a few more times, I think I was a little unfair to this album when I first reviewed it, as there really is some pretty strong material here.  While it doesn't dethrone Rulebreaker as my favorite of theirs, this band is very consistent in quality and this album serves as another testament to their upbeat, heavy/power metal style, bolstered by Ralf's iconic, soaring vocals.

3. Iron Savior - Skycrest

I admit my thoughts on this album have not changed that much.  Iron Savior remains one of my recent favorites, and while this album isn't as good as Firestar or Kill or Get Killed, it's solid enough to maintain it's place from five years ago.  I will say that the song "Hellbreaker" has become one of my favorite songs, now, which certainly helps.

2. Lovebites - Electric Pentagram

I've mentioned it before, but I do think this is still their best album, with so many awesome, high energy power metal songs!  The album isn't perfect, as there are a few songs that I think are not as strong, but I wouldn't call them filler, either.  As I've gotten more into this band in the last five years, they really are a gem, especially in a time where I feel like power metal has been drifting into this farcical territory that I'm not fond of.  These women keep the fire for great power metal burning!

1. Sorcerer - Lamenting of the Innocent

This album.  I was blown away when I first heard it, and it has only gotten better.  Practically a musical steamroller, the album just flattens listeners with it's incredible atmosphere, bolstered by excellent riff after excellent riff.  Not since Paragon's Controlled Demolition has an album grown on me so much!  Now that I've listened to all of Sorcerer's albums, I'm confident that this is their best, and I look forward to whatever they do next, as I really do like their style of doom metal.  These guys definitely had the best album of 2020.

New Releases - 2024 Wrap-up!

Alright, one last chunk of reviews to wrap things up.  After this, it's time to listen to everything again to figure out what my Top 5 of the year is, and there certainly are some contenders in this article!  I've focused on melodic metal much more for this one, but they're all from bands I've enjoyed before, and they're carrying on without too much to slow them down!  Here's what I've decided to check out for the rest of 2024!

Lovebites - Lovebites EP II

So I admit I'm kinda confused by this title, as this is technically their fourth EP (going by Metal Archives, anyway).  Based on the cover art, it might just be a sequel to their first EP, but what that means, I honestly don't know.  I decided to relisten to their entire discography before getting into this, and it really is amazing to hear just how consistent these girls are in the quality of their songs.  While Electric Pentagram remains my favorite of theirs, all of their albums have highlights, and this remains true for this EP.

Things start high with the opener "Unchained," which is some typical (and by that I mean good) power metal from them.  "Soul Defender" follows up well, leaning into some US power metal feeling with the chuggy riffs.  Then next comes "Where's Identity," which is straight up Bay Area Thrash, and probably the best song on the album, wildly enough.  However, the last two tracks aren't quite as good.  "The Bell in the Jail" has this strange groove going through it, and seems to have been inspired by The Hunchback of Notre Dame, and "Someone's Dream" sounds like their attempt at a Helloween style song.  It's not bad, just not as strong as the earlier tracks.  Overall, though, they maintain their high standard by providing another handful of high energy metal, and as a big fan of this band now, I don't think I could ask for anything more (except maybe a full album next time).

DGM - Endless

Well, this was certainly a pleasant surprise!  While I definitely liked Tragic Separation when I heard it, subsequent listens have shown that it might not be as strong as I first thought, and when Life turned out to be mostly fine, if underwhelming, I was concerned that this band was starting to slip in quality.  So I was pleasantly surprised when they decided to dive deeper into prog!

And when I mean prog, I mean full on hammond organs and flute solos from the 70s.  It's like they decided to go back to their roots and influences, making for a very surprising and satisfying album.  Sonically, the album finds itself close to the melodic side of Dream Theater, with some keys from IQ, and an uplifting tone like Neal Morse's solo work.  While the band's lineup remains the same, they clearly made some changes to their approach compared to their last few records (which largely felt like a fusion of modern prog metal with AOR-style choruses).  This time, it's like they decided to throw out their templates and just explore what they felt good about, filling the album with songs full of energy and excitement!  Seriously, I was smiling through most of this album as I was listening to it for the first time!

Things start of very proggy with "Promises," mostly being an instrumental jam, before going full-on prog with the dynamics on "The Great Unknown."  Even when they bring back their usual sound on "Final Call," it's broken up with a rather moody digression that builds quite well.  "The Wake" brings in some darkness to shake things up, and the 14 minute closer "...Of Endless Echoes" is all of this wrapped together in a wonderful musical journey.  However, the highlight for me was "From Ashes," with it's energetic start and cheerful lyrics.  I couldn't help but smile the entire time it was on!  Overall, this was a delightful surprise, as the band seems to find new life by bringing in some classic prog ideas to freshen up their sound.  Top 5 contender for sure!!

Dream Evil - Metal Gods

After reviewing a few of their albums, I've decided to skip ahead to their newest one, squeezing it in between these other new releases.  However, they haven't changed much, drifting into a style that's more traditional metal than power metal, much like how HammerFall have been for the last decade or more.  While listening to it, I thought of both the Saxon and Judas Priest albums I heard early last year.  Still, for those who don't mind a layer of cheese with their metal will find themselves headbanging through the album.

While the band is solid (and there are some interesting guest guitar solos), most of their strength comes from their vocalist Niklas Isfeldt, who belts out these campy lyrics with authority.  I think he's aging well, sounding a lot like Biff Byford in most of these songs, giving them the right amount of drama to be fun without sounding like a parody.  The lyrics are pretty typical "overcome the challenge" stuff, with equal focus on horror and fantasy.  It may feel like they're sticking to their formula, but they execute it well.

The album starts well with the title track, a tribute to the classic metal that inspires them.  "Chosen Force" is a solid follow up, and things get more power metal with songs like "The Tyrant Dies at Dawn" and "Born in Hell," the latter of which neat riffing that makes me think of classic HammerFall.  The rest of the album is solid, but it's easy to let each track slip by as the album goes on.  As much as I like this band and their brand of fun, this year has some tough competition, so I don't know if will stand out enough to get into my upcoming Top 5 article at the end of the month.

Paragon - Metalation

Good grief, has it really been five years since their last album?  Where does the time go?  Controlled Demolition ended up being a sleeper hit for me back in 2019, and while I doubt they've been resting on their laurels since then, I have had to be patient in waiting to see what Paragon would do to follow up that massive, crushing slab of heavy/power metal.  They've got a new drummer on board, but they've clearly picked up right where they left off.

Because I haven't been doing the Videos articles anymore, I haven't taken the chance to check out any singles, so I went into this pretty blind.  Happily, I found plenty that reminded me of their previous album, but I admit I was looking forward to that.  As usual, the band is full of chunky riffs and rhythms, the solos by Christian and Bertram range all over the place from melodic to shreddy (and include a few from Piet Sielck of Iron Savior, who I guess has been working with this band for a very long time), and vocalist Andreas Babuschkin brings his gritty charm to the songs.  They continue their unique blend of styles, taking the grit and energy from Accept and giving it a bit of a power metal boost in epicness.

The songs themselves are pretty consistent, though "MarioNET" goes by in a blink, and the later songs "My Asylum" and the title track drop the energy for the sake of more anthemic songs.  They're not bad, aren't as strong as where they began, starting with the high energy "Fighting the Fire," which carries on with "Batallions."  Meanwhile, "Beyond the Horizon" goes for more of an epic doom approach, making me think of Sorcerer's work.  Overall, it's another decent chunk of metal, and while I don't know how much this one will grow on me, I know I'll be giving it more listens to see if it lands on my Top 5.

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.

Anniversary Series 2018!

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

Lovebites - Clockwork Immortality

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

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

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

Gygax - Second Edition

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

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

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

Visigoth - Conqueror's Oath

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

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

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

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

Last Played - April 2023!

Well, this is exciting!  I usually don't have a review up so soon after a new album releases!  Of course, there's much more here than just Metallica, as I spice it up with a few other things, but I'm putting the Metallica review up first, as I figure that's going to be the most interesting part of this article.  Let's get into it!

Metallica - 72 Seasons

Here it is: the new Metallica album!  After a long, seven-year hiatus since Hardwired... to Self-Destruct, the world's biggest metal band suddenly started dropping new singles for this new one, and I have to admit I've gotten my hopes up a little.  While I do think it's overlong, and a little repetitive, this is definitely an improvement over their last studio effort, mostly by bringing back some of their NWOBHM tendencies.  

Let me just say that this is a very safe album.  Metallica fans will find plenty of new anthems to enjoy, but the haters will likely snort their dismissals and move along.  One thing I will say is that they have brought back some of the energy that was sorely missing from Hardwired.  While we're not quite into Death Magnetic territory (to say nothing of the classic 80s era), the pacing of the album doesn't get too bogged down this time around.  It isn't particularly thrashy, either, but there are more harmonies on this one, not only in the vocals, but with the guitars as well, which is what gives it a bit more of an old-school metal vibe.  However, I will say that some of the songs go for a bit too long, especially the eleven-minute closer "Inamorata," which is just too repetitive for its own good.

Things start off pretty well, with the title track stomping away, and the first single "Lux Æterna" really pushing that Motörhead energy.  "Screaming Suicide" has an interesting build up towards the end, "You Must Burn!" gets heavy and even a bit doomy, and "Too Far Gone?" features some unique melodies and progressions.  However, things do get a bit sluggish at times, especially with tracks like "Sleepwalk My Life Away," "Crown of Barbed Wire," and "If Darkness Had a Son," but they never get to Load and Reload levels of bad.  Once again, we have a mixed bag of a Metallica album that seems just a bit too long to really feel solid.  However, the older-styled riffing and extra energy make this worth more than a listen or two.

Judas Priest - Ram It Down

I know I said I was going to focus on new releases, but I was in the mood to check out some classic 80s metal and settled on this one.  While I haven't reviewed much of Judas Priest's catalog, I have listened to more than half of it, and this one was next.  After the cheesy, but honestly not that bad, Turbo album, Ram It Down continues the glammy Priest style, for better or worse.

It's kind of a conflicted album.  On the one hand, the production is very 80s and shiny, making me think of some of Ozzy's or even Def Leppard's material, and the song-writing does tend to lean into some pop metal clichés and lyrics.  However, I can deny that what's here is very well done.  Tipton and Downing lay out some pretty solid riffs, and provide some great solos, especially the back-and-forth section on "Ram It Down."  Halford is also giving his all on the vocals.  His voice lends the words a lot of authority, even if they are kinda bland or just covering Chuck Berry.  The bass and drums are okay, but definitely have a computery feel (especially if the detail about them using a drum machine for a lot of tracks is true).  The bass in particular tends to pulse like a synthesizer on a number of tracks.

Still, it's not like it's really a deal-breaker.  If you're willing to forgive that it doesn't sound all that much like Screaming for Vengeance, these are a decent handful of very 80s-sounding metal tracks.  The title track is is a solid opener, "Come and Get It" and "Hard as Iron" have some decent metal riffing, and "Blood Red Skies" has this very dramatic, somber vibe that feels like Halford is fighting Skynet in a post-apocalyptic future.  Purists might cringe, and they would have plenty of reason to, but those of us who don't mind a brighter, more accessible kind of metal might find something to like here.

Kamelot - The Shadow Theory

This is the last album I needed to hear before checking out Kamelot's latest opus.  I promise that's coming soon, but for now, The Shadow Theory.  Again, I'm not certain as to whether or not this is a concept album, but this one seems to find a good balance between their classic sound and their newer symphonic style, much to my delight.

A lot of the staples I expect from a modern Kamelot release are here: the production is lush allowing for grand orchestrations, Thomas Youngblood has plenty of riffs and licks to share across the album, Oliver Palotai adds his synths and trades solos with Youngblood, and Tommy Karevik is channeling Roy Khan more than ever.  However, they've brought in Johan Nunez for the drums this time, and he seems to be bringing back the double-kicking energy of the older albums like Epica and The Black Halo!  While it's not on every song, there is a general uptick in intensity compared to their last few albums, and I appreciate it considerably.  They also bring in Lauren Hart to do some harsh vocals, but they fit the song well, especially on "Mindfall Remedy."  Overall, this is a very solid work.

I think this is definitely best album they've done with Karevik so far, as I have very little to complain about here.  Things start well with "Phantom Drive" and "Ravenlight," while songs like "Kevlar Skin" and "Mindfall Remedy" show their darker side.  I also like how dramatic "Stories Unheard" is, with it's shifting dynamics, and "Vespertine (My Crimson Bride)" has an interesting, uplifting vibe powered by some rockin' energy, making it stand out.  While it's not like the band lost their way with the more symphonic albums before this one, but this definitely feels like the comeback of the classic Kamelot style I've been waiting for.

Lovebites - Judgement Day

Alright, here's another new release.  After going on hiatus last year, I wasn't sure how long it would be before Lovebites would come back, so I was pretty surprised when they got their new bassist so suddenly and had put out an album so quickly.  While they do have a lot to live up to (they were in my Top 5 for 2020 after all), the band carry on just they have before without missing a beat.

The performances are all top notch and new bassist Fami fits right in the rhythm section with Haruna without any trouble.  Midori and Miyako shred things up again with plenty of impressive fretwork and riffing.  Even Asami's semi-broken English vocals are starting to become part of the band's sound for me.  Basically, it's business as usual for Lovebites.  I can only really think of a few issues, really.  First, the production does get a little muddy, as it's having to manage a lot of layers in their more symphonic arrangements, and not everything is as clear as it could be.  The only other thing is that some of the choruses aren't as strong as others on this album, but now I'm really nitpicking!

For what it's worth, they do mix it up a little, with "My Orion" having more of a mid-tempo, rockin' style, and "Dissonance" almost gets to Slayer territory with the aggressive riffing.  However, the stand-outs for are the straight-ahead power metal.  "Judgement Day" and "The Spirit Lives On" have the right kinds of bombast, "Stand and Deliver (Shoot 'em Down)" has a great traditional metal vibe, and "Lost in the Garden" and "Soldier Stands Solitarily" bring in some excellent neo-classical chops.  While I don't know if it holds up to the explosive Electric Pentagram, this is a solid continuation of what I love from this band.  Twilight Force has some pretty serious competition this year!

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I admit things have been a bit busy for me lately, but for this blog and in my real life.  It's also a bit of a challenge to try and balance classic albums with newer releases, as there is still just so much I want to listen to.  However, I think I've gotten a handle on things going forward, so let's hope I can keep it up!  Until then, rock on! \m/

New Videos - March 2023!

While I've been listening to a lot of classic stuff lately, I haven't completely ignored what's coming out now.  There are some pretty exciting releases in the near future, if this collection of songs is any indication, with plenty of rock and metal to look forward to.  

Trust Excalion to bring the uplifting power metal!  Starting off with an epic wail, they once again pull off the triumph and epicness one would expect from these Finns.  Strong, anthemic melodies and a great, catchy chorus, this is power metal at its finest.

I'm glad to see Tanith is coming back!  Their unique blend of NWHOBM and 70s metal made them a stand out when they released their debut album four years ago (where did the time go?!).  This track seems to have some extra noodly guitars, but otherwise, their Thin Lizzy meets Fleetwood Mac vibe remains strong.

I can't believe it's already been 2 years since The Quest came out (well, okay, it's more like 18 months).  And now my favorite band is moving on once again to a new album, now with Jay Schellen as the drummer (though I understand some of Alan White's drumming made it to this new album).  Anyways, the song seems to retain the lush layers of the last album, but I don't know if the song-writing holds the song together all too well.  Still, it does show a band willing to try a few things, as there are some interesting affects being used.  Here's hoping the album has more going on than just this.

These days, it feels like most AOR is starting to all sound the same, so when a track stands out, it really does, and this one has some great energy.  Some nice riffing and the huge production give this new single from First Signal an extra brightness that feels like a step above the rest.

I admit that I dropped the ball on my Kamelot catch-up, so I don't know when I'll be getting to their newest album, at the moment.  However, between all the solid symphonic flourishes, I noticed that this track has some of that classic power metal sound in it, which gets me pretty excited.

Here's another group where their new album is already out and I haven't gotten to it yet!  Once again, Lovebites "stand and deliver" on their contagious sense of energy.  Even when they throw in a chunkier riff, like at the beginning of this one, they don't let up on the double-kicking power metal fury in the end.

While the third single for Metallica's new album was lackluster, I rather quite liked this fourth one.  It shifts easily between high-speed and mid-tempo sections, and while it may not necessarily feel innovative, it maintains its energy well, and Hammett's second solo was pretty good, making me think of some of his stuff from Ride the Lightning.

New Videos - February 2023!

Time to get into some new videos again!  Already, there's plenty of solid tracks that get me excited for the releases of this year, especially those from the big names.  Lots of metal this time around, but I promise I'm checking out plenty of rock as well.  In the meantime, check these ones out, as they're likely to get your head banging!

Once again, Metallica has come out screaming.  One thing I noticed with this (and the last song) was how much it felt like they were drawing from the Saxon and Motorhead side of their influences.  They got a bit more of high-energy rock vibe.  I'm scared to get my hopes up, but this could potentially be a solid Metallica album coming in April!

Gus G and his dynamic fretwork is back for more in this heavy/power stomper.  Herbie Langhans sounds as big and gritty as ever, and the rest of the song has solid, uptempo anthemic energy while still keeping things catchy with that melodic synth riff.  

Anthem is another of those bands where I like what I've heard, but I just haven't taken the plunge yet on one of their albums.  They still have their excellent mix of heavy and power metal, making for a very anthemic, uptempo track full of riffs that really get the blood pumping.

Well, I guess that hiatus wasn't very long at all!  Not that I'm complaining, of course.  Right off, their new bassist sounds great, fitting right in with the band's high speed pyrotechnics.  If the rest of the album is like this, I'm sure these Japanese power metal goddesses will find themselves in my Top 5 again!

I knew that when Kamelot announced they were doing a new album that it would be a priority for me.  The visual shift to sci-fi is a bit new (though welcome; it makes me think of the awesome Dune movie), but otherwise it's pretty typical symphonic metal for the group, featuring a pretty anthemic 6/8 groove.  However, I do want to try and catch up on the other two albums before getting to this one, so keep an eye out for those as well.

Anniversary Series - 2017!

Time for another Anniversary Series article!  Much like 2012, I don't have much for 2017, but I do recommend checking out the playlist below, as it has tracks from Beast in Black's and One Desire's debut albums, as well as Antti Martikainen's Northern Steel, which is just incredible symphonic folk metal.  In the meantime, I've got some more reviews for you, which let me catch up on some big bands!

Lovebites - Awakening from Abyss

After enjoying Electric Pentagram two years ago so much that it ended up in my Top 5 for the year, I knew I had to make time to listen the rest of this band's discography.  However, other albums ended up taking priority, so I decided to include their debut album as part of this retrospective.  Unsurprisingly, it's another sonic blast of high speed melodic metal.

Right off, Midori and Miyako are absolutely shredding through this album.  Not only are the high speed riffs quite melodic and catchy, but their solos are generally quite solid, and often feature them trading off back and forth.  Just excellent guitar work.  Haruna and Miho keep the rhythm section right on time, ensuring there is plenty of thrust underneath the guitar work to really let it soar, and Asami's iconic voice soars over it all.  All the Lovebites staples are here.  However, I will say that the songwriting and lyrics don't have quite the same polish as their later work would have.  I'm sure it's no easy feat to be writing songs in another language, but I do think they've clearly improved from here.  Also the songs seems to veer more towards a shred-heavy speedy j-poppy metal rather than the epic power metal of their later material.  It's not a major shift, but I did notice a general difference across the album.

Still, in all honesty, these are nit picks, and there is plenty I enjoyed.  "The Hammer of Wrath" is a solid opener (after the intro track), "Bravehearted" gets pretty epic, and "Scream for Me" has a great high energy riff that gets the blood pumping.  However, the highlight for me has to be the bridge on "The Apocalypse."  The song has a thrashier vibe, but then they change the tempo on the bridge, busting out a Hammond organ and some heavy riffing, making for an incredible breakdown.  While the album might not be a complete winner, there is plenty for a new Lovebites fan like me to sink my teeth into.

The Dust Coda - The Dust Coda

When I discovered this band last year, and found their album to be an outright blast, I knew The Dust Coda were a band I would need to catch up as well.  They style of blues rock has this energized quality that I don't often find in many other retro rock bands.  Checking out their debut album for this anniversary article, I find that it's just as solid of a rocker as their follow up from 2021.

Once again, I enjoy their energetic songwriting and performances.  The guitars have a good balance of crunchy and catchiness, with plenty of rocking riffs and solos.  Tony Ho and Scott Miller provide all kinds of groove with their bass and drum rhythms, ensuring that your head will be banging to more than a few of these tracks.  And once again, John Drake sings his heart out, giving each song the energy it needs, whether it's anthemic, driven, somber, or soft.  His gritty wails are pure classic rock.  If there is a difference on this album from The Mojo Skyline, it's that it is definitely bluesier, giving the songs a stronger Zeppelin vibe, and a few of the riffs gave me 70s AC/DC vibes.  The album also has a lot of dynamics, willing to bring things down for a bit before building them back up, with many of the songs escalating to some nice jams at the end of them.

I don't know if this album is quite as good as The Mojo Skyline, but it certainly shares plenty of it's style and substance.  I quite liked the opener "The More It Fades," with the nice build into the solo.  I had a smile on my face by the end of that track!  "Down in the Valley" was another good rocker that builds well for it's big ending.  "Rock N Roll," "Save Me," "and "When the Tide Comes In," definitely have some of the juicier grooves.  And I even liked some of the ballads, particularly the melancholy "Sweet Love Is Gone," as it really digs into their somber, bluesier side.  Overall, another solid album of hard rock from these guys.  I'm certainly looking forward to a third one, whenever they get around to that!

Sorcerer - The Crowning of the Fire King

Just as with Lovebites, Sorcerer was a band I feel in love with when I finally took the time check them out two years ago, enjoying with their classic epic doom sound.  I knew I would need to check out their back catalog as well, and this anniversary article provided the opportunity to check out their second album.  While, much of what I loved is here, this album does have a distinctly different tone.

Of course, the album still sounds like Sorcerer, as the lineup is mostly the same.  Anders Engberg provides great, theatrical vocals, soaring over all the heavy, plodding riffs.  Hallgren and Niemann tear it up on their guitars as well, with their solos shredding all over the place.  However, I do think there is an overall difference in tone compared to Lamenting of the Innocent.  While that album had a thick sense of haunting and dread made possible by its lush production, this album feels more like a journey, following the story of a set of doomed voyagers (though I don't think it's a concept album).  It also feels like it has a few more elements of traditional metal, as there were times I was reminded of Grand Magus or some of Saxon's slower songs.  As a result, it feels more epic on a classic, narrative sense, like reading Homer or Beowulf.  Songs like "Sirens," "Ship of Doom," and "Crimson Cross" are good examples of this (and are good tracks in general).  "Unbearable Sorrow" was another stand-out track, as it has an interesting sense of melancholy, rather than dread.

I don't think this album is as strong as Lamenting, though I know that one took a while to grow on me, so maybe this one will as well.  I did feel like the album dragged a little at times, but not often.  In any case, these Swedes are still masters of the 80s doom metal style, while making a name for themselves with their incredible guitar work and great sense of epic songwriting and lyrics.

The Dark Element - The Dark Element

Yup, here's another debut album of a band I've been meaning to catch up on.  Featuring Anette Olzon (formerly of Nightwish) on vocals and Jani Liimatainen (formerly of Sonata Arctica) on guitars and keyboards, and Jani's bandmates from Cain's Offerings on bass and drums, they created a symphonic power metal project that feels like a decent fusion of the aforementioned bands with a few extras.

While much of the production is pretty much right in step with the Olzon era of Nightwish, the new element is a greater amount of trance-like synths on the songs, giving them more of an Amaranthe or Metalite feel, both of which were around by this time.  They show up pretty often, but I think they give the songs a bit more breadth, in a way.  "I Cannot Raise the Dead" almost has an EDM vibe.  I actually don't have a problem with this kind of stuff in metal (see my glowing reviews for Beast in Black, for example), but it can be hit and miss on this album.  On the other hand, songs like "Someone You Used to Know," "Heaven of Your Heart," and "Halo" throw in acoustic piano and guitar, so the album does try to broaden the soundscape of the songs.  However, despite all this variety, the songwriting is some pretty cookie-cutter symphonic metal.  While fans of the genre might find something to like, it probably won't be converting anyone new to the style.

There are a handful of good tracks, though.  "My Sweet Mystery" has some solid riffs and symphonic orchestration, and "Dead to Me" fuses all these elements pretty well with good, energetic riffs, both of the synth and guitar variety.  Overall, it's decent, but not amazing.  However, I know that, just from the singles I've heard, the second album really improves the songwriting.  When I get around to that one, we'll see if the band has places to go in the future.

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Well, that's the last anniversary article for the year!  As always, if there is anything you think I've missed, let me know in the comments below.  As for the rest of the year, I've got some albums to catch up on, plus a bit of a holiday surprise, so keep an eye out for that!  Until then, rock on! \m/

Last Played - May 2022! Now with EPs!

I'm starting to catch up on some newer releases, but one other thing I've decided to focus on is Extended Play releases.  To be honest, EPs are something that I've never really quite understood, but they remain a constant of the heavy metal scene.  I guess if you feel compelled to release something, I suppose it's better to release a handful of solid tracks instead of throwing on a bunch of filler tracks to fill an album.  However, reviewing them is still a bit odd.  With a full album, you can get a sense of what the band is thinking and feeling at the moment, but an EP just feels like a step or two up from a taste (which I guess would be singles, in this analogy?).

Nevertheless, as I began looking over bands' discographies and new releases, there are plenty EPs to discuss.  So I decided I would include them as little mini-reviews in my Last Played articles in between the main album reviews.  In any case, regardless of format, here's what I've listening to lately.

Eliminator - Ancient Light

After enjoying their single "Silent Stone" as a solid piece of Maiden worship, I figured I should give the rest of their latest album a listen.  Right out of the gates, these guys are clearly aiming for that early Iron Maiden era of Killers, Number of the Beast, and Piece of Mind.  Sometimes they lean into the NWOBHM side with a dash of rock, but other times, they turn up the epic, with decent results.

Of course, it's not completely like Iron Maiden, as there are a few tracks that feel closer to US power metal, like "Mercy" and the doomy "The Nightmare of Aeon," but honestly, that's a pretty subtle difference.  Regardless, this band certainly has the chops.  David Foster's vocals are very much like Dickinson's, and he's given plenty of opportunities to wail high above the music (though he does get a little buried on "Arrival").  Then there's the lead guitar work of Jack MacMichael and Matthew Thomas.  When they aren't chugging away at classic-styled riffs, they are often trading solos, or playing harmonized leads together, clearly reminiscent of Murray and Smith.  If it weren't for the modern production, this could easily make you feel like it's 1983 all over again.

If there is a problem, it's that there aren't a lot of surprises.  This album really feels the same from front-to-back.  Sure, they change up the tempo here and there, and there are a few segments were they break out the acoustic guitar, but it's usually in anticipation of some epic metal shift like "Foreverless," or in the bridge of a larger song like "Lord of Sleep, Dreamaster."  However, for those who can't get enough of that old-school Maiden sound and want to hear some guys who are pretty good at it, this is some solid classic metal.

Lovebites - Glory, Glory to the World (EP)

This release is probably a little bittersweet, as it was part of an announcement of an incoming hiatus caused by the leaving of their bassist, Miho.  While it retains much of the frenetic power metal they're known for, I don't think these songs are quite as good as what was on Electric Pentagram, which I loved.  "Paranoia" certainly shows the band's darker, more theatrical side, but otherwise, the songs are pretty standard fare for this band.  Expect plenty of high-speed shredding and catchy melodies, but nothing particularly earth-shattering.

Lionville - So Close to Heaven

After checking out their first album, I decided to give their latest a spin, and it's pretty surprising how little has changed in the 10 years between them.  While the production is a little richer and the guitars have a bit more crunch (and there are less ballads), this is still some pretty straight-forward, 80s-inspired melodic rock from top to bottom.  

Of course, it also makes it hard to review, as nothing really stands out too much.  I will say that the lyrics lean into the clichés quite a bit, but they're sung so sincerely you can't help but get caught up in the sentimentality of it all.  The music supports every word of it, with friendly, rockin' guitars and lush keyboards to make everything so warm and accessible.  It's a bit of a shorter album, but that only helps the pace feel brisk and not get bogged down.  Essentially, Lionville are the epitome of modern AOR, and it may not make many new fans, I generally enjoyed what I heard.

Greyhawk - Ride Out (EP)

Likely named after the classic D&D campaign setting, Greyhawk is very much in the vein of classic US power metal, a la Omen, Manilla Road, and Manowar.  I quite liked the vocals by Rev Taylor, and they were often harmonized, which added to the epicness.  Otherwise, it's some pretty straight-forward chugging old-school metal, with plenty of noodly guitars one expects from the style.  "The Abdication," and "Serpent King" stood out to me the most, with the former being quite epic, and the latter having some great energy.  This certainly is a solid taste of what this band has to offer, and I'm curious to listen to more, so I guess this EP did its job!

HammerFall - Hammer of Dawn

Let's wrap this up this article with finally getting caught up on HammerFall!  These power metal legends are still going, and while their sound hasn't changed much over the past decade, they still have a knack for some decent epic and melodic tracks.

Right off the bat, we get "Brotherhood" for the opener, providing a very classic HammerFall feel.  From there, it's mostly mid-tempo material, with a few change ups.  "Hammer of Dawn" and "Venerate Me" are probably the best of the stompy tracks, while "Live Free or Die," and the closer "No Mercy" do a good job to bring back the speed.  Supposedly King Diamond is on "Venerate Me," but I could never hear him (that's not a voice you can mistake; was he just part of the chorus?).  However, the really different track is "Not Today."  While it's not a ballad, it does have a more mellow rock vibe, with clean guitar tones throughout, except for the melodic choruses.  I don't recall them doing anything quite like this, but it's not bad.  A bit an experiment, I guess.

Overall, I think this is better than their last album Dominion, as I feel it's a little more consistent across the board.  However, I'm not sure how it would compare to the others.  The first five still loom large in my nostalgia goggles, and I don't think they've ever really reached those heights since.  Still, I'm glad they're carrying on, and Hammer of Dawn shows that they're aren't out of magic quite yet.

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Well, I hope you don't mind me throwing in a few EPs this time.  They broke things up a little, at least.  Looking ahead, I'm not sure where I'll go next.  I'm thinking of doing a Last Played purely on albums from 1997, as there are a bunch of big ones from that year that I haven't heard yet.  We'll see.  In the meantime, I've got another Anniversary Article coming up for 1987, and I'm finding more videos to share, so that should round out this month.  Until then, rock on! \m/

New Videos - November 2021!

Let's finish off the month with another set of videos!  Now that I'm planning on doing only one of these a month, it does make the article on the longer side, but I assure you, these are all great tracks.  It's mostly power metal this time, but I've got a few others in there to mix it up.

Yup, more German heavy/power metal.  However, I get a very strong Queensryche vibe, but that may be just because vocalist Denis Brosowski makes me think of Geoff Tate.  Still, it's got a decent 6/8 gallop that really carries the song, adding to the dark, epic tone.

So a pair of folks who used to work together in the band H.E.A.T. decided to come together for a power metal project, and they definitely have a mix of classic and modern influences.  It's a promising start, and a project I'll have to keep an eye out for in the future.

Once again, Crazy Lixx and their nostalgia-heavy pop metal sound find their way onto one of my articles.  This one has a lot of energy, and has some great gang vocals in the chorus.  This track, along with many of the other singles, is giving me a lot of high hopes for the new album.

So Sorcerer has been staying busy by doing some covers and releasing them as singles.  While the others have been interesting, this one stood out to me as really fitting their style.  Vocalist Anders Engberg really soars, just like he did on their last album.  Kinda slow and epic, their take on the Saxon classic is a little safe, but very solid.

NorthTale keeps coming with great, high-speed power metal, and they've definitely added some symphonic elements on this one.  Of course, it helps to get power metal legend Kai Hansen and his son involved, just to add that extra level of epicness.  It's a great track that makes me look forward to their new album, which I still need to get to.

I guess Lovebites is going on hiatus, after their bass player left.  So they're filling a gap with a compilation album that features this new song as a single.  Naturally, it's a high-speed power metal stomper with plenty of melodic leads and harmonies.  While the future of this band may be uncertain, this single is a fitting tribute to their career thus far.

Wolfmother kinda surprised everyone with a new album out of the blue, and I've been listening to pieces of it.  Unsurprisingly, they've still got that very 70s metal vibe, with noodly guitar solos straight off of a Rainbow record.  Expect a review of this from me soon!

So the founder of Nuclear Blast started a new label called Atomic Fire, and after bringing over a handful of artists, they've signed some new ones, including these guys.  This song is some solid power metal, somewhere between DragonForce and Stratovarius, with a bit of the Legend of Zelda in the solo, for good measure.  I'll definitely be keeping an eye on them next year.

I remember stumbling across Power Quest in 2011, when they released Blood Alliance, and I thought they were a pretty decent band, much in the vein of DragonForce.  I haven't kept up with them recently, but it seems they've carried on without a hitch, despite nearly a new lineup.  Uplifting power metal is always welcome around here.

After blessing us last Christmas with a power metal adaptation of A Christmas Carol, Majestica seems to have pulled together a few more tracks (including this one) for an Extended Version this year.  While the song follows the same formula of telling the story while using a classic Christmas song as a base, it's still a pretty solid tune, much like the rest of that album.

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 - September 2020!

The year is winding down and I'm finally catching up on some current releases.  While I didn't intend to, this article is pretty much staying in the symphonic and power metal spaces with a trio of albums I've been highly anticipating.  Let's get into what I've been listening to this month.

Allen/Olzon - Worlds Apart

After salivating over the singles for this album in my New Videos articles, I finally listened to it.  The result is pretty straight-forward symphonic metal, with the main gimmick being the two titular vocalists.

It's an interesting pair.  Allen's vocals are passionate, full of emotion and energy, while Olzon's vocals are more cool and ethereal, matching the album artwork very well.  While on some songs, only one is singing (Olzon's songs sound a lot like her work in Nightwish, naturally), but I think the album shines best on songs that have both of them singing together, as the contrast of their voices makes the song more dramatic and powerful.  As for the rest, Frontiers Records has brought in Magnus Karlsson for more riffing and shredding, and he's got some decent solos here.

Fans of symphonic metal will find nothing really new here, as it establishes it's bombastic tone from the beginning, and doesn't vary at all.  The lyrics are also kind of basic, full of vague and abstract lines about relationships and emotions.  However, what's here is still well-executed.  The singles "Never Die" and "Worlds Apart" are still great, and I really enjoyed "Lost Soul" with that massive riff.  If you enjoy the work of either singer, you'll find plenty to like here.

Lovebites - Electric Pentagram

Japan has always had a long history with rock and metal music, going back to the early 80s (if not earlier), so hearing great metal from Japan is not surprising.  Even with the band consisting of five women isn't that weird, as there have been plenty of examples of women playing and/or singing great metal before.  However, as for Lovebites, they really know how to get my head banging!

Right off the bat, this group is very talented.  The guitarists Midori and Miyako stand out the most, not only playing some great riffs and melodies, but their solos are incredible as well!  Lightning fast, but not too shred-heavy so that you get lost in all the notes.  The rhythm section of Haruna and Miho keep the pace fast and tight, with Haruna fiercely double-kicking her way through it all.  Asami's vocals do take some getting used to, though, as it's pretty clear English is not her first language.  She also lays the vibrato pretty thick, like Tobias Sammet of Edguy, and I know that kind of voice isn't for everyone.  Still, the lyrics aren't so complicated that you won't know what she's singing, and she delivers them with a lot of gusto, so her voice never feels out of place.

As for the songs, they're generally pretty solid.  Looking at the song lengths (every one of them is over five minutes), you might think the album would be a slog, but I felt like the time was used quite well, actually.  The highlights for me were "Holy War" and "When Destinies Align," which gave me some big Gamma ray vibes.  I was a bit afraid that the album was going to be kind of samey throughout, but they do mix it up a bit.  "A Frozen Serenade" and "Swam Song" have more of a symphonic metal style, while "Thunder Vengeance" and "Set the World on Fire" are more thrashy.  And "Raise Some Hell" sounds like it could fit on a Judas Priest album.  The only ones I felt weren't as strong were "Today Is the Day," which feels a bit phoned in; and "The Unbroken" which tries to do this swing-step thing with their power metal sound, and it doesn't really work.  You also might feel like some of these songs belong as the intro to some fantasy anime series, which doesn't bother me (I am a bit of an otaku), but might bother others who don't care for that kind of bombastic energy.

Still, I highly recommend this album.  I was impressed by this group back when I discovered them two years ago, and they haven't disappointed here.  Not a perfect album, but certainly a very good one!

Primal Fear - Metal Commando

Just to recap, I discovered this band through Rulebreaker, which ended up being the best thing I'd heard all of 2016.  Their follow up Apocalypse was more of the same, but I felt it wasn't quite as strong.  However, after hearing the singles for this new album, I admit I had some high expectations.  Unfortunately, the rest of the album is just kinda okay.

To be fair, this isn't anything really new: the band has been playing chest-pounding heavy/power metal since the 90s, but I feel like the songs just aren't as strong as they could be.  The band is clearly still talented, with same solid riffing, slick solos, and Scheepers's iconic Halford-like vocals.  "I Am Alive" remains a good opener, full of double-kicking fury, and "Hear Me Calling" is still an interesting ballad, with the chorus turned up to 11.  "My Name Is Fear" has some pretty nice Helloween-like leads, and "Raise Your Fists" has this fun 80s metal energy, like a Turbo-era Judas Priest track.  However, the rest don't really do much more that hasn't been done better on Rulebreaker.  Sure, it's full of solid, mid-tempo stompers and a few faster tracks, but none of it seems to get above average for me.  Even the 13-minute epic "Infinity" doesn't really feel like well thought out.  It's like they had half a ballad and half a decent power metal song, and just made segues back and forth between the two before adding a symphonic section at the end that doesn't really match everything before it.  There's also a version of this album with a second bonus disc with a few extra tracks, but it's not much different than the rest of the album (though "Crucify Me" does have some interesting energy).

I can't help but wonder if I didn't just set myself up for failure.  I keep hoping I'll get another Rulebreaker from this band, but I guess that album was a peak, and after two albums, they've slid into a kind of comfortable pace for themselves.  I think I liked Apocalypse more than this.  Perhaps I'll find more to like once I listen to it more, but for now, somewhat underwhelming.

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So, there's a few more down.  I intend to try and get through another handful of 2020 albums before the year is out so that I can have at least a solid top 5 for the year.  However, I have to admit I don't know if I've heard anything to really top Paragon's or Monkey3's work from last year.  Even Metal Commando isn't as strong as Iron Savior's Kill or Be Killed.  Well, I suppose there's still a few months left to be surprised by something.  Until then, rock on! \m/