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 2025!!

Once again, I'm later than everyone else as I wanted to give everything I could a shot to get into this list.  I admit it's been a crazy year for me, as I wasn't as consistent at reviewing new releases as I wanted to be, while getting in over my head with the retrospective Top 5s!  Still, I think I was able to check out a solid chunk of what last year had to offer, allowing me to share my Top 5 of 2025 with some confidence!  As usual, power metal dominates the year with some very solid releases, but there are a few honorable mentions to throw in.  The Ferryman had an outside chance with Iron Will, and Helloween's Giants and Monsters ended up not quite making it, despite some very good songs.  With those out of the way, let's get into this thing!

5. Sabaton - Legends

Sabaton have really cemented themselves as a band that does their own thing, and usually does it well.  While the World War I themes were starting to wear a little thin on that last album, the band decided to not bother with a big concept album, and I think it has helped them regain some energy and squeeze themselves into this list.  It may be churlish of me to put this over the veterans Helloween, but I will take an album that's consistent all the way through than one full of highs and lows.

4. Crazy Lixx - Thrill of the Bite

The odd one out in this list, but this album made me smile all the way through!  While they aren't doing anything new or innovative, they definitely know how to make their style of throwback glam metal just dominate your speakers.  Sometimes, you just want a good, fun rock 'n' roll album, and Crazy Lixx has that in spades!

3. Primal Fear - Dominiation

Another incredibly consistent band that had a bit of a drop of lately, but seems to be returning with strength in 2025.  Perhaps their new rhythm section helped improve their execution, but Scheepers, Karlsson, and Sinner really pulled together a pretty good album this time.  Not as good as Rulebreaker, but solid enough to get onto this list.

2. Dragonknight - Legion

Certainly the sleeper of the year, I really can't find much fault with this album.  There's certainly plenty of symphonic power metal to compare this debut album to, but these guys have pulled off a well-executed album, being bombastic enough to be fun, but not losing themselves in overly complex or melodramatic songwriting.  It's just the right mix that helps it stand out over the others.

1. Majestica - Power Train

It might be silly, but I can't deny that what Tommy and his buddies have done is write probably the greatest love letter to power metal I've ever heard, not only respecting their elders but also finding a decent amount of variety in these tracks to mitigate any repetitive elements.  I think it also helps that they clearly just love doing this kind of music, and that passion is what pushes this album above the rest for 2025.

2025 Wrap Up Part One!

I have to admit that I've been pretty negligent with my New Releases articles, as my Top 5 lists took up a lot more of my time than I anticipated.  However, I did want to at least go over some new albums, so I've got this handful plus one more group before I figure out my Top 5 list for 2025.  This is much more metal focused (I'll get to rock in the next one), so for now, here's what I've been headbanging to lately!

Sabaton - Legends

After completing a pair of albums based on World War I, the band decided to break away from album-long themes in favor of just writing a bunch of songs about various heroes and moments in military history, ranging from ancient Egypt to Napoleonic France, with a few trips to East Asia for good measure.  While I did find their last album to be a little lackluster, I think these topics have revived the band a little, as there are quite a few good songs here.

As for their style, it's Sabaton doing what they've been doing for nearly two decades now: bombastic heavy/power metal, though this time I did notice an increase in synthesizers (and not just orchestrations), which was interesting.  They rarely take center stage, but do feature on most of the songs, which is a little unusual for them (or maybe I hadn't noticed them before).  However, all the sounds you expect are here.  Joakim Brodén's baritone voice dominates the album, giving the lyrics plenty of gravitas, and the rest of the band stays tight to the song, as they do little beyond their  solid songwriting formula.

This time around, I really enjoyed the faster songs, like "Hordes of Khan," "Maid of Steel," and "The Duelist," though they still have some solid mid-tempo stompers with tracks "A Tiger Among Dragons" and "Crossing the Rubicon."  The rest of the tracks are decent as well, if pretty standard fare for the band.  In the end, though, it's Sabaton doing what they do best, with a bit of extra flair that I think makes it stronger than some of their other albums.

Cristiano Filippini's Flames of Heaven - Symphony of the Universe

I checked out their debut album a few years ago and found it to be pleasant, but not an amazing listen.  However, their line-up stayed together, and now they've released another bombastic batch of symphonic power metal.  Not much has changed in five years, as they still have their blend of shreddy guitars, soaring vocals, and layered keys, providing both orchestrations and 80s synths.  Once again, I thought of Rhapsody of Fire, Beast in Black, and Sonata Arctica (especially their excellent first album), and they do a good job of blending those styles together.  The lyrics remain as melodramatic as before, being both fantastical and sentimental, and there are a number of longer songs on this one, with four of them going over six minutes in length.  However, I do think the songs lean more into AOR territory than they did on the first album, but considering their sound, that isn't much of a stretch, really.

Naturally, I was drawn to the faster songs, like the opener "On the Wings of the Phoenix" and "The Power Stars," though they often had some interesting shifts for the bridge, providing a touch of prog.  From the mid-tempo songs, I think "A Flame from the Sky" is the best one, as it has some anthemic qualities.  The rest of the songs were fine, largely held together by the consistent, lush production, and the album does a better job than their debut at maintaining its energy to the end.  Not amazing, but pleasant.

The Rods - Wild Dogs Unchained

When I checked their album for 2024, it was really the first time I had given them a shot, finding it to be a solid collection of straight-ahead, no-frills metal.  However, their discography seemed to show some pretty large breaks between albums, so I was surprised to see that they'd cranked out another one so quickly!  Apparently inspired by one of their albums from the 80s, this one is just business as usual for the old veterans.

Once again, this is cruise control metal, as things mostly stay in the mid-tempo range and rock along without too much to shake things up.  There is a few more synths than just the Purple-style organs, especially on the dynamic "Tears of the Innocent," but otherwise, this just plods along, providing decent riffs and hooks to headbang along to.  The energy does pick up a little with the title track, "Time to Rock," and "Make Me a Believer," where the band comes alive, at least for a little while.  I do enjoy this band, but compared to the likes of Judas Priest, Saxon, and Accept, who are still dominating the traditional metal space these days, this band really struggles to compete.  There's nothing wrong with "rocking it old school," but aside from their retro charm and confidence, The Rods aren't really doing a whole lot that helps them stand out.

Majestica - Power Train

After Tommy Johansson left Sabaton, he turned his attention back to his own band Majestica.  Once known as ReinXeed, this band his been Tommy's personal band since the early 2000s.  Five years ago, he orchestrated a rather clever concept album, telling the story of A Christmas Carol with Christmas carols.  This time there is no concept, just a set of very fun power metal songs!

While there are obvious comparisons to recent power metal, such as Sabaton, Twilight Force, and Beast in Black, I think what makes this album work is that it draws upon the uplifting attitude and whimsy of Helloween.  Things kick off with the title track, which is such a refreshing, high-speed blast of joy.  Sure, it's a little cheesy, but the cheerful attitude is pretty infectious, and I found I was smiling through a lot of it, and that feeling carried through the rest of the album.  Some of the songs are more story-based, but they never drop the ball, carrying the same energy as the other tracks.  All of this is performed with gusto, as Tommy and his buddies are tight and majestic as ever.

I actually feel pretty bad for sleeping on this album for so long, as it came out back in February!  This feels like a love letter to power metal in general, with "Megatrue" being full of HammerFall references as the most obvious in that tone.  "No Pain, No Gain" is probably the most empowering song I've heard in a while, and "Thunder Power" is a nice blast to the face.  However, the closer "Alliance Anthem" had such strong classic-era Stratovarius vibe that I nearly jumped out of my chair listening to it!  This is going to give both Helloween and Primal Fear some serious competition when I consider my Top 5 for 2025!

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.

Retro Reviews - December 2025 Part Two!!

While I've been going through all these albums this year, I have to admit this article is a little different because it features some albums that I considered back in 2020, but never got around to, for one reason or another.  In the end, this is turning into a great opportunity to catch up on some stuff that I liked.  I don't know of any of these will break into my revised Top 5 (as that was a very good year!), but I won't know until I give them the chance!  In any case, here's another chunk of reviews here at the end of the year.

Archon Angel - Fallen

This is largely a project built around Zak Stevens, singer for late-era Savatage and Circle II Circle.  While I checked out a few of their videos, for whatever reason, I never got around to this until now.  For what it's worth, this is some decently executed symphonic metal, much like other Frontiers Records projects like Allen/Lande and The Ferrymen.

Naturally, there's also a good dose of the Trans-Siberian Orchestra, especially on the opener "Fallen" and the overlapping lyrics on "Under the Spell."  I think the main difference is that the symphonics, while well arranged, are further back in the mix and in the song-writing, letting the guitars and vocals take center stage.  Speaking of guitars, Aldo Lonobile leans more into the melodic style of soloing but also has some pretty chunky riffs throughout, and his fretwork sets this album apart from other bands in this style.  Overall, it's some solid symphonic metal, with "Rise" and "Twilight" as the standouts for their uptempo energy, while the epic closer "Return of the Storm" makes the most of their symphonic style into something bombastic and fun.  They released another album a few years later, which I will get to sooner or later, as this one was pretty good.

Paralydium - Worlds Beyond

Here's another group who had their debut album in 2020, where I checked out a few songs, and then didn't follow up.  Featuring a few members from the melodic metal band Dynazty, Paralydium aim for a very melodic-but-noodly style of prog metal with catchy choruses, much like DGM or Vanden Plas.

One thing that sets this band apart is a greater emphasis on chuggy riffing, giving the band a bit of a heavier feel.  Mikael Sehlin's vocals easily slip back-and-forth between soaring and having a touch of grit, giving the songs a bit of range, and the synths feel fresh without necessarily being experimental (and Mikael Blanc gets plenty of keyboard solos along with John Berg's guitars).  The production gives the band plenty of space, whether they want to power through or jam around a bit, adding to the metaphysical, sci-fi/fantasy aesthetic they have going.  While I don't know if this is a concept album, the lyrics have plenty of epic melodrama that fits the music well.

And yet, I don't feel that the band isn't doing anything to really stand above the pack in the field of melody-heavy, symphonic-driven progressive metal.  All the pieces are here, and they have plenty of talent and great atmosphere, but the songs don't really seem to stick with me much after I've heard them, especially since the tracks do feel a rather interchangeable.  However, none of it was bad, so maybe I need to give this more spins to really get a feel for it.  I see that they have done at least one other album, so I'll be sure to give that a shot as well at some point.

Seven Planets - Explorer

After their first album was a solid blues-rock jam, and their second took them further into spacey atmosphere, their third effort really is just more of the same, but that's not a bad thing.  Their tight rhythm section and effects-laden guitar leads put the listener in the right mood for another set of psychedelic rock.

Things start off well with "Vanguard," which has a very Led Zeppelin kind of energy to it (as does "206" and "The Buzzard"), while the title track builds up and breaks down its dynamics quite well, flowing from section to section with ease, making me think of early 70s Pink Floyd.  "Great Attractor" was basically a slow build-up revolving around some thick reverb with a pretty satisfying ending.  There is no 10 minute epic this time, but there are a few nearly reaching seven minutes, and none of this drags at all, as their repetitions only serve to enhance their atmosphere.  With their groovy riffs and spacey soundscape, I just bang my head along and enjoy the ride.  As far as I can tell, this is their last album as well.  The band may still be going somewhere, and if they decide to record a new one, I will certainly look forward to listening to it.  Until then, Explorer is probably their best, though their self-titled album was quite good, and all three are absolutely worth a listen.

Greyhawk - Keepers of the Flame

A few years ago, I checked out this band's first release, which was a decent little EP full of epic US-style power metal.  Now that I'm reviewing a bunch of albums for my Top 5, their debut full-length crossed my radar and I figured I'd check it out.  Naturally, I got some pretty epic stuff, built on plenty of 80s tropes and techniques.

The boost in production certainly helps, but the songwriting seems to have eased up as well, making me think of the likes of Dio and Ozzy.  The album starts with the high-speed tracks "Frozen Star" and "Drop the Hammer," both of which were good, but then it feels like they then pick up a dose of rock 'n' roll, being very noticable on "Don't Wait for the Wizard" and the 6/8 swing on "Masters of the Sky."  Even "The Rising Sign" sounds like a classic 80s glam metal ballad, but the band adds some clever dynamics to turn it into a storytelling song, and it turns out pretty good.  And of course there are plenty of guitar solos and harmonized melodies all over the place.  While it does get cheesy from time to time, those who don't mind some sincere affection for classic fantasy and old-school metal will find plenty to enjoy here like I did.

Stygian Crown - Stygian Crown

After enjoying their latest album, I figured I should go back and check out their debut, which came out the same year as the rest of these.  With basically the same lineup, this is another slab of well-made doom metal.  The band continues to have great atmosphere, with Melissa Pinion's haunted vocals wailing over it all.  While it's easy to point out similarities to other doom bands, such as Candlemass and Sorcerer (to say nothing of Black Sabbath), I do think they create their own space by really leaning into dark, mythological story-telling.

If there is a difference, I'd say that the band isn't quite as experimental as they were on the second album.  These songs are relatively straight forward and don't feature much outside of the standard doom template (though it is well-executed).  Still, there is plenty to like here, as the melodies feel as morose as the lyrics, and most songs have some playful mixed-meter elements and tempo shifts.  If you like epic doom metal, there is little to criticize here, as it's quite a solid chunk of mournful, grandiose tracks.

Sacred Outcry - Damned for All Time...

Here's another situation where I enjoyed the band's recent release, so I figured I'd go back and check out the debut.  As it turns out, much of this was written and recorded in the early 2000s, but set aside for some reason.  Then, the album was mostly re-recorded much later and finally got released in 2020, though I understand some of the earlier work was reused.  While their newer album was a solid (if rather overhyped) power metal concept album, their debut clearly paved the way for it, as much is the same here.

As with Warrior Path, we have Yannis Papadopoulos singing before he was replaced with Daniel Heiman, and he does a great job here, as one would expect.  His wails are great, and when the songs has him harmonizing with himself, it sounds very powerful.  I'm not sure if this one is a concept album, like the later album was (it's possibly about Elric of Melniboné?), but it follows some similar elements: soft acoustic guitars often give way to epic metal theatrics, a sense of adventure in the tone and lyrics, and a massive, 14-minute epic towards the end of the album.  It's all pretty competently performed and nothing feels particularly out of place, but there is a sense that I've heard better elsewhere.

Naturally, I end up liking the faster songs, like "Sacred Outcry" and "Lonely Man," while the title track (the aforementioned 14-epic) goes through some interesting moods, drifting between somber and intense.  In comparison, I think this debut album might have some better moments (especially with Yannis's vocals) than the second, but Towers of Gold was definitely supported with a cool, epic story, so they may be even overall.  On its own, this album certainly gets quite epic, but I don't know if this band really impresses me as it seems to impress others.

Top 5 of 2015!!

This year's Top 5 was another that came together pretty quickly.  However, my obsession with epic styles of metal ensures that there isn't a whole lot of variety on this one (and those who review my "Anniversary" article for this year will see some familiar faces).  Still, there was plenty of good stuff to consider, including the album by Final Sign that I reviewed as part of my Divebomb Mystery Box article.  As always, I can't listen to everything, and these are just my personal favorites, but here are my Top 5 for 2015!

5. Shadowbane - Facing the Fallout

A few years ago, I bought a stack of CDs from Pure Steel records and reviewed them all.  Out of the bunch, this was my favorite, largely because it was the only power metal album I picked up.  Nevertheless, it remains a pretty good album, with its post-apocalyptic themes making it stand out.  I still think it's a shame the band never did put together a follow up, as I saw a lot of potential.  Nevertheless, it finds itself here at #5 for being just a solid chunk of metal.

4. Kamelot - Haven

Back when I reviewed this a few years ago, I thought the album was fine, but not great, as it didn't match how much I loved the Roy Khan albums.  Listening to it again, I wonder if my standards were just far too high, as this is some very good symphonic metal.  Karevik does a great job providing the voice for the album, and the band still has a knack for the epic, and so it finds a slot here in my Top 5.

3. Sorcerer - In the Shadow of the Inverted Cross

I know I just reviewed this, but I can't deny when Sorcerer is rolling out their style of doom!  Melodramatic, epic, and powerful, these guys had it right from the start with their (sorta) debut album.  In any case, now that I've heard all their albums, I look forward to whatever they do next.  For now, this album's excellence puts it here in my Top 5.

2. Cain's Offering - Stormcrow

I reviewed this five years ago when I was doing my Anniversary Article series, and I found it to be a worthy follow up to their excellent debut album.  Since, things have been quiet (likely because both Jani and Timo have been busy with other things), but I still think their particular blend of symphonic power metal is pretty incredible.  

1. Visigoth - The Revenant King

Another I reviewed five years ago, I had a hard time deciding to go with Cain's Offering or Visigoth for my #1 album for this year.  However, I think the dense, somewhat doomy atmosphere is what gives Visigoth the edge, as well as some fun, epic songs.  Drifting between US power metal to Sabbath-like doom, the album has quite a lot to offer, and with Jake Rogers on the mic, this album really soars.

Top 5 of 2010!!

Fortunately, after the last article, I was able to pull this one together pretty quickly.  At this point, this really is just a Top 5 of whatever I've listened to in a given year.  Still, this one has some decent variety, this time around.  I did want to shout out The Showdown by Allen/Lande and Kamelot's Poetry for the Poisoned as honorable mentions.  They aren't the greatest albums, but they were decent, which is kind of a theme for this list.  Still, five had to be picked and this is what I came up with.

5. White Wizzard - Over the Top

I remember when metal sites were making a big deal about this band back in the day.  Their attempt at recreating the classic NWOBHM sound made them seem novel, and they were pretty good at it.  Their debut album features tons of catchy riffs and sing-along choruses, so it's easy to see why they excited metalheads back in the day.  Unfortunately, they ran into some serious problems, with lineup changes and getting dropped from their label, but like any classic metal band, they found a way to carry on.  In any case, their debut squeaks onto my list for just being a fun throwback to when metal wasn't dominated by breakdowns and harsh vocals.

4. Atlantean Kodex - The Golden Bough

When I listened to this again, I had a sneaking suspicion this might find itself here, but I wasn't immediately sure.  Despite its peculiar production, the atmosphere they create on this album is incredible, matching the ponderous style of doom metal with ancient myths and folklore.  Like White Wizzard, this is a band that I should have stuck with, and I will likely be following up on their next albums in the next few years.

3. Vega - Kiss of Life

I warned you this was gonna happen!  Drenched in 80s cheese and thick with synthesizers, this album is some very nostalgic, sentimental AOR, and that's why I love it.  While they're more recent albums see them mixing up their formula a little, they definitely started on the right foot with this one.  Full of catchy anthems and warm layers, Vega was on the right track from the beginning.

2. Sabaton - Coat of Arms

While this probably isn't their best album, it's certainly a decent one.  "Screaming Eagles" is clearly the highlight, but the title track and "White Death" are no slouches either.  I can see some folks arguing that Sabaton's albums feel a little interchangeable, but I simply see a lot of consistency.  I don't know if they have a great album in their catalog, but they certainly have some good ones, and this one is solid enough to find itself at #2.

1. Accept - Blood of the Nations

However, once I started putting this list together, the #1 choice was obvious.  Back when I reviewed it five years ago, I was blown away by the rich production, tight riffing, and straight-ahead, no-nonsense approach to songwriting.  While that has always been Accept's main focus, this comeback album came at the right time, punching everyone in the face with excellent traditional metal tracks.  In fact, this might be my favorite Accept album of all time!

Retro Reviews - November 2025!

This one took a little longer than I wanted, but there's a lot to cover here.  I'm still focused on my Top 5 articles, and so here's a bunch from 2010, though it's a little bit of everything, really.  I'm still hoping I can get through all these albums and articles before the end of the year, and maybe squeeze in a few more things, but it's looking tight.  In the meantime, here's a new handful of albums I've checked out, and I hope you do as well, as there's some great stuff here!

Atlantean Kodex - The Golden Bough (A Study in Magic and Religion)

I remember when this came out back in the day, with a lot of metal websites praising it.  I listened to it back then, thought it was good, but then never listened to it again!  I also feel like this band sorta disappeared off the face of the earth after their debut, but it seems they're still going with nearly the same lineup that recorded this album.  In an effort to get back into more epic doom metal (and as research for the upcoming Top 5 article), I figured I'd give this another go, treating it like a new listen as I remember very little of what's on this album.

Based on a book series that discusses mythology and religion, the songs dive deep into those themes as well.  The way the tracks transition from one to the next, using some sailing ambiance, gives this the feel of a concept album, like an epic quest.  There really isn't much doom and gloom so much as the dealings with magical and esoteric traditions, and the music does a great job of evoking those moods.  Many of the songs are long, include the first two both being over 10 minutes, and a 15 minute epic towards the end, but they never become boring or tedious.  Instead, they tap into this almost folky, ancient atmosphere that's easy to sink into, making for some very solid doom metal.  Markus Becker's vocals soar and harmonize very well, Manuel Trummer and Michael Koch provide great riffs and melodies on their guitars, and the rhythm section of drummer Mario Weiss and bassist Florian Kreuzer make sure things move along at a good pace.

If there is a problem with the album, it's that the production is a bit odd.  While it does provide a solid wall of sound, there are moments were it feels off, especially when the guitars stop playing.  The distortion effects are fine, but when they stop for a bit, the straight silence with no reverb that follows before they start playing again is so stark, it almost feels like a mistake, but it happens multiple times on the album, so it's a bit strange.  Their transitions can also be quite sudden, going from loud to quiet and back to loud with little-to-no build up or anticipation.  The drums might be a little too loud in the mix as well, as Becker does get a little buried at times.

Of course, these are just nitpicks.  In the end, we have a very engaging album full of mythic awe and wonder as the music epicly plods through its course.  I liked most of it, with the opener "Fountain of Nepenthe" setting the stage well, "The Atlantean Kodex" adding a nice dose of energy with more of an anthemic, 80s-metal sound, and the epic "A Prophet in the Forest" rounding out the journey  Fans of Candlemass and Sorcerer should find plenty to like, as long as they don't mind lyrics more inspired by Bulfinch's Mythology than the Book of Revelations.  

Vega - Kiss of Life

After enjoying their last handful of albums, I figured it was time I went back to their debut and checked out where they started.  Unsurprisingly, they have their 80s melodic rock style down right from the start.  These are songs full of cinematic touches, making them feel like part of the soundtrack of a melodramatic film from that aforementioned decade.

If there is one thing that stands out, it's the heavy use of 80s synths and keyboards, giving the band a bit more of a pop-band feel.  Sure, they rock out well enough, but some songs lean pretty hard into the synths, like "Staring at the Sun."  Still, this is some solid retro rock music, using a wall-of-sound-style production to make these songs sound anthemic and huge.  The title track and "Headlights" are two great examples of this, as the songs show the band's excellent use of dynamics.  Meanwhile, the opener "Into the Wild" and "Hearts of Glass" show the band's hard rock energy.  Overall, it's everything I loved about them when I discovered them with Only Human.  I wouldn't be surprised if this ends up in my Top 5 for 2010, as it holds up well and is pretty consistent in quality.

Allen/Lande - The Showdown

It's been quite a while since I last talked about this curious combo of crooners, but Allen/Lande, despite being a little generic in the songwriting, at least provides some fun symphonic metal.  This third album would be the last they would rely on Magnus Karlsson's talents in writing and arranging these songs before moving on to a dozen other projects.  Still, this one soars just like the other two albums.

What little experimentation there is mainly focuses on arrangements and instrumentation.  The two singers belt out the lyrics in epic fashion, and there is plenty of lush orchestrations and slick guitar melodies, as one would expect from these guys.  None of the songs are bad, though the lyrics on "Bloodlines" were a little strange.  Standouts include the title track, "Turn All to Gold," and "The Artist" for their symphonic power, while "The Guardian" was one of the better ones in the AOR style.  While there were no real surprises, it's still competent melodic metal with a flair for the dramatic, which is good enough for me.

Airbourne - No Guts, No Glory

Here's another one that's filling in a gap.  I enjoyed their debut album, and this follow up seems to lean even harder into their AC/DC influences.  Between the raucous vibe and raunchy lyrics, it's another rock party jam from top to bottom.

As usual, I tend to like the faster songs, though I will say the band does some anthemic stuff pretty well.  "Raise the Flag" and "Bottom of the Well" are perfect for fist-pumping self-affirmation, aside from being a pretty good time.  Unfortunately, like reviewing AC/DC albums, there really isn't much to say.  The production is solid, the riffs are crunchy, and the vibe is fun.  Overall, it's a decent time with plenty of headbang-worthy tracks, but I wouldn't say it's necessarily an improvement over their first.  However, there's nothing wrong with staying in cruise control sometimes, and these guys were pretty content to stay the course for this one.

Pathfinder - Beyond the Space, Beyond the Time

I came across this band the same way as I'm sure many others did, with their cover of Mike Oldfield's "Moonlight Shadow."  It was bombastic, even operatic at times, and a very energetic version of the song.  However, their name sat in the back of my memory like so many other bands, so I'm taking it upon myself to fix this and check out their debut album, which has some very over-the-top symphonic power metal, with all of its tropes.

While I've referenced Rhapsody of Fire many times before when discussion this kind of music, but if you had told me this was one of their albums and not a new band, I might have believed you!  While the high speed riffing certainly recalls DragonForce, and the singer Szymon Kostro does lean a little into Hansi Kürsch's style, but in the end, these Poles are clearly inspired by the aforementioned Italian band.  The result is some very fast songs, a few interludes, and some very complex arrangements, mixing the guitars and symphonics and choirs quite well (and throwing in Beethoven in for good measure).  These songs are often long as well, fitting in all kinds of cinematic sections.  While I wasn't able to find a lot of specifics, but I'm pretty sure this is a concept album, telling a high fantasy story involving a hero getting powers from the moon, rescuing his lover from cave dwellers, then facing the hordes of evil, and having a showdown between dragons that gets rather metaphysical.  I think.

This is an album that's going to need more than few listens to really unpack everything, as there are so many transitions and sections.  While it's done well, it does make the songs a little hard to follow at times.  "All the Mornings in the World" was pretty good, as that song felt the most focused, and "Sons of Immortal Fire" was a nice break from all the high-speed melodrama by being just a solid metal song.  The rest are enjoyable enough, but I'm not really sure if they're capable of coming out from under Rhapsody of Fire's shadow.  I know they have one other album, which I will get to a some point, but for now, it's a curious album that I wish was easier to get into somehow.

Top 5 of 2005!!

So this one ended up coming together much more quickly than I expected.  My Anniversary Article focused a lot on power metal, and things are not much different for my Top 5.  Once again, please keep in mind that this is just my opinion, and that I can't listen to everything I'd like to.  Still, there were plenty of honorable mentions, ranging from Wolfmother's self-titled debut and Presto Ballet's Peace Among the Ruins, to power metal giants like Masterplan, Allen/Lande, and Sabaton.  However, I think the following five albums are the best this year has to offer.

5. Nickelback - All the Right Reasons

Yeah, I know.  Yeah, this is the album with the meme song, I know.  I don't care.  This album just rocks.  Honestly, I think the Nickelback hate is overblown.  Sure, they're not the greatest band in the world, but they're generally good rock song writers, and this one happens to have quite a few of them.  Yes, I like "Photograph," but also songs like "Fight for All the Wrong Reasons," "Side of a Bullet," and even the satirical "Rockstar."  I like my post-grunge crunchy and catchy, and this is one of the best albums with that kind of style.

4. DragonForce - Inhuman Rampage

You probably expected this one to be higher, didn't you?  To be clear, this is definitely the album where their really nailed their sound and got a ton of attention (partially thanks to Guitar Hero III), but it still holds up pretty well over all.  "Through the Fire and the Flames" is practically a power metal classic, now, but I also like "Body Breakdown" and "Cry for Eternity" as well.  Admittedly, I haven't kept up with the band, as they have been riding the same sound since this album, but I do think this remains a pivotal point in the genre's history.

3. Stratovarius - Stratovarius

A bit of a black sheep in their catalog, this album comes from a pretty troubled time in the band's history, and the stripped down style certainly reflects that.  While there may not be as many lush synths or neo-classical noodlings, I still like a lot of the songs on this album, mostly the first three of "Maniac Dance," "Fight!!!", and "Just Carry On."  The album does lose some steam towards the end, but it remains a personal favorite, even if it is the end of an era for the band.

2. HammerFall - Chapter V: Unbent, Unbowed, Unbroken

When I did my retrospective on this band, I noted how this album was the one where the band started stream-lining their sound a little more, focusing on mid-tempo anthems.  However, it does have some pretty dang good ones.  Relisting to this again, I still love "Fury of the Wild" and the rest for their natural epicness and catchy choruses.  While it may not be one of their best albums, it still dominates most of the competition for this year.

1. Kamelot - The Black Halo

However, when I started listening to albums for this year's list, I knew this would be my number one.  After building a unique blend of power metal, symphonic metal, and prog metal over the last few albums, they really nail it here with a masterpiece.  The second half of a pair of concept albums, the story does get pretty melodramatic, but the execution of music and arrangements are incredible, and make for a pretty satisfying ending to the story.  Between Roy Khan's beautiful voice and Thomas Youngblood's epic riffing and solos, this album was the best of the year, not just in power metal, but in any genre.

Retro Reviews - October 2025!

I know it's technically November, but things got a little hairy and this didn't come out until now.  Just understand that I listened to these last month, alright?  So, carrying on my journey of five-year jumps, I'm checking out a handful from 2005 now, and unsurprisingly, it's a lot of power metal.  At this point, the genre was winding down, but plenty of bands were still putting out some interesting music.  However, before we get to that, let's start off in a completely different genre:

Scott Stapp - The Great Divide

When Creed broke up, their singer Scott decided to shift into a solo career built upon the success of his former band.  I remember when it came out back in the day, and I think I heard a song or two, but for whatever reason, I never got around to the album itself until now.  While I certainly love the band Creed quite a bit, I find this album to be a little lifeless compared to those, despite being some decent hard rock.

To say that this sounds like Creed is pretty moot; it was intended to be a continuation of that sound.  The major difference is how the songs lean more into atmosphere and ambiance, giving them an ethereal quality, often making me think of U2.  Stapp himself sounds great, wailing and yarling as usual, though he does get a little harsher on some songs, like "Reach Out."  The songwriting itself feels kinda of basic, though.  Creed might not have been the most complex band, but there were touches here and there that teased more out of the songs, and I don't get that as much here.  Of course, there are a few curious moments that shake things up, like the talky style on the verses of of "Justify," and the back-and-forth between electric and acoustic guitars on the title track, but most of it is some pretty standard post-grunge or alternative rock.

This is by no means a bad album, just underwhelming.  It could also be that, since I have massive nostalgia for Creed's first three albums, it's hard to measure this against that.  Maybe if I'd listened to this over and over back in the day, I'd feel differently about it.  In any case, this is pretty much exactly what one would expect from such an album.  I liked the title track and "Let Me Go," and the rest was fine enough, but overall, I can understand why this one didn't do quite as well, as it does feel like an emulation of a style rather than a continuation of it, resulting in a lukewarm effort.

Black Majesty - Silent Company

When I checked out this band two years ago, I thought their debut album was decent, if rough around the edges.  Their sound was an interesting blend of European and US power metal styles, but in the two years leading up to their sophomore, they've clearly shifted over to the Europeans, particularly the high speed, double-kicking fury of the likes of Edguy and Gamma Ray. 

Right off, the production is a big improvement, as the band sounds much more unified.  John Cavaliere still has his Tate-like wails, but he sounds much more well-rounded here, Pavel Konvalinka continues to pound the tar out of his drum kit, and the rest of the band provide plenty of riffs and melodies.  The energy remains fairly high, kicking off with "Dragon Reborn," and carries on through with tracks like "Firestorm," "New Horizons," and "Never Surrender."  They do shake it up a little, such as the mid-tempo "Darkened Room," and the folky power ballad cover of "Six Ribbons."  The main portion of the album ends with the seven-minute epic "A Better Way to Die," and the bonus track "Chasing Time" has some good energy.

If there is a problem, it's that there really is nothing new here.  By 2005, the competition in the power metal space was getting pretty intense, and this album feels a few years behind everyone else.  Still, this is definitely an improvement over their debut, so I'm hoping things will continue to improve as I work through the discography.  As for the album itself, it's decent power metal, with solid execution, with no bad tracks, really.

Masterplan - Aeronatics

Oh hey, another follow up from that same article!  While the band does pick up a new keyboardist and bassist, things are business as usual with Masterplan carrying on their straight-ahead power metal style.

The main difference I noticed was with that new keyboardist, though.  Axel Mackenrott is much more prominent than Janne Wirman was on their debut, pushing the band in more of a symphonic direction.  Honestly, this feels like the half-way point between classic Helloween and Sonata Artica, but that's not a bad place to be.  The songs seem to focus more on personal relationships and introspective tones than standard empowering topics.  However, this does allow Jorn to really play up the melodrama, as his crooning style is more prominent on this album (and is honestly better for it).

"Crimson Rider" starts things off well as a burst of high speed, and "Wounds" also carry that energy as well.  They also shake it up with some mid-tempo stompers, with "Back for My Life," and "Dark from the Dying" being the highlights.  However, the song that stood out the most is the massive 9-minute closer "Black in the Burn."  With all the tempo shifts, it felt like a Helloween or Gamma Ray style prog epic, and was quite a delight to hear!  Overall, it's a solid album that might not be a massive step forward but a rather a refinement of the kind of band they want to be, making it a pretty satisfying listen.

Excalion - Primal Exhale

While I've been aware of this band, I've never taken the time to give them a serious listen.  Once again, the Top 5 articles give me the opportunity to check out the debut of a new band that I've heard good things about.  Hailing from Finland, they offer some pretty typical, synth-heavy power metal, like Stratovarius and Sonata Arctica.

Right off, the production is a little packed, giving the songs a slight muddy feel, as the wall of sound blends the instruments a little, and singer Jarmo Pääkkönen gets a little buried from time to time.  However, the band clearly has a very lush sound, as band-leader Jarmo Myllyvirta really works his keyboards and synths to give these songs a lot of atmospheric, with some occasional symphonic vibes.  The rest of the band plays their parts well, but I don't know if they've quite gelled as a band yet.  It also doesn't help that some of the lyrics are clunky, as they don't have a natural English flow (which is common when it's not a band's native tongue), but Jarmo delivers them well.  As for the songwriting, I do think they're leaning a little into Sonata Arctica's progginess and atmosphere, but they haven't quite ironed out the kinks.  However, their solo trade-offs and neo-classical noodling is on point, and none of the songs felt like a slog to get through.

Overall, I liked the faster songs better, such as "Reality Bends," "Stage of Lies," and "My Legacy," as their energy was able to get through the muddy production better.  I look forward to see where the band builds from here, as I think they have the right pieces.  It's not a bad debut album, providing some decent power metal, but there's definitely room for growth.

Divebomb Records Mystery Box!!

A lot of record labels and online distros like to offer mystery boxes to help clean up some of their stock and provide some surprises for the receiver.  I had always been interested in them, but most of them are for more extreme types of metal (which I'm much more picky about).  However, I saw Classy Lonnie Metal do one for Divebomb Records, which focuses more on melodic metal styles, and I was intrigued.  I threw it on a wishlist and ended up getting it for my birthday last year!  It's taken me a while to get through them all, but I got to check out a whole bunch of bands I've never heard before!  There are quite a lot of them, though, so these will be pretty short reviews to keep the article from being too long.  Buckle in and let's get into it!

Top 5 of 2000!!

It's at this point we start to drift away from what was big and into what I've mainly listened to, as was the nature for the Anniversary Articles.  For 2000, I primarily focused on power metal, and in the end, it also dominates my Top 5 for the year as well.  However, I did want to give an honorable mention to Rob Halford's return to heavy metal with his solo band Halford.  Quite the Resurrection indeed!  I also made sure to give the stuff I heard last week its chance, but in the end, they didn't make it, mainly because these five are some of my personal favorites!

5. Edguy - The Savage Poetry

After cutting their teeth on a few albums, they decided to record their debut demo, and it's a considerable improvement, as they have their power metal sound worked out by this point.  Kicking off with "Hallowed" and "Misguiding Your Life," their songs crackle with Helloween-like energy, with the epic "Eyes of the Tyrant" being the highlight of the album, in my opinion.  While the band might be MIA these days, they were definitely one of the big stars during the swell of power metal bands growing at this time.

4. Nightwish - Wishmaster

Back before they were doing more progressive, cinematic metal, Nightwish was the premier symphonic metal band at the time.  Seeped in a gothic tone, and powered by Tarja Turunen's operatic voice, they were as epic as a band could get.  While I do think Oceanborn is a slightly better album, this one had plenty of great songs, like the bombastic title track, and the twisted "Kinslayer."  

3. 3 Doors Down - The Better Life

Nostalgia can be a pretty powerful stuff.  I was in high school, and post-grunge was really blowing up, with this album dominating my attention at the time.  While "Kryptonite" was the big hit, the album has so much more, with the somber "Be Like That" and the tense "Duck and Run, to the energetic tracks like "By My Side" and "So I Need You."  This was a contender to take the #1 spot, but after listening to everything, it settles comfortably at #3.

2. HammerFall - Renegade

Back when I did my big retrospective for this band, I considered this one to be caught between two very good albums.  However, classic HammerFall will always have a massive place in my heart, and this album is no exception.  With so many great tracks from beginning to end, from the pounding opener, to the electric title track, to the epic closer, it was going to take something pretty incredible to beat it.

1. Stratovarius - Infinte

Speaking of incredible!  I admit I haven't talked about Stratovarius very much here on my blog, and that's kind of a shame, as their albums were instrumental in getting me into power metal, with their blend of proggy keyboard solos and neo-classical riffing and shredding.  While Visions might be their best, Infinite is probably my second favorite of theirs.  Starting with the catchy "Hunting High and Low," the album just excels above the rest, with tracks like the near thrashy "Phoenix" and the epic "Infinity."  While it's not perfect, I can't deny the majesty of this album, and so it takes the top spot of 2000 for me!