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.

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.

Top 5 of 1985!!

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

5. Dio - Sacred Heart

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

4. Asia - Astra

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

3. Helloween - Walls of Jericho

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

2. Dire Straits - Brothers in Arms

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

1. The Alan Parsons Project - Vulture Culture/Stereotomy

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

Last Played - June 2023! (200 Posts!)

A little over two years ago, I posted an article celebrating the fact that I had reached 100 posts.  In that article, I talked about how I wanted to celebrate that as it had been the most consistent blog I had worked on in my life.  Now that I'm at 200 posts (as of this one), I do feel impressed that I've continued to be pretty consistent about posting all these music reviews and articles.  I also find it kinda crazy that I've been doing this for about 4 1/2 years (as I didn't start in earnest until November 2018).  I've listened to a lot of music and discovered some new bands, as well as taken opportunities to check out classic bands of the past.  That being said, I don't think I have much more to add to what I said for the 100 posts article, so I'm just going to keep right on going and dive into some reviews!

Yes - Mirror to the Sky

After there was a seven year gap between Heaven & Earth and The Quest, I didn't think we'd be getting another album from these guys so soon.  Yet, just in two short (or long, depending) years, we have another one.  The early singles left me feeling a little underwhelmed, but now that I've jammed the album a few times, this does feel like another small improvement for this particular era of Yes.

The lack of energy is felt once again, and there isn't anything quite as driven as "The Ice Bridge" from the last album, as the Mirror to the Sky seeks to match its cover art with a lot of laidback, spacy songs.  "Cut from the Stars" is a decent opener, setting the stage for the rest of these symphonically layered songs, and "All Connected" holds together pretty well for it's nine-minute runtime.  However, the energy takes a bit of a dive with songs like "Luminosity," "Circles of Time," and "One Second Is Enough." They're not bad, but their more chilled-out soft rock vibe makes it hard to really follow their progressions and ideas.  "Unknown Place" tries a few different things, but never really comes together.  These are then contrasted by some of their weirder ideas, with "Living Out Their Dream" having this satirical, rockabilly style, and "Magic Potion" bring out some 70s funk.  It seems like they can only be lively if they're being a bit silly.  Not that I think they need to be serious all the time, but it does make it hard to feel like they're not just wasting my time.

However, much of this is made up for by the title track.  This thirteen minute epic is definitely better than anything else on the album, as it has some solid ideas, great dynamics, and a better sense of what it's trying to be.  They let the song build on its own, having good energetic moments followed by moody passages that reminded me of some of the mysterious sections on "Machine Messiah."  They even use their symphonic arrangements well on this song, helping to bolster the melodies and transitions.  While I do think the ending could have been helped with something a little more epic, or even just a reprise of some earlier lyrics, I do think they have hammered out a pretty solid song here.

So overall, another mixed bag.  The production also has some blending that once again uses the lushness of Open Your Eyes or The Quest, but here it's starting to muddle together.  It makes me wonder what these songs would sound like live without all the production, if they wouldn't sound a little stronger.  Nevertheless, there are signs of a band figuring out what their sound should be, and if they do choose to write another one in the near future, I would hope they bring back some of the classic punchiness of their earlier albums.  They seem to have the prog side figured out, but they're still struggling with the rock side.

Starset - Transmissions

Starset is band I had been hearing about here and there.  While I had checked out a few songs and thought they were fine, I hadn't really dug in and given them a serious listen.  However, when an online listening party group gave me an opportunity to check out their debut album, I figured it was as good a time as any to give this band a chance.  What I didn't expect was all the production on the music, making this album quite the cinematic experience, for better and worse.

First off, this sounds just plain huge.  Making the most of both orchestral strings and synthy ambience, the album goes for the melodramatic and simply doesn't let up at all.  It even has a story concept, though the lyrics don't make it immediately obvious.  In their story, Starset is an organization set to interpret a set of message from the future, trying to fix their past into something better.  However, many of the lyrics also focus on personal relationships, usually discussing about how much another person means to the character singing the song, especially now that they're gone.  It's never clear if it's romantic or platonic, but the personal connection seems vital none-the-less, making it seem like a main motivation to affect the timeline.

As for the music, it's an interesting mishmash of bombastic movie soundtracks, synthwave, and melodic alt metal (think Breaking Benjamin or mid-to-late Linkin Park), with a dash of prog as it drifts from song to song.  In fact, most tracks have these long, ambient segues that bring the energy back down before the next anthem, but they go on for quite a while, some of them even being 3 minutes long!  While it certainly makes for an interesting album-listening experience, the songs start to blend together into an emotionally intense blend, with very little sticking out.  "Let It Die," ended up being the most memorable, mostly because of the sudden synthy arpeggios on the chorus.  It's certainly not a bad set of songs, as it has a very concrete idea of what it wants to be, but with all the production this album has, it feels like it has as much in common with Two Steps From Hell or Audiomachine as it does with rock music.

Judas Priest - Painkiller

Despite being such an iconic album from the legendary band, I hadn't listened to this album beyond the title track until now.  After some interesting attempts to lean more into the pop metal style, the band bring in Scott Travis from Racer X to play drums, and completely blow up everyone's speakers with tons of epicness and aggression!

Right from opening title track, this album was different.  Travis's drumming kicks things into high gear, and Rob Halford's wails make it clear that this wasn't going to be just any metal album.  Things carry on with more high octane riffing, with "Hell Patrol," "All Guns Blazing," and "Leather Rebel."  The second half of the album gets more dramatic and dark, as the band drift into themes of horror and evil.  "Night Crawler" in particular feels like it was based on some 80s slasher movie, which brings me to the lyrics.  To be fair, they have abandoned a lot of the glammy topics in favor for some of the more classic metal tropes, but they do get pretty cheesy here and there.  "Metal Meltdown" feels a little weak as a speedy metal anthem, and "A Touch of Evil" drifts into metal-based synth pop territory.  They aren't bad songs, necessarily, but they do feel weaker compared to the songs that really excel.

Speaking of excelling, I can feel that Tipton and Downing wanted to prove they were the iconic metal duo, and they succeeded!  They provide not only some great riffs, but the solos are technical and frantic without going out of control, and they often trade back-and-forth on the songs.  Travis's drumming is also all over the album, and seems to be the force that really drives this album forward.  Halford also gives a great performance, often going to his shrieking wail that we would later return to on his first solo album Resurrection.  I can see a lot of old-school metal fans seeing this as a great comeback after the lackluster Turbo and Ram It Down.  Looking back on it now, it's easy to see this album as redefining traditional metal and being influential on many other bands.

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Only three this time, as I have been pretty busy.  Also, I haven't forgotten about doing an Anniversary Article for this month, it just turns out that needed some extra time to come together, so it should be done by the end of this month.  Once I get into July, things should normalize (I hope).  I know there's a lot of albums that came out this year that I want to catch up on, but we'll see what I get around to.  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/

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/

Anniversary Series - 2007!

Once again, it is time to celebrate the releases of a given year with the next Anniversary Series article.  For 2007, I pretty much just had a few power metal albums, so I thought I'd try and diversify my playlist with the albums reviewed below.  However, one highlight I do want to mention is the debut of Northern Kings called Reborn, a kind of symphonic metal passion project by the singers from Charon, Dreamtale, Sonata Arctica, and Nightwish of doing covers of 80s songs.  They only ever did one other album, but both are a blast and worth checking out.  Now, on to the reviews!

Airbourne - Runnin' Wild

Let's kick things off with some straight-ahead rock and roll!  Airbourne is that name I'd seen around here and there, but it wasn't until I seriously listened to one of their albums that I began to understand that there was more to them than their blues-rock style indicated.  For this anniversary article, I figured I'd go back to the beginning and check out their debut album.

Unsurprisingly, it's full of anthemic bluesy rockers.  Sure, some are faster than others, but they're all very much designed to be fist-pumping, chest-pounding, hedonistic hard rock, with enough saucy lyrics and triumphant choruses to cover at least 3 or 4 AC/DC albums.  I've always felt Airbourne was a more distilled version of their Ozzie mates, and this album makes it clear they started that way from the beginning.  The riffs are tight, the rhythms are driving, and the lyrics easy to follow, making for a set of songs that demand some headbanging.

If you've had your fill of AC/DC, this certainly won't change your mind, but for those who don't mind another dose of classic party rock, it's pretty consistent and solid across the board.  I find that I like the faster songs here, such as "Stand Up for Rock 'n' Roll," "Blackjack," "Girls in Black," and "Hellfire."  Overall, the album is a decent start for the band, and doesn't overstay its welcome by keeping to a tight length, though I do think they've created better later on.

Cauldron - Into the Cauldron (EP)

I think I came across this band from watching the Thralls of Metal YouTube Channel.  While they mostly focus on extreme metal, they do cover a few other bands as well, and this one was recommended for its classic style.  After checking out a few tracks, I decided this was a band I should keep on my radar.  As their debut EP came out in 2007, I thought I would include them for this anniversary article.

Right off, the guitar work stands out.  Not only do you get some chunky riffs, but plenty of shreddy solos as well.  Ian K. Childron really works his fingers across all four songs.  As for the songs, they feel like a blend of US power metal and NWOBHM, with a dash of speed metal here and there.  The singer Jason Decay is a little rough on the ears, sometimes trying for a low gritty voice that doesn't quite work, but when he sings high he's not too bad.  The title track "Into the Cauldorn" is probably the best song of the four, but all of them are worth checking out if you like this style of retro metal.

Allen/Lande - The Revenge

Before Russell Allen teamed up with Anette Olzon, Frontiers Records first paired him with Jorn Lande.  While I enjoyed their first album The Battle quite a bit, it can come across as being pretty generic, with its AOR-styled approach to symphonic metal, written and orchestrated by guitarist Magnus Karlsson (who has done all kinds of work for Frontiers over the years).  The Revenge stands to carry on where they left off, without any deviation at all.

Right off, the opener "The Revenge" makes it clear that these songs are going to be bombastic and melodramatic.  You can tell Jorn is having fun with his ad-libbed croons.  Allen doesn't do too bad, but I think he tries to force it too much sometimes, especially on the song "Obsessed."  Karlsson gets plenty of opportunities to show his skills, often going back and forth between melodic segments and shredding.  There isn't much variety, but the goal was to give these iconic vocalists a platform to go big and let loose, and it does that pretty well.

While the album is pretty consistent, there were some standouts.  The title track is fun, while "Just a Dream," "Her Spell," and "Gone Too Far" have good energy.  I also quite liked Jorn's ballad "Master of Sorrow," which is unique, as I'm usually not a fan of ballads.  I do feel like Jorn is more comfortable, as Allen doesn't seem quite on the same level.  He's good, but fans will probably prefer his work in Symphony X and his other projects.  The quality is probably on par with the project's first album; it would probably take several listens to decide which is better.  On its own, it's a solid chunk of symphonic metal that doesn't try too hard, but sticks with what works.

New Videos - October 2019!

I'm afraid this month hasn't been as productive, as I've been dealing with a very persistent cold.  Hopefully, next month will be better.  Until then, here are some videos that has caught my interest over the past month!

Angel are back, bringing a nice mix of AOR and glam rock that reminds me very much of Europe's early material, and which is a compliment in my book!  Something of a nostalgic song as they look back on their past, but it sounds like they can still rock all the same.

Apocalyptica are certainly a unique band in the rock world, with their cello-driven metal, but here we see them venture more into progressive territory, mixing the collage-like imagery with all kinds of mood shifts and tempo changes. Impressive work!

Of course, I can't stay away from power metal.  Here is another one from NorthTale, full of that symphonic power metal magic I love!  I really should listen to their album, as I've loved everything they've released so far!

More symphonic power metal!  Visions of Atlantis takes things on a more cinematic scale, showing some nice vistas to go along with their epic melodies and orchestral swells.  Great stuff!

Talk about a band playing it oldschool!  RAM is here is bring back the glory days of early metal, carrying vibes of late-70s Judas Priest, Accept, and Riot.  With some crazy fast licks and a penchant for over-the-top metal aesthetic, this is a blast, literally and figuratively!

Let's finish with something a bit weird.  The prog supergroup Flying Colors is back with a third album, and for their first single, they're messing around with time-signatures and glow-in-the-dark in the same measure.  While the video is pretty nuts, the music is an interesting blend of hard rock and jarring rhythms, with a softer section reminiscent of Yes or early Genesis.  Nice work, fellas!

New Videos - May 2019 Part Three!

More videos!  There's been a lot of great music coming out lately, and I'm glad to share it with you all.  Got quite the mix this time, with some artists coming back and a few news I hadn't heard of before!

I can't help it!  Sabaton makes great power metal, and they always seem to find neat things to sing about!  While the video does get a bit grim (though it is World War I they're talking about), the infectious, epic melodies Sabaton is known for are all on point.  Check it out!

Tanith is back with another single for their new album.  Once again, rocking that 70s prog/metal vibe, this really has that classic touch.  It shifts from mood to mood, and yet, it's never jarring, or feels like it's trying to do too much.  Classic rock to a T!

We're rocking it old school this time, as we have The Rods back with a new album.  I guess they've been rocking since 1980, and it sounds like they haven't changed much.  Despite them being from the US, this has a massive NWOBHM sound with a lot of bass!

More old-school metal!  Got another Paragon video, and this one is pure 80s speed metal, with some very flashy solos and epic riffs.  Just great, break-neck metal that you can't help but headbang to!

More Diviner, more epicness.  Once again, great riffs, huge vocals, and a grand sense of musical scope.  It just sounds huge!  This one has more of a prog metal vibe, like Vanden Plas.  I like it a lot!

Let's finish off with a great piece of driving AOR.  With a big chorus and great riffs, this one really soars, like a good AOR should do.  The lyrics might not be much, but it has great production, and Dino just really let's it out!

New Videos - April 2019 Part 3!

One last set of videos before we finish the month of April.  We've got a good mix of things here, ranging from classic 70s rock, to 80s anthemic sounds, to 90s power metal.  Check it out!

Whitesnake is back with another album of sleazy hard rock.  While the first few singles were just okay, here we have them really piling on the 80s anthemic sound.  With the shout-style chorus, they almost sound like Def Leppard!

Enforcer is here to revive the classic sound of metal from the early 80s, full of energy and speed, and not much else.  And I mean that in a good way!  Seriously, this is about as straight-forward and classic as it gets!

I can't help it!  If it's fast, epic, and melodic, I'm gonna love it!  Here we have Frozen Crown, a newer power metal band from Italy, and this song is giving me a massive last 90s power metal vibe, like Stratovarius or Edguy or Fourth Legacy era Kamelot!  Amazing!!

The album this one comes from is titled In Another Time, which is very appropriate for this piece 70s metal.  Adding in some folky and proggy elements, this sounds somewhere between early Rush and early Rainbow, but with dual guitar leads like Kansas!

Well, this is different.  Taking their progressive metal roots and adding in a dash of anthemic 80s sounds, Mind Key makes it a great track of epic melodic metal.  Aurelio Fierro Jr's voice is what really holds it together, having that right mix of gritty and charismatic elements.  Italy knows how to make some great prog!

Let's end with another throwback rock artist, The Vintage Caravan.  This trio seems to live in the late-60s, early-70s, calling up vibes one would get from Led Zeppelin, Deep Purple, Fleetwood Mac, and Blue Oyster Cult.  Between the smooth vocals and psychedelic noodling, there's a lot to like here!

New Videos - February 2019

This month has some great albums coming out, but that doesn't stop me from checking out videos.  Here's what I've found this time!

Iron Savior has been in the power metal world for a while, but take a more sci-fi route with their lyrics and story-telling.  Perhaps not the most innovative, but certainly a fun listen.  As far as I'm concerned, we can't have enough epic power metal!

Bloodbound is another band that's been cranking out power metal since the hey-day of the 2000s, and they play it like it never went out of style! Sure, lyrics about fantasy and dragons might be clichéd for the genre, but if it's done this well, who cares?!

Alright, here's something different.  Tremonti is clearly a band I've been sleeping on because this rocks real hard!  I've admitted before that I'm only really familiar with his work on Creed, but if he cranks out stuff like this on his own, I have some catching up to do!

I can't say I've heard of this band before, but Darkwater seems to bring some nice, melodic progressive metal here.  Mixing solid uptempo energy with a brooding atmosphere, and some nice synth leads, there's lots to like here!

Here's an interesting group!  Combining former members of Judas Priest, Alice Cooper, Ozzy Osbourne, and the Scorpions, we get a decent, hard rockin' track that shows potential.  Calling themselves A New Revenge, they might be someone worth keeping an eye on.

Let's finish with something very different.  I admit I'm not familiar with Status Quo (which Francis Rossi is known for), but I stumbled across this song and it gives me a very strong ELO feel (like a folky "Mr. Blue Sky").  Worth a listen, I think.