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!

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.

Retro Reviews - September 2025 Part Two!

Once again, my retro reviews are dominated by my next Top 5 article, and with 2000 coming up, I had plenty of albums to consider.  However, in the end, I decided to review these five, as they are mostly continuations of bands I've been reviewing over the years, which means more power metal!  Instead of breaking these up, I've decided to throw them together, so settle in for a long article!

Helloween - The Dark Ride

After enjoying their latest releases, I figured it was time to try and fill in some of the gaps I had with this band's discography.  I've mentioned before that I've listened up through Better than Raw, and most of it is great power metal.  With this one, the band had retroactively mentioned there was more executive meddling this time, and they went with a bit of a darker, gritter tone.

Things start off with some pretty typical power metal, as tracks like "Mr. Torture," and "All Over the Nations" would have fit in well with any other Helloween album.  Then we get "Escalation 666" and "Mirror Mirror" with both have a much darker tone and mid-tempo chugging, and their lead single "If I Could Fly" feels almost like an alternative rock song.  The rest of the album bounces bounces around these two styles.  While the power metal tracks are classic in style, they do feel a bit less inspired than usual, while the slower, grittier tracks are a mixed bag, but feature some neat ideas.  However, to the band's credit, the album never feels uneven or jarring, the different sounds making the album feel kind of diverse.

Personally, I find the later material on the album to be stronger.  "Mirror Mirror" is an interesting take on the classic fairy tale, then "The Departed (Sun Is Going Down)" and "I Live For Your Pain" are the best of the slower, grittier songs.  Meanwhile, "We Damn the Night" is the best of the power metal side, the epic closing title track features all of this and more.  While this isn't the band at their best, they've certainly had worse, and I think there's plenty to like here, making this more like a dark horse than a black sheep.

AC/DC - Stiff Upper Lip

After Ballbreaker, these Aussies seemed to settle into a pattern of putting out an album every 5-8 years, as I'm sure their live show was the more profitable side of their band.  As for this album, they definitely drawn upon the blues rock that dominated their sound in the 70s, making this feel like something of a throw back.

Of course, this is a minor shift, as the band's sound is one of the most unchanging things in the history of rock music, and that's just fine.  Things start of well with the rockin' title track, "Meltdown" and "House of Jazz" have the strongest blues elements on the album, and "Hold Me Back" has this near minimal approach before it builds to its anthemic end.  "Safe in New York City" has some interesting energy, and the blues come back for "Satellite Blues" and "Come and Get It."  I do think the album does lose some steam towards the end, but "Give It Up" is a solid closer.  Overall, it's another AC/DC album, designed to get your headbanging from beginning to end.  I will say, though, that I think this one was better than Ballbreaker, and probably on the upper end of their discography.

For what it's worth, this was the last album I needed to hear to complete my listening of their entire studio discography.  It took many years (long before I started the blog), but I can say with confidence that they've been largely consistent over their entire history. I might at some point create a Retrospective Article, filling in the reviews I need to, but that will probably have to wait until next year sometime.  In the meantime, they remain the band we've always enjoyed, and this album is a good example why.

Rhapsody of Fire - Dawn of Victory

This year was definitely one for power metal, with this one being the third in their Emerald Sword Saga.  In the last album, our hero made it to the tower to find the titular weapon and is now on his way back to face the evil that threatens the land.  Naturally, this means another set of bombastic, high speed power metal!

Musically, nothing has changed at all from the last album.  We get more neo-classical orchestrations to go with all of Luca Turilli's shredding guitars, and Fabio Lione does his best to share the story in his soaring voice.  As for that story, the hero brings the armies together into an alliance against the evil Akron, but when his friend's lover (a princess) gets kidnapped, the vile lord wants the Emerald Sword for himself.  The heroes try to anticipate a trap only to get captured, and the sword falls into the hands of evil, and our main hero is the only one to escape with his life.  I bring up the story here, as the album starts rather triumphant, but the songs get darker and more desperate as it goes (at least for power metal, anyway).  Of course, there are still some strange breaks, like "The Village of the Dwarves" with its folky respite, but most of the time, it's pretty melodramatic theatrics, which the music holds together well enough.

This is one of those albums where the great songs are great, but the rest is pretty forgettable.  I liked the title track and "Holy Thunderforce," as they feature some pretty epic melodies and symphonics, and the massive closer "The Mighty Ride of the Firelord" has a little of everything.  However, the rest of the songs, while not necessarily bad (though "The Bloody Rage of the Titans" was another strange one), they aren't as memorable as those three.  In any case, the band is once again spot on with their orchestrations and arrangements, and certainly sell their operatic pretentions pretty well. 

Iron Maiden - Brave New World

After enduring the two Blaze Bayley albums, it was high time I got back into this band and their reunion with Bruce Dickinson and Adrian Smith.  However, they decide to hang on to Janick Gers, making the first album with three guitarists.  In fact, this lineup has remained ever since!  In any case, this album is pretty much a return to form for the band, calling upon their 80s majesty.

I know I haven't reviewed any Dickinson album before now, so let's get the obvious out of the way: this man is a great vocalist and frontman.  He's one of the greats for good reason, and he sounds great here.  The rest of the band is definitely back to normal after stumbling through the 90s.  The rhythms and hooks are tight again, and the guitar work is exemplary as always.  Essentially, it's Maiden doing what they do best, which is writing solid, melodic heavy metal, and after the last two albums, it's nearly a relief to hear the crew still have it where it matters.  The long songs have return as well, as the band leans more into their proggy side like "Rime of the Ancient Mariner" or "Alexander the Great."

Listening to this album is like putting on an old pair of comfortable shoes.  While long-time Maiden fans will already know how good songs like "The Wicker Man" and "Blood Brothers" are, but I also rather liked "Ghost of the Navigator" and "The Fallen Angel."  There are no surprises and you know what to expect, but at the same time, you can't help but feel good about it anyway, simply because it's executed well.  As a consequence, the album might not stand up well against their classics, but it makes for a solid return to form, and a new baseline for what follows.

Gamma Ray - Blast from the Past

Just to round things out, I decided to throw this collection on and give it a listen.  Technically, it's a compilation for the band, but a majority of it was recorded, letting the fans pick the songs on their website.  While the songs themselves weren't changed much, there are a few major differences that make this more than just a typical Greatest Hits album.

First is the production, making the re-recorded versions feel more rich and layered, so they feel more in-line with what the band had been doing at the time.  It also gives them a welcome extra punch of power metal.  The other major difference is that the vocals of Ralf Scheepers (now happily working in Primal Fear at this point) were now provided by Kai Hansen.  While some of the re-recorded songs were clearly written with Ralf's hefty vocals in mind, but Kai does well enough, especially on the faster songs that call for his soaring style.  Overall, I don't know if this is a particularly vital release, but definitely shows how Gamma Ray has finally established their style.  Enjoyable, but probably not vital outside of diehard fans.

New Releases - September 2025!

After spending so much time on older albums, I figured I should shake things up with some new releases.  This is looking to be another great year for power metal, as not only do we have some of the big names putting out some great albums, but I've got a new band that has it where it matters as well.  Figuring out my Top 5 for the year is going to be tough!

Primal Fear - Domination

When I reviewed their last two albums, I find them to be a little underwhelming compared to earlier releases.  (Though, when I relistened to them recently, I decided Metal Commando was the better album after all.)  Now with new members Thalìa Bellazecca and André Hilgers on guitars and drums respectively, they carry on with their iconic heavy/power metal sound.

Not that I was expecting any kind of major change, of course.  This band really is pretty consistent.  However, I do think this album has stronger melodies and more of an uplifting tone, tapping into a bit more of a Helloween style than usual.  This is very noticeable on their first few tracks, with "Destroyer" and "Far Away" really pushing into a very classic power metal sound.  Things get grittier in a more typical style with songs like "The Hunter," "I Am the Primal Fear," and the weirdly intense "March Boy March."  There's also a few elements of AOR, especially with songs like "Tears of Fire," the instrumental "Hallucinations," "Crossfire," and the seven-minute epic "Eden."  Hearing these makes me think that Magnus Karlsson had a bigger hand in the song-writing this time around, as I'm hearing similar things as the work that he's done with Frontiers Records.  Naturally, the rest of the band hammers out their parts well, with Ralf Scheeper's voice roaring and soaring over everything, getting in some pretty good wails.  Overall, it feels like the band has really gotten their energy and power back.

The main concern I have with it is that the album might be a little too long.  While none of these songs are bad, per se, there are a few that felt like filler, or at least not as strong, such as "Heroes and Gods," and "Scream."  However, these are nitpicks on what is definitely a solid album, probably their best since Apocalypse, and certainly a contender for Top 5 of the year!

Helloween - Giants and Monsters

Speaking of Helloween, these power metal legends finally released a follow up to their great self-titled album from 2021.  When I reviewed that one, I loved it, even if it was a little clunky here and there, and it eventually ended up in my Top 5 for that year at #2!  Now, four years later, the band is still rocking the three vocalists, and we get another great set of power metal tunes!

Naturally, all the staples are here: plenty of noodly riffs and solos, high energy rhythms, and wailing vocals.  If there is one thing that kept coming to mind this time is how much they sound like Gamma Ray.  I know that may seem kind of redundant, as Kai Hansen always has his sound, regardless of what band he's in, but something about these songs have that Queen-like emphasis that Kai likes to use on his Gamma Ray material.  (And it turns out that "Majestic" was a left over Gamma Ray song from 20 years ago that Kai rediscovered when helping to write this album.)  Maybe this is just semantics, but I did notice it multiple times.

Still, there's some great power metal, not that would be a shock, really, as these guys have been doing it well since the 80s.  Thinks start off great with the high-speed tracks "Giants on the Run" and "Savior of the World," but they also get epic with the two eight-minute songs, "Universe (Gravity For Hearts)" and "Majestic."  They do drift into AOR territory with tracks like "A Little Is a Little Too Much," "This Is Tokyo," and "Hand of God," which aren't bad but do bring the energy down a little.  "Under the Moonlight" is probably the weakest track, as it did sound a little strange compared to everything else.  However, what does work here holds the album up well.  I don't know if this is better than their last album (as that was quite good), but this is also a Top 5 album for 2025.  I'm sure I'll have some real trouble deciding between this and Primal Fear's work when it comes to placement!

Dragonknight - Legion

So after listening to two legends of the genre, here's a completely new power metal band from Finland.  While they may not be doing anything new or original, I can't deny that the execution of their work is pretty solid.

For fans of symphonic power metal, there's a lot that's familiar here, with Twilight Force being the most prominent comparison, though fans of Dragonland and Rhapsody of Fire will find plenty to like.  It's hard to know who is responsible for what, as the band relies on stage names, but Metal Archives at least tells me the singer is Mikael Salo, who apparently has been in a number of other power metal bands, and it shows.  He sings with experience, being very theatrical, but he isn't afraid to get a little gritty when it's needed.  While I don't think this is a concept album, it could definitely be interpreted as one, as it flows from song to song pretty well.  The orchestrations are bombastic and well arranged, and the music is tight and powerful, making sure each piece leaves an impact.

It would be very easy to dismiss this band as "more of the same," and I do fear this band might get lost in the cracks, but I can't deny they have something here, as I liked most of the songs.  The ending tracks do get a little weird (especially with the 12/8 rhythm they try on "The Revelation"), but I enjoyed "The Legions of Immortal Dragonlords," "Defender of Dragons," and "Storm Bringer" for having some good energy and epic arrangements, and I rather liked the ballad "Astarte Rise," as it had a strong story that built with the music very well.  Overall, it might not be unique, but there is something to be said for doing things well, and this group might be one to keep an eye on in the future.

New Releases - August 2024!

Time to get back on track with some new releases.  I've got another trio of power metal albums, featuring some pretty big bands.  I promise I'll get to other genres as the year goes one, but these took priority for the summer, so here we are.  Raise your hammers, cast your spells, face all comers, and check out these reviews!

HammerFall - Avenge the Fallen

I have admit that doing the Retrospective article got me pretty hyped to hear the new album.  While I do think the band has changed, I do like their newer albums quite a bit.  They always provide a good, epic, fun time, and Avenge the Fallen is no different.  It may seem like more of the same, but there is something to be said for consistency.

Things start off well with the title track, with gang vocals on the chorus.  In fact, this whole album has a lot more gang vocals this time around.  I'm sure fans will be singing those parts when they play these songs live.  The album carries on well enough, with "The End Justifies" starting with some riffing that wouldn't be out of place on some of their first albums, before going to a spacy section that shifts into a different chorus-like part.  I also liked "Hail to the King," with it's slow, 6/8 groove, and both "Burn It Down" and "Capture the Dream" had some interesting ideas.  The ballad "Hope Springs Eternal" isn't the worst, though it does overstay it's welcome a bit, things get understandably dark with "Rise of Evil," and the closer "Time Immemorial" has a bit of an odd style, chugging under the verse, but dropping to a somber tone for the chorus.

Perhaps a bit of a mixed bag, but honestly it's pretty solid all the way through.  None of the songs feel particularly terrible (even the ballad), and their fans have plenty of more anthems to shout to.  I'm not immediately sure how it compares to their other recent albums; I'll probably have to listen to this one a few times to really decide.  However, I'd say they met my expectations pretty well, making another solid chunk of heavy/power metal.

Rhapsody of Fire - Challenge the Wind

The Nephilim's Empire Saga continues as Kreel learns more about his origin and faces a new rival known as the Black Wizard!  Rhapsody of Fire carries on with their majestic style of symphonic power metal, for better or worse.

To be honest, I really struggle to review this band.  I know I have a few times before, but it honestly ends up being a lot of the same: great orchestrations, bombastic style, noodly guitar solos, fantasy lyrics.  And it's still good, but I really struggle to feel invested in what they're doing.  For what it's worth, they do have a bit of a change-up, adding in some raspy black metal vocals, which I think are done by singer Giacomo Voli (there are no other vocal credits, so I think he's doing both).  Still, it only feels like another layer within the bombast.  Even their storytelling feels lackluster, often taking too long to get to where they're going.  They even have a 16-minute song in the middle called "Vanquished by Shadows," that could have been cut in half, as it has a lot of repeating sections.  And then they repeat them again for "Mastered by the Dark."  It's like they just cut out a section of the long song, made it a new track, and called it a day.  

That's not to say I hate what's going on.  There are some good moments.  I liked "Kreel's Magic Staff," and "A Brave New Hope," even if they did have some jarring time-signature shifts, and "Diamond Claws" brought back some folky elements.  Otherwise, I feel like the album just kinds goes in one ear and out the other.  I know Rhapsody of Fire are a pillar in the world of power metal, but I just can't seem to click with them, and their latest album is no different.

New Horizon - Conquerors

After loving their debut album so much that it was my #1 album two years ago, I was very excited to hear what these guys from H.E.A.T. have to offer for their sophomore effort.  I enjoyed their blend of Gamma Ray style power metal and AOR, but they've definitely picked up more symphonic elements, wandering towards the likes of Dragonland, and Twilight Force.

Another major shift is with the lyrics, pulling a page from Saxon's old worn playbook by focusing on a bunch of historical topics for this album instead of typical topics fantasy and triumph (squeezing in Iron Maiden's "Alexander the Great" for good measure).  As a result, the songs feel like history lessons based on quickly reading the associated Wikipedia pages, which has mixed results.  Still, all the shiny production and tight performances are back, and Nils Molin sings his guts out, sounding great.  There are more synths this time around, but they're just another layer among all the orchestrations going on here.  It's solid stuff, but compared to the first album, it does come across as an awkward turn.

I don't necessarily want to be down on a band who wants to expand to new horizons (pun intended), but this album was not an immediate hit like their first one was.  I liked the great opener "Against All Odds," the Kamelot vibes on "Messenger of the Stars," the heavy AOR crunch on "Edge of Insanity," and there's plenty of story-telling here, but I think I need to listen to this one a few more times to really decide how I feel about it.

Anniversary Series - 1998!

So I thought about doing a regular Anniversary Article for this year, but I noticed that most of what I'd end up covering was just power metal.  Now, sure, there were other things going on, but between HammerFall, Edguy, Stratovarius, Kamelot, Nightwish, Helloween, and Symphony X, the genre would have definitely dominated the article.

And yet, as I was looking around, I discovered there were three more power metal albums that were kinda important that I hadn't listened to before.  So yeah, we're doing epic fantasy metal anyway!  I figured instead of talking about how much I love Legacy of Kings or Oceanborn for several paragraphs, having some reviews would be the better choice.  Turns out 1998 was just simply an incredible year for power metal!

Rhapsody (of Fire) - Symphony of Enchanted Lands

While I have reviewed some of this iconic band's more recent albums, I haven't talked much about their discography as I haven't listened to much of it.  I did listen their first album before I started this blog, but I found it to be just okay.  However, this article gives me a chance to follow up with their second album, and I think it's quite the improvement.

As usual, the band has a story tell: a chosen hero of the northern lands is on a quest to find the legendary Emerald Sword from a gothic tower so that he can defeat the evil armies of the black lord that are threatening the Enchanted Lands.  Oh, and he rides a dragon through most of it.  So at least the cover art is on point.  Musically, it's another exercise in symphonic power metal bombast, with layers of orchestrations boosting the guitars, bass, drums, and vocals to another level of melodrama.  While these orchestrations are clearly synthesizers, they don't sound to bad, making me think of a 90s PlayStation RPG, and they work to give the album the fantasy charm they need.  The one thing that did stand out was all the classical music stylings, invoking the likes of Mozart and Bach for some sections, while others featured more medieval folk music elements.  The tone and tempo can also change at the drop of a hat, sometimes, making for a chaotic listen.  Nevertheless, the power metal was still there, with plenty of double-kicking bass drums and shredding solos.

For what it's worth, I wasn't bored with it, even if it's pretty much the same sound that the band has been doing for decades now.  While none of the individual songs stuck with me, it mostly holds together as it tells this chapter of the Emerald Sword Saga, flowing from section to section pretty well.  It's easy to hear how this influenced later bands like Dragonland and Twilight Force, with its melodramatic and operatic pretentions.  I don't know if the band will ever be one of my favorites of the genre, I can certainly appreciate the effort they make, with their complex arrangements and dedication to telling their stories.

Angra - Fireworks

Given that I've listened to their first two albums now, their third lined up quite well to be reviewed for this article.  And since I enjoyed those so much, I was looking forward to the last of the Andre Matos era of the band.  Unfortunately, I don't think this one is as strong as the others.

For what it's worth, there certainly are some interesting ideas, as they blend their power and prog influences into something more cohesive across the album, combining the high speed riffing with some mixed meter sections.  However, this ends up making the songs feel kind of sloppy and disorganized.  The production was a bit iffy as well, as it would get a bit muddy from time to time, and the drums lacked the impact of the earlier albums.  I liked moments here and there, but there really wasn't a song that felt strong all the way through.  I'm even a tad disappointed that "Mystery Machine" had nothing to do with Scooby-Doo.

With Bittencourt and Loureiro, there's plenty of solid riffing and shredding the album, and Matos sounds solid, though maybe a touch less inspired as before.  The songs are certainly dynamic, often shifting tempos mid-track, and showing both their high speed technical work as well as their melodratic side with more ballad-like segments.  "Wings of Reality" is a decent opener, showing their diversity of ideas, and "Speed" is a solid uptempo closer.  However, as a whole, I feel rather lukewarm about the album.  Maybe I just got my hopes up too high after enjoying the first two.

Blind Guardian - Nightfall in Middle-Earth

After having enjoyed their recent album, even getting into my Top 5 for last year, it was time to get back to the grind through their discography, and once again, this article gave me a good chance.  This album is probably the best known and most highly acclaimed from the band by fans, and I can see why, as there is a maturity here that wasn't on the previous albums.  While I don't know if I'll call it a power metal masterpiece (as my favorites still loom large), they definitely pushed themselves to new places with this one, going for big concept and giving it their all.

While this band has certainly covered fantasy literature before, this one is a full-on concept album based on the stories of the First Age of Middle-Earth as told in the Silmarillion (yes, I have read the book, so I knew what these songs were talking about).  It's not a comprehensive retelling, as there are so many stories there, but it covers a lot of the bigger moments, starting with a flash-forward to Morgoth's imminent defeat before going back over what led up to this moment.  Chronologically, it jumps around a bit, but thematically, it focuses on the themes and emotions of the stories rather than the plot or details.  The result is a lot of songs about revenge and tragedy, with the occasional bittersweet triumph, and the music follows it all perfectly.

Once again, the band have outdone themselves musically, drifting from epic orchestral bombast to somber ballad to aggressive metal riffing to folk melodies.  Oh, and a heavy dash of Queen, of all things.  The lyrics are often layered like "Bohemian Rhapsody," and the guitars throw in a handful of Brian May-isms here and there.  André Olbrich guitar solos are also a stand-out, often shreddy, but never losing the melodies and hooks, and occasionally throwing in a folky lilt.  And Hansi Kürsch lays it all out, going from somber to epic to triumphant to tortured all through the album, matching the emotions of the stories they're telling.  "The Eldar" in particular stands out as an example of his range, as at first it's just a soft piano ballad before he explodes with energy and emotion at the end.  If there are any hiccups, I'd say it's with the songwriting.  While some of it is great, there are times where they suddenly shake things up with some odd transitions and mixed meter segments, making some of the songs a little too chaotic for their own good.  The little interludes also feel a little excessive, but I don't think they interrupt the flow the album much.

I won't deny that, as a big nerd, I have been kind of looking forward to hearing this album, as how often have there been epic concept albums based on the works of Tolkien, let alone the Silmarillion?  I definitely enjoyed this romp through Beleriand, with "Into the Storm," "Mirror Mirror," "Time Stands Still," and "When Sorrow Sang," as the stand out tracks for me.  Overall, it's a solid album, and probably their best that I've heard so far, but I've still got another five albums to check out.  There's still just so much to look forward to!

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So there you have 1998.  I'm sure there were other good or important albums that came out this year, but as a massive power metal fan, I couldn't help myself, I guess.  As always, there's a playlist below, as well as a comment section if you feel like I've missed something from the year.  Until then, rock on! \m/

Last Played - July 2023!

After having a very busy June, I've finally got some time to catch up on some newer releases from earlier in the year and an older album that I admit is mostly just marking off an item on a checklist.  Still, it wasn't all bad, and the newer albums had some decent moments as well.  Here's what I've been listening to lately.

Big City - Sunwind Sails

This band blew me away a few years back with their curious blend of pop and prog metal, and when they announced their fourth album, I knew I had to give it a listen.  The first single showed that they have retained their particular style, and the rest of them album provides more of the same, but it struggles to really grab me.

The album has a lot of things going for it.  The production is big and anthemic, everyone's performances are solid, and they certainly don't rely on clichés for their ideas or lyrics, often dipping into science fiction elements.  The guitars provide a lot of noodly solos and crunchy riffs (Daniel Olaisen and Frank Ørland back again), and Jørgen Bergersen voice is huge and natural, their 80s rocking style ringing out with confidence.  The songwriting isn't afraid to mix it up at times either, throwing in a darker riff or a softer section, letting some songs drift in the five or six minute territory.  However, I can't deny that there seems to be something missing.  Maybe the melodic hooks aren't really working, making the songs less memorable, as they tend to pass delightfully in one ear and out the other.

I'm wondering if this is an album I'm gonna have to spend some time with in order to get a better idea of what these guys were going.  There certainly seems to be a push to make things more cinematic, taking their pop metal sound and boosting to a bigger scale, but I don't know if it's really making the music better.  I did like "I'm Somebody" as a solid opener, and "After the Raid" felt like it was inspired by Gamma Ray, but overall, initial impressions leave me lukewarm.  

Iron Maiden - Virtual XI

Yup, it's finally time to talk about the other Blaze Bayley album.  I was pretty underwhelmed by the first one, but from what I had heard, this one is just as bad, if not worse.  As it turns out, I think Virtual XI is actually an improvement, if only a minor one, as many of the problems from The X Factor return.

Primarily, the muddy production comes back, as well as the extended song lengths.  Honestly, many of these tracks feel long just for the sake of long, often repeating choruses over and over, as if they felt the need to pad them out for some reason.  "The Angel and the Gambler" is the biggest offender, as that song had maybe enough ideas for 4 minutes, but it goes on for 10!  The songwriting does have a few shake-ups, but most of the songs follow the same "Fear of the Dark" formula that the last album did.  

While I do think the band feel a little more energized, they still sound like they lack a lot of inspiration.  There are some solid guitar melodies and solos, the dynamics shift in ways that are pretty typical (though they are boosted by some synthesizers adding a few layers), and Blaze sounds decent, but it's hard to shake this sense that they're still in cruise control.  "Futureal" and "The Clansman" are probably the only songs that stand out, as the first has good energy, and the second does build to a decent level of epicness.  Overall, it's not awful, and not as sluggish as The X Factor was, but it's easy to see why most Maiden fans consider both of the Bayley albums to be so skippable.

Silver Bullet - Shadowfall

After stumbling into the band with a neat little power metal song about the Soul Reaver games, I decided to check out what else this band had to offer for 2023.  What I got was a set of songs that shift back and forth between AOR and heavy/power, like a mix of modern HammerFall and Eclipse, but with more symphonic keyboards.  

Maybe it was just the mood I was in, but the more metal songs stood out to me more.  "Shadow of the Curse" is a solid opener, really using the keyboards to add lush layers.  "Soul Reaver" was fun to hear again, and "Nighthunter" had a bit of a traditional metal vibe (at least until the choirs came in).  "The Ones to Fall" and "Creatures of the Night" were more on the AOR side, and "Falling Dawn" was a mix of both styles.  "Dusk of Dawn" gets doomy and dramatic with a slower riff and the massive orchestrations, only to get broken up with an uptempo section for the second half of the song, and "The Thirteen Nails" goes full-on symphonic metal.

Overall, it's a decent album, with a solid sense for dynamics and orchestrations, but otherwise it's pretty standard power metal.  It's also a little on the short side, at 45 minutes, but I think they were able to cover a good range of ideas in that time.  It's not particularly original (as most power metal fans will feel pretty comfortable with what Silver Bullet provides), but it's executed well.  While I had never heard of the band before, I'm curious to check out their older albums to see what they're like, if I can find the time.

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I don't know if I have much to say at the moment, other than that I'm trucking along.  My next article, which will be for 1998, is going to be a doozy, so I need to get started on that sooner rather than later (you'll see!).  I've been seeing some pretty high temperatures around, so I hope everyone is staying cool this summer.  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/

Last Played - March 2023!

It's taken me a bit of time to get back up to speed, but I think I'm finally ready for another year of rock and metal.  As always, I plan on checking out both new and classic releases, and this article is no different.  This time I'm starting off with some bombastic metal before mellowing out towards the end with some comfy blues rock.  I always try to get some good variety when I write up these Last Played articles.

Twilight Force - At the Heart of Wintervale

I remember when Twilight Force showed up around 10(!) years ago as being a big new power metal band.  However, their debut album left me underwhelmed, and so I set them aside for a while.  After starting this blog, though, I've started to enjoy some of their singles.  Between the high-speed fretwork of DragonForce and the symphonic bombast of Rhapsody of Fire, Twilight Force seems to have found their own little niche in the power metal spectrum.

The epicness is at high levels right from the start, as things kick off with some high-speed power metal, and outside of some interludes, they don't really let up.  Anyone looking for intense melodies, noodly guitar solos, massive orchestrations, high-speed rhythms, and epic vocals backed by choirs will find plenty for their needs and more.  Still, Twilight Force isn't just a knock-off of other bands, as they do have a distinct sound.  Not to get too nitty-gritty about it, but if Rhapsody of Fire leans more into classical opera, then Twilight Force feels more like a Disney musical, and to be honest, I think I prefer it.  Half the time, I was wondering when Michael Bolton was going to sing about "going the distance," and I mean that as a compliment!  (One of Disney's more underrated songs, in my opinion.)

Still, this is some pretty cheesy stuff, with each song telling a kind of mini-epic.  Those not on board with fantasy tropes from numerous video games and tabletop RPGs will probably find little to like.  However, that's very much my wheelhouse, even if it does get a little difficult to take seriously.  The longer tracks are a little too bloated, but I liked the high-energy stuff in the songs "Twilight Force," the title track, and "Sunlight Knight" (Latin jazz section, notwithstanding).  I know it's still early in the year, but this is a strong start for the power metal genre.  It will be interesting how well anyone else will do compared to this.

Kamelot - Haven

I know folks are probably talking about the new Kamelot album, but I wanted to get caught up on their last two albums before I took on their latest, so here we are.  As far as I'm able to tell, this one doesn't have a concept behind it (though I could be wrong), and given how much it leans into the symphonic metal style, it's very similar to Ghost Opera, for better or worse.

Once again, we have plenty of lush orchestrations matched with some solid riffing and Tommy Karevik's dramatic vocals.  In fact, he sounds quite a bit like Roy Khan on this album, making sure that the lyrics have the necessary theatrical heft.  Oliver Palotai gets in a few keyboard solos along side Thomas Youngblood's iconic guitar work, giving them a bit of a Stratovarius feel.  However, I do feel like the band has streamlined their songwriting this time, as there really aren't any of the proggy touches that have defined some of their work.  Like Ghost Opera, it's focusing on a much more straight-forward symphonic metal style, with standard structures and ideas, resulting in an album that feels a little more by the numbers.

That's not to say the album is bad or boring.  "Fallen Star" and "Insomnia" do a great job of establishing the tone and atmosphere of the album, while "My Therapy," "Beautiful Apocalypse," and "Revolution" bring some heavier riffs, and "Under Grey Skies" is a nice ballad featuring Charlotte Wessels, who was with Delain at the time.  I also liked "Veil of Elysium" and "Liar Liar" for bringing back some of the classic uptempo Kamelot energy.  However, I do wonder if perhaps I'm clinging too much to the hope that they will go back to power metal, and so I'm left feeling that this album is solid dramatic stuff, but not really blowing my mind the way the Khan albums did.

Arctic Rain - Unity

Arctic Rain was a highlight for me when I listened to their debut a few years ago, taking the AOR sound further than most other artists in the style do.  So when I saw they were working on a follow up at the beginning of this year, I put it quite high on my to-listen list.  Once again, it's more 80s-styled hard rock, with big riffs and synths designed to fill arenas, or at least your headphones.

However, I do think there is a stronger emphasis on the guitars this time, as they have some pretty metal licks here and there.  While there is certainly plenty of Night Ranger and Europe vibes on these songs (the ballads are especially cheesy), on some of the uptempo songs, Magnus Berglund clearly put in some grittier, crunchier work this time around.  Not rest of the band is slouching here, by any means: I do think they've all pushed themselves just a little more this time.

Of course, this is just picking at the details.  Compared to the field, this is still very much the same, high quality hard rock that the first album provided.  The opener "One World" is a pretty solid start, and songs like "Fire in My Eyes" and "Peace of Mind" have some really good energy.  "Kings of the Radio" is a pretty fun one as well, as it has tons of references to classic rock songs and bands, showing respect to their influences.  Overall, it's another excellent set of melodic rock, and here's hoping they carry on like the heroes that inspired them.

David Gilmour - David Gilmour

Despite being a massive Pink Floyd fan, I haven't really listened to much of the individual members' solo albums.  Sometime after the release of Animals, David felt like he wanted to do something on his own, and the result is his first solo album.  Understandably, it sounds like a 70s version of A Momentary Lapse of Reason and The Division Bell.  While he does get some help with drums and bass, and brings in the classic female singers on a few songs, it's very much Gilmour's show, and that's perfectly fine by me, as I've always loved his guitar playing.

To say that it sounds like Pink Floyd might feel redundant, but there is a difference here that can only be described as a more content tone.  Gone is the tension and anxiety of Animals and The Wall, in favor of something that's more chilled and laidback, with maybe a dash of aloofness.  However, that describes Gilmour to a T, if I'm being honest.  So perhaps there aren't any surprises, but what isn't there does help elevate this album as feeling more than just some Pink Floyd b-sides.  It just kinda grooves along pretty easily.  The synthesizer-heavy "Deafinitely" is probably the closest to classic Pink Floyd the album gets.

Of course, Gilmour is on point with is playing.  There are plenty of blues riffs and licks all over, and his solos are as iconic and beautiful as ever.  The album definitely leans into the blues as a whole, as there are bits of harmonica and jazzy organ in there, creating a great mood across the album.  I liked the instrumentals "Mihalis" and "Raise My Rent," and "Short and Sweet" was a nice, reverb-heavy jam.  While I have listened to On An Island, I found that to be a little too chill, and comparing it to Gilmour's debut, I like the debut more, as it still has a stronger blues-rock backbone to it.  While it may not be as grandiose as the material he would be best known for, it's still a very solid album that I enjoyed all the way through.

Last Played - December 2022 Part One!

So it looks like this December is going to be very similar to last year, where I blitzed through a bunch of albums in order to catch up on what had been released.  I was kind of hoping to avoid doing that again, but I guess my attention was elsewhere for much of this year, I'm afraid.  Nevertheless, I am glad to keep finding interesting rock and metal albums, and this time, I have a handful that I've been looking forward to all year.  Let's get into it!

Iron Allies - Blood In Blood Out

As if having his own solo project and Victory weren't enough, Herman Frank teamed up with former Accept singer David Reece for this traditional metal project.  Even though these two were never in that classic band at the same time, this project sounds like stereotypical German traditional metal, featuring plenty Frank's iconic guitar work.

So we know what it sounds like going in: big and gritty riffs, wailing vocals, an occasional shift between fast double-kick fests and slower, stompier songs, all buoyed by anthemic pomp.  David Reece brings over his rhythm section, and they're as tight as they need to be for this stuff.  Not having heard anything from David Reece himself before, he fits in well, as his voice carries each melody with confidence and power.  However, I do feel like this album feels quite a bit like Herman Frank's albums.  He definitely leaves his stamp on things with his riffing and solos, which are all quite solid.

It's easy to say "It's more of the same, therefore it's good," but I do think this sounds fresher than either of Herman Frank's efforts from last year.  The title track, "Destroyers of the Night," and "Nightmares in my Mind" are great, mid-tempo anthems, while "Fear No Evil," "Blood of the Land," and "Truth Never Mattered" turn up the speed for some fierce, old-school shredding.  Overall, the songs are consistent in quality all the way through, and fans of classic 80s metal will find plenty to love here.

Disturbed - Divisive

Disturbed is probably the most extreme band I'm willing to cover around here, as I feel like they still have some great melodies among their groove-centric alternative metal style.  While I felt the last album was a little lackluster, this is very much a return to form, as observing the world over the past few years has inspired some pretty angry material.

Of course, these songs are very much in the same vein that they established with Ten Thousand Fists, with plenty of heavy, crushing riffs, David Draiman's off-beat vocal melodies, and anthemic choruses.  However, there is a strong theme of contention and how it makes things worse, as if the cover didn't make that obvious.  Their Believe logo being broken apart on the cover this album seems rather poignant.  Otherwise, it's a lot of the same material they've covered before.  They even do another somber ballad, this time a duet with Ann Wilson of Heart fame, and it's actually pretty decent.

Long time Disturbed fans will be happy with a return to the aggression after the ballad-heavy Evolution, but otherwise, it's a business as usual for the band.  I find this style happens to scratch a particular hard rock itch for me, so I like it well enough.  I don't expect them to be writing masterpieces, so I suppose my expectations were met.  Still, it's good to see that the band still has some power left in them to put out another set of crushing melodic metal.

Dragonland - The Power of the Nightstar

As I have reviewed every single Dragonland album on my blog, it has been interesting to watch them evolve and improve over their discography.  However, after being quiet for so long, I assumed they had broken up, so I was quite surprised to discover they were working on a new album, and the singles were definitely sounded promising.  Now that I'm finally sitting down with the album, I've found that Dragonland hasn't changed at all, continuing their tradition of bombastic, story-driven symphonic power metal.

As expected, the story covers the entire album, though they've gone for a science fiction tale, this time (if the cover didn't make that obvious).  Of course, they've done sci-fi before, most notably on the album Astronomy, but this is their first, full-length concept album in that narrative genre.  Their story starts with a civilization heading for the stars for a new world in an effort to leave behind a destructive past.  However, upon arriving at the Nightstar and igniting it, they summon an enemy fleet eager to wipe them all out.  Under-powered, the protagonist fleet resort to bringing out an ancient destructive technology they had hoped to leave behind them, but find they have to use it, despite the cost it brings.  Lyrically, things haven't really changed much, swapping out the swords and knights for blasters and starships.  Much of what they've done before is brought back here: soaring vocals and power metal riffing and solos, augmented by excellent orchestral arrangements.  Seriously, this album is very lush and rich in how it's weaved together.  The biggest difference I felt was the increase of more spacy synthesizers, not only providing extra ambient layers, but getting in on the noodly solos as well.  However, they don't sound out of place at all with the sci-fi concept they're going with.  I also noticed that many of the guitar solos weren't as shred-heavy as before, often focusing on more melodic phrasing.  

While their story-driven style may not click with everyone, and I admit I sometimes struggle with it myself, they remain a unique band in the genre with their songwriting and orchestral flourishes.  Some of the more narratively-driven songs aren't as catchy, but they don't feel like a waste either, as each song progresses the story, so it is definitely worth listening through from beginning to end.  It goes through a lot of dramatic dynamics, from the hopeful "A Light in the Dark" to the ominous "A Threat from Beyond the Shadows," and the doomy "Journey's End."  However the singles "Flight from Destruction" and "The Power of the Nightstar" are definitely the standouts, as individual songs go.  It's kind of comforting to know that, despite an 11 year gap, Dragonland hasn't missed a beat, carrying on as if they had never left.

SheWolf - SheWolf

Revolving around the voice of Angel Wolf-Black, SheWolf is a new female-fronted symphonic metal project, as if there weren't enough of those.  While I could make easily comparisons to the likes of Nightwish or Xandria, I do think this outfit does set itself apart by having a different set of tones than the typical stuff one gets from the genre, focusing instead on a stronger sense of lightness and freedom.

Right off, the orchestrations are incredible.  Not only are they lush and layered, but they do more than just provide atmosphere.  Quite often, they have the melodies that carry the song forward, and Angel's voice seem like a part of the orchestra, instead of standing in front of it, which helps the songs feel more unified to their benefit.  There were even times when I would get a little frustrated with the distorted guitars getting in the way of things.  It's not like they're bad, but they are very standard, with some solid low chugging, and some noodly solos, but it's honestly nothing symphonic metal fans haven't heard before.  However, Angel's voice fits the material well, shifting between long, dramatic notes and spritely moments with ease.  If you're looking for another great female vocalist, she certainly has her own touch things.

Obviously, there is an emphasis on wolves with songs like "Welcome to the Pack," "Lone Wolf," and "Moonbound," but there are also topics of nature, independence, and love in the lyrics.  While the sound does have some gothic elements, the band is less interested in darkness or epicness and more on romance and a rustic sense of folklore, with the occasional flute melody that brings some folkiness to it.  There are even times where it's rather quite uplifting, with "Home" and "Thrill of the Chase" being examples, and some of the songs even have a bouncy feel, like modern pop music.  However, given how rich the production is, and the cheerful nature of some of the songs, I could see this one growing on me.

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Well, that's the first of many articles for this month.  However, I really shouldn't complain.  Taking the time to listen to all these albums is still quite fun and enjoyable, and I know I'm anticipating more than a few of the albums I have lined up ahead.  That being said, I think I'll spring my Christmas surprise for my next article, which has also been an interesting journey to complete.  Until then, rock on! \m/