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/

Anniversary Series - 2002!

It turns out that the heat of August isn't any less intense than it was in July, but I'm surviving.  At least I can pull together another Anniversary Series article, this time for 2002.  Just like 1997, though, it's mostly going to be power metal, so let's get into it!

First off, we get the epic conclusion of Tobais Sammet's Avantasia storyline with The Metal Opera Part Two!  Starting with a massive 14 minute track to recap the story so far, it's certainly starts as it means to go on!  Other metal epics from the year include the second album by Dragonland, continuing their own fantasy story with a Holy War, which I reviewed a few years ago, and the next serving of Nightwish with Century Child.  Featuring incredible tracks like "End of All Hope," "Dead to the World," and "Ocean Soul," the band really expanded the power and scope of symphonic metal.

HammerFall also released an incredible album with Crimson Thunder, which gave us great songs like  the title track, "Hearts on Fire," "Hero's Return," and "The Unforgiving Blade."  Even the covers of "Angel of Mercy" and "Rising Force" are incredible!  Along with HammerFall was Dream Evil's debut album Dragonslayer, providing excellent power metal tracks like "Chasing the Dragon,"  "The Prophecy," and "The 7th Day."  Thunderstone would also debut this year with their self-titled album, which has some solid material like "Let the Demons Free" and "Me, My Enemy."

However, it's not all power metal.  Post-grunge would have a few solid albums as well.  Canadians Our Lady Peace would find international success with Gravity, powered by their big hit "Somewhere Out There," but the rest of the album is quite good as well.  3 Doors Down would follow up their massive debut with Away from the Sun.  It's probably not as good as their first album, but it does have some solid stuff such as the title track, "When I'm Gone," and "Going Down in Flames."

I know there are plenty of other great songs and albums I'm missing, so be sure to share them in the comments.  I know I could have found more, but this month kinda caught me by surprise.  However, I do plan on getting to a Last Played article between now and the end of the month.  Until then, check out the playlist below and rock on! \m/

New Videos - July 2022!

I'm not sure what's hotter: the ridiculous temperatures we've been feeling this summer or these new releases!  Okay, that was a silly opening line, but this is a very good list of videos here for July.  Lots of symphonic and power metal this time, and even a few fusions of both.  Turn this stuff up, because it's more epic that way!

Let's start with how the last New Videos article ended: with some new Hammer King!  As expected, it doesn't rewrite the book in any way, but maintains a solid anthemic style, with a catchy chorus, and some nice riffing.  Definitely looking forward to more when the album comes out next month!

This was a bolt out of the blue!  While the first Allen/Olzon album was a lot of fun, one can never tell if these kind of projects will continue or just be a one off, so I'm happy to see these two coming together for another slab of sentimental symphonic metal!  This one has some pretty aggressive riffing to start, but it serves to balance out the orchestral flourishes quite well.

More symphonic metal!  However, these Swiss musicians are certainly more of a prog metal band than anything else.  While it features the expected musicality and shifts in tone, the big thing that stands out to me is Jasmin Baggenstos' alto vocals, which don't often come up in female-fronted bands, but she sounds great!

The second single for Dragonland's new album serves another great course of symphonic power metal!  The high-speed shredding and keyboard solos remain a staple for this band, and I'm here for it.  Here's hoping the rest of the album is this good!

Another second single, this time from SheWolf.  While the first one was more power metal, this one feels more like symphonic metal.  However, it's still pretty epic and uplifting, and her voice really matches the material, making for a solid piece of melodic metal.

Still catching up with yet another second single, Fallen Sanctuary is some pretty classic power metal, which is my favorite kind!  This song makes me think of Freedom Call, actually, with its freeflowing, cheerful vibe.  Very catchy and fun!

New Videos - June 2022!

The end of the month means it's time to catch up on some new videos!  Plenty of power metal with this one, but I got a few rock tracks in there for good measure.  I'm getting pretty excited for a lot of these albums showing up later this year.  Turn these up!

Let's start with something fast and crunchy!  Between this and "Violent Shadows," Blind Guardian have definitely been getting back to their older, speed metal days, but I'm here for it.  This is some epic shredding and once again Kürsch's vocals bring the heft to bring the song alive.

To be honest, I kind of expected The Secret to be Alan Parsons's last album, based on some of the themes there, but I guess he's got more ideas to share.  Tapping into Tommy Shaw is an interesting choice, though it's still a solid performance.  A bit of a hard rock vibe, though, making it a curious listen that might be a sign of whatever the legendary engineer has in mind for the future.

Birth is definitely tapping into that classic psychedelic rock style, providing this 9 minute single that sort of meanders about, but in a good way.  It largely made me think of Pink Floyd's more laidback, folkier songs, like on Obscured By Clouds.  A solid jam, with good atmosphere.

Dragonland are back after ten years!  Instead of continuing their fantasy story, they're doing a sci-fi concept album, but they retain much of their symphonic power metal style, specifically the stuff they did on their album Contact, which had some sci-fi stuff on it as well.  It's like they haven't missed a beat!

Wow!  I had no idea HammerKing would be coming back so quickly!  I guess they had a bunch more HammerFall-flavored power metal to share.  Not that I'm complaining!  Their last album easily made to Top 5 for last year, and if it's going to be more of the same, I'm very much on board!

I saw this group pop up earlier in the year, but I thought they would be more folky or black metal, so when I discovered that they were symphonic power metal, I did a bit of a double take.  I'm not quite sure if I have a solid feel for the band from this song alone, as it veers between Rhapsody of Fire orchestral bombast and Iron Maiden-style hooks, but I can tell this has some interesting potential.

Last Played - June 2022!

Sorry for the lack of content.  Been busy with other things lately, so I haven't been as focused on listening to new stuff.  However, I did squeeze in these three, which are a solid trio of albums.  Here's what I've been checking out lately!

Hardline - Double Eclipse

While I've enjoyed a few of Hardline's more recent songs, I've heard that their debut album is a classic hard rock gem that came out at a time when that style was getting pushed to the curb.  Featuring Neal Schon of Journey (while they were on hiatus), and Dean Castronovo, who would later join Journey and be on plenty of modern AOR bands, this certainly has the credentials, and songs are exactly what I expected.

Right off, the first thing I noticed was the massive production.  This is stadium-ready rock right out of the gate.  The guitars are massive and crunchy, and Johnny Gioeli's vocals soar over everything with gusto.  The songs seem to drift back and forth between Whitesnake-style pop metal and the AOR style the band would become better known for these days.  It also finds a decent balance between hard rockers and epic ballads.  The lyrics are a little cheesy, but it fits right in with contemporaries like Steelheart and Slaughter.

However, Hardline got dropped by their label after this and wouldn't come back together for ten years with nearly a new lineup, but I know the 90s were pretty hard on bands like this.  It's also interesting to hear Neal Schon do something heavier than what I'm used to hearing from him.  The songs that stood out to me the most were "Rhythm from a Red Car," "Everything," and the Japanese exclusive track "Love Leads the Way," which is probably my favorite.  With big, rocking tracks like these, I can see why this album would have been a gem for those trying to find melodic rock in the grunge era.

Cristiano Filippini's Flames of Heaven - The Force Within

Back in November of 2020, I checked out two songs from this group and thought they were some decent symphonic power metal.  The name stuck with me, though, and this month I thought I'd finally go back and give their entire album a chance.  Feeling like a sonic mix of Rhapsody of Fire, Beast in Black, and Sonata Arctica, the album starts with a lot of energy, but seems to lose a lot of that drive towards the end.

The production really stands out here, going for this lush, layered, wall-of-sound style that really goes as epic as it can, making it easily comparable to Rhapsody of Fire.  Songs like "We Fight for Eternity" and "Far Away" are solid examples of the symphonic side of the band.  The lyrics are also reminiscent of their fellow Italians, as it's full of fantasy themes and personal stakes.  However, in the midst of all the orchestrations, there seems to be an emphasis on 80s synths, a la Beast in Black, including some solos!  Tracks "Against the Hellfire," "Dying for Love," and "Moonlight Phantom" are good examples of this sound.  Finally, vocalist Marco Pastorino seems to be an Italian Tony Kakko, giving these cheesy lyrics a strong sense of authority with his performative style.  The album's ballads "Always With You," "Finding Yourself," and "Missing You" show some strong Sonata Arctica influences as well.  And where is the titular Cristiano Filippini?  While I think most of his work is in the orchestrations, there are some nice melodic guitar solos throughout the album.  I get the impression that he probably a quite capable shredder, but instead he goes for more of an emotional, melodic approach most of the time, which I thought fit the songs quite well.

Describing all of this may seem like the album is rather all over the place, and it certainly has a lot of dynamics over its runtime.  However, the production keeps things pretty consistent in tone, so nothing felt out of place.  My favorite track has to be "Lightning in the Night," because I feel like it's the one that blends the different styles together for a great power metal epic.  Unfortunately, it's sandwiched by a pair of ballads, and the rest of the album doesn't have quite that same energy towards the end.  Still, I think this was a pretty solid listen, overall, and I would certainly want to check out any more from this project, if they decide to make a follow up to this.

Seven Planets - Seven Planets

After enjoying their debut album last year, I thought I'd take some time and listen to the second album Seven Planets had to offer.  Once again, we're back into that classic instrumental jazzy blues-rock, where there is plenty of licks and drum fills.  However, this album certainly sees an increase in the psychedelic side of things.

Probably the biggest difference is the amount of effects on the guitars to really let them drift in and out of the song.  While the fun licks are still here, the guitars are much more atmospheric than before.  Nowhere is that more prevalent than on the 10 minute epic "Objects in Space."  This one really takes the listener on a journey, with some nice builds and breakdowns that flow well.  In fact, flow is probably the highlight of the entire album, as the songs just kinda drift through the mind with ease.

Not to say that the album is forgettable by any means; there are plenty of solid riffs and melodies to be found here.  Stand out tracks for me were the epic "Objects in Space," "Lamont Starfield" with it's harder rock riffing, and "9th Time," which starts kinda mellow, but builds up pretty well, ending with a lot of good energy.  The whole album is just so jammy, though, that it feels like it washes over the mind, like a soothing bath.  I do think this is an improvement over the first album, though, as the guitar effects help to establish a solid, spacey atmosphere that I enjoyed quite a bit.

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I think, for the forseeable future, I'm going to shift my schedule slightly.  My goal now is to try and do three articles a month: a Last Played, an Anniversary Series, and a New Videos.  I don't mean to make excuses, but right now, I've got some other concerns that are taking priority.  Still, I don't plan to quit by any means; I still have plenty of things I'm looking forward to talking about!  So things might slow down a bit, but I'm still marching forward.  Next will be the Anniversary Series article for 1992, so look forward to that!  Until then, rock ! \m/

New Videos - April 2022!

I've finally started getting caught up on some of these new songs and videos.  There's been some pretty interesting stuff from bands both old and new.  Turn up the volume and check these out!

Starting off with some pretty solid symphonic metal.  While it's not earth-shaking by any means, it's well-played and well-balanced, finding the line between bombastic and catchy.  This is a new band, too, so I'll have to keep an eye out for more from them.

So I guess Jani is doing a solo album this time, with a bunch of singers (including his former Sonata Arctica bandmate Tony Kakko).  However, this single is with Timo Kotipelto, the singer from Stratovarius and Jani's own Cain's Offering, so this track is right up my alley, as I love both those bands.  Nice, bombastic symphonic power metal.

I admit I haven't kept up at all with Def Leppard's recent releases, but after checking this single, I'm kind of impressed!  I don't know if the rest of their new album sounds like this, but this has a rather dark swagger to it without really getting away from the arena-friendly rock sound the band is known for.  

Another classic 80s band whose modern material I've completely overlooked.  I knew they were working on the album, and I've heard a few singles, but this one really stands out.  Obviously, it reminds of "The Zoo," with its stompy, mid-tempo groove, but it has more of a spacy vibe that gives it a different feel.  Not bad for some old rockers!

Speaking of classic bands, here's a prog rock band from Sweden that's been around since the 70s, but I had never heard of them before.  This new track certainly has a lot of the trademarks of third-wave prog: laidback vibe with plenty of jazz-fusion groove.  I guess they have singers, but this one is instrumental.  Not a bad bit of noodling, really.

Despite all these older bands, there's always new ones to check out as well.  Fallen Sanctuary seems to be going for a classic power metal sound, making me think of early Sonata Arctica.  High speed riffing and soaring vocals are always an easy pick for me, but these guys seem to have some promise, I think.

Let's finish with one more piece of power metal from another new band.  This one is interesting, as it has some very symphonic flourishes, but the songwriting feels more like Helloween or Gamma Ray.  Still, it's some pretty epic, melodic stuff, with a great gruff singer in Ilkka Koski. 

Last Played - December 2021 Part Three!

Merry Christmas!  Here's a handful of reviews for your present!  Seriously, though, this month has been a ride, catching up with all these albums.  Here we've got a good mix of pop, power, and heavy metal, along with Vega's new release.  Let's get into it!

Vega - Anarchy and Unity

Vega have been a pretty solid band when it comes to more melodic hard rock.  Only Human was solid 80s anthemic cheese that I loved.  Grit Your Teeth loosened things up a bit and let the band feel around a little more, which I liked, but Anarchy and Unity might have taken things a little too far.  While I liked the early singles, now that I've listened to the album, this band has shifted slightly.

It's definitely a little strange compared to the previous two, as the keyboards seem to take a backseat to a more guitar-and-vocal focused approach.  While the guitars are pretty thick and chunky, giving some great rock riffs, the song-writing and production felt much more modern.  The comparisons I kept making was to anthemic alternative rock bands of the 2000s, like Daughtry, The Calling, and the Goo Goo Dolls.

That being said, there's some solid stuff on here.  "Beautiful Lie" and "Sooner or Later" are a great start to the album, with big riffs and a great uptempo vibe.  I also liked "Bring the Riot," which had a bit of a punk rock vibe.  They also try to mix it up, such as the finger-snapping jazzy grove on "C'mon" and an interesting shift in the middle of "Live For Me," where it changes from a power ballad to a straight-up rocker for one very shreddy solo before dropping back into power ballad territory.  "2Die4" is also a strange one, trying a few different dynamics than I'm used to for these guys.  

To be honest, I think I'm a little disappointed.  After I loved the other two so much, I guess maybe I got my hopes up.  Perhaps I should take it as a sign that the band are trying to push themselves, and sometimes you have to stumble to really know what works and what doesn't.  It's still a decent album, with a lot of anthemic rockers, but this had less of an impact on me, overall.  

Victory - Gods of Tomorrow

Victory started in the mid-80s, and despite getting an international hit or two, generally got overshadowed by other German bands like Scorpions and Accept.  Herman Frank joined in 1986 and stayed with the band until they disbanded in the mid-90s.  However, they reunited in 2003 with Frank, and the lineup has generally changed around him since then, including a lot of members from Frank's solo band.  At first, I just thought he had joined a long-running band, but looking over the history, this has pretty much become another Herman Frank solo project in all but name.  As such, the music bears a lot of similarities to Frank's solo albums, and to much of the classic German metal sound established by bands like Accept and Sinner.  

Because of this, I was going in with the expectation of some solid riffing and rockin' vibe, and this album doesn't disappoint.  If there is any difference between this and Frank's recent solo works, I think this is a little closer to 80s rock rather than metal, but it's a pretty subtle difference.  Think AOR, but with a German metal vibe.

Honestly, though, it's not a major deal.  While the album is a little long and there really isn't anything particularly new or innovative going on, it rocks pretty well, occasionally pushing into faster territory with songs like "Gods of Tomorrow," "Rising Force," and "Into the Light."   "Love & Hate" and "On Fire" has a lot of classic Accept vibes, and the album never loses its classic metal energy.  I think I actually like this more than Herman Frank's own album from earlier in the year.  It will be interesting to compare the two as I prepare for my Top 5 of the year.

Crazy Lixx - Street Lethal

Crazy Lixx was one of the bands I discovered in 2019, quite enjoying their 80s pop metal style so much so that they crept into my Top 5 for that year!  While I anticipated this one pretty deeply, I expected to get more of the same, and they certainly haven't disappointed.

Once again, we're deep in the style that made household names out of Def Leppard, Dokken, and Whitesnake.  Full of big, cheesy anthems and arena rockers, these guys haven't lost a step in their 80s-drenched cinematic vibe.  As usual, the uptempo tracks stand out to me, such as "Rise Above,"  and "Street Lethal."  I also liked "Reach Out" and "One Fire - One Goal" with their AOR-heavy elements, and some tracks aren't afraid to get bluesy at times as well.  The album ends with some longer songs, with the closer being a 7-minute epic "Thief in the Night," which a decent mid-tempo rocker with a more dramatic tone.  I also noticed a greater presence of synthesizers on the album overall, though they're mostly used to give the tracks a bigger, AOR-like feel, a la Europe or Night Ranger.

While Forever Wild was a bit on the long side, this one is definitely tighter, with 2 of its 11 tracks being short instrumentals.  That being said, there's plenty of variety, which makes the album feel like it uses its time well.  I don't know if this one is better than the last one, but it's pretty dang close in quality.  However, just as I said about the last album, this one proves that the glam/pop metal style is still relevant and worth listening to!

NorthTale - Eternal Flame

After being reminded that this band exists and enjoying their first album so much, I was excited for their follow up.  While they retain their classic power metal style, they definitely shift their sound more, experimenting with a lot of different things.  However, they seem to be at their best when they build upon the styles of Stratovarius and Sonata Arctica.

Right off, the album kick starts with some high-speed power metal with the great opener "Only Human." From there, the band really starts to try some things.  "Wings of Salvation" has a symphonic tone in a 6/8 style, "Future Calls" features Kai Hansen and his son Tim so it has some strong Helloween elements, "The Land of Mystic Rites" pulls out some flutes and Latin folk vibes which made me think of classic Angra, and then "Midnight Bells" and "In the Name of God" were on the heavier side, the former making me think of Brainstorm or Primal Fear, and the latter having the bass-heavy grooves of Metalium.  The closer is a symphonic outro that doesn't feature metal at all.  It's a nice piece of music (making me think of symphonic Final Fantasy arrangements), but it is a bit of a strange ending.  The rest of the album, however, stays in the Stratovarius zone, and I found I enjoyed those songs most of all.

Like I mentioned on an earlier article, their new vocalist Guilherme Hirose sounds a lot like Timo Kotipelto, and I wonder if that was a deliberate choice.  The solos trade back and forth between the keyboards and the guitars, only strengthening the Stratovarius comparison.  That's a good thing though, as classic Stratovarius is some of my favorite power metal, so I'm pleased to hear a new band write these kinds of songs.  I think my favorite songs were "Future Calls" and "Only Human," and I thought the 11-minute epic "Nature's Revenge" was solid as well.  Overall, though, I don't know if this album is better than the first one.  I'd have to listen to them more to really decide.  That being said, if you're looking for quite the smorgasbord of power metal, this album certainly delivers.

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Well, that's the year wrapped up.  While I know I didn't get to everything I could have, I think I hit all the releases that I wanted to, so I don't have many regrets.  That being said, when I was looking over my charts, I found that I have listened to and reviewed 28 albums this year!  I don't know if I've ever listened to that much new music within a calendar year!  Figuring out my Top 5 is gonna be quite the challenge!  We'll see what I decide when that comes out at the end of January.

I plan on having on more article before the end of the year, catching up on some new videos.  Otherwise, I plan on having a cozy holiday week, and I hope you all have that as well.  Until then, rock on! \m/

Last Played - December 2021 Part Two!

Round two of 2021 catch-up!  Some of these bands I haven't really talked about much this year, but some have definitely been lighting up my New Video articles.  With a good split of epic power metal and 80s hard rock, it's been a lot of fun to listen to these!  Here's what I've checked out this time.

Rhapsody of Fire - Glory for Salvation

While I did check out the singles for this album, none of them really excited me enough to share them in my articles.  However, I'm always intrigued by a story, and this band is continuing on with their Nephilim's Empire Saga from their last album.  They also continue their well-established style of symphonic power metal, full of bombast and epicness.

The story picks up with Kreel, a thrall of the evil gods known as the Nephilim, going about doing their bidding and maintaining their tyranny.  After killing a holy prophet and falling in love with his next target, a desert enchantress, he decides to defy his evil lord, but the lord kills the enchantress in retaliation, inspiring Kreel to start fighting back.  I'm assuming the next album will focus on the epic showdown as Kreel takes on his former master.  It's not much of a story, but as always with these things, it's an opportunity to hang some power metal on all the angst and melodrama.

As for the music, it's pretty typical stuff for Rhapsody of Fire.  Plenty of orchestrations to back up Giacomo Voli's vocals and the noodly guitars.  The album does start with some darker, heavier material, culminating with the 10-minute "Abyss of Pain II," before switching to a more upbeat tone for the rest of the songs, which matches the story.  While I've always kind of struggled with Rhapsody of Fire's style, I did feel this one was more on the accessible side than some of their others.  As for stand out tracks, "Terial the Hawk" moves into folk metal territory, "Son of Vengeance" and "Chains of Destiny" were solid power metal songs, and "Abyss of Pain II" is certainly epic, if a bit too long.  Fans of the band will find plenty to like, but outside of that, it's standard story-driven power metal.

Night Ranger - ATBPO

With all these new bands playing in older styles, it's nice to see some of the originals still kicking it.  Night Ranger has always been one of those bands that I consider pretty solid from the 80s, but I've never dug too deep into their catalog.  I did enjoy their last album, though, and here they are back with another set of decent, if predictable, melodic hard rock.

Fans will probably find this to be more of the same from a band who's style was set nearly from the get-go.  The album itself has an interesting flow, as it starts with a lot of energy, gets a little slower in the middle with those ballads, and then finishes with some bigger sounding songs.  Overall, there are some solid rock riffs, nice melodies, decent guitar solos, and a great vocal performance from Jack Blades.  I liked "Coming for You" and "Breakout," as they start the album well.  "Monkey" was a curious stand-out as well, with a bit of a heavier riff than the rest of the tracks.

It's always tough for some of these bands, as it can feel like their best years are behind them.  Rarely, a band can put out a great album later in their career, long after the spotlight has moved on from their style of music.  As a result, some of these later albums, such as this one, come across as a little safe.  Maybe they'll play a song or two when they tour, but otherwise, a lot of this might be forgotten.  That doesn't mean this album is necessarily bad; I definitely like what I heard.  But in the end, this is probably not one many will come back to frequently.

Eclipse - Wired

Speaking of those newer bands playing older styles, Eclipse hit my radar with their last album Paradigm.  I had heard a few singles and liked what I heard, but it wasn't until I heard the album that I was really impressed by them.  Just solid hard rock from beginning to end.  So when I saw more singles from them announcing a new album, I was definitely excited.  Now that I've finally sat down for this one, I can say that it's a solid follow-up, if not quite as strong.

The basics are certainly still here.  The riffs really rock, and the vocals really soar, making for a lot of anthemic stompers and ensuring that the album retains much of the energy and fun of the previous album.  Even the ballads get into it, often starting in somber, acoustic guitar territory before hitting with a big distorted riff out of the Trans-Siberian Orchestra playbook.  However, some of the tracks do feel a little pedestrian at times, and the album doesn't really move much from a mid-tempo pace.

That being said, those are pretty small nitpicks, and any one looking for some solid, wall-of-sound hard rock will find plenty to like.  "Roses on Your Grave" has a bit of a classic Def Leppard vibe, "Saturday Night (Hallelujah)" is a party by itself, "Twilight" is very epic with its added touch of Beethoven, and "Bite the Bullet" has some great, crunchy riffs and an interesting, ominous slide-guitar solo that builds to some more epicness.  I think some of my excitement for this band has been tempered by this album, but I feel I can continue to expect great things from these Swedes.  I should probably dig into their back catalog as well, as I know they've got plenty of albums behind them!

Brainstorm - Wall of Skulls

Brainstorm is a band I was somewhat aware of.  I had listened to their 2011 album On the Spur of the Moment and found it to be some decent heavy/power metal that's typical from Germany.  However, as 2021 got going, Brainstorm suddenly hit with a number of singles that really got my attention!  Now that I'm catching up, this was an album I was definitely looking forward to!

Once the instrumental intro builds up, the album kicks off with tons of power and the rest of the songs do a decent job of maintaining that level of intensity.  The riffs are heavy, but they're also pretty catchy, and the solos are very tight and melodic.  However, the drumming by Dieter Bernert really nails the driving, epic vibe with his fierce double-kicking power.  Overall, this is some pretty gritty power metal, much in the vein of bands like Primal Fear, Metalium, and Bloodbound.

Not every track is a winner, as a few just seem to jog in place, but they're still decent.  Nothing really brings the album down.  The songwriting is especially tight, with no real frills or extensions, just straight-forward power metal.  "Where Ravens Fly" is a great high flying starter, "Escape the Silence" has some seriously pounding drumming, and "My Dystopia" is another fast one that really stood out to me as above the pack.  As for the mid-tempo songs, "Turn Off the Light" and "Glory Disappears" were pretty enjoyable to hear again.  "Stigmatized (Shadows Fall)" had an unexpected bit of groove, surrounded by some interesting 12/8 riffing.

The end of the album kinda tapers off in energy, but doesn't completely lose its steam.  To be honest, this album might be in my Top 5 for this year.  I knew it will be tough to decide what those five will be, and this album has definitely made it tougher!  This is some solid, crunchy, epic music and worth a look from any power metal fan who likes it on the heavy side but somehow hasn't picked this up.

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Alright, I think I've got one more article to pull together before I'm caught up with all I want to hear.  I'm certain that I've listen listened to more current-year albums this year than I have ever before!  Still, when it's all this solid, I can't complain, or at least I shouldn't, right?  Well, onto the last batch!  Until then, rock on!  \m/