Power Metal

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Introduction

Power Metal is one of the sub-genres of heavy metal music that first appeared during the 1980's, drawing influence from traditional heavy metal, especially the New Wave of British Heavy Metal, and speed metal. The term power metal actually refers to two different but closely related metal styles, nowadays known as US/American Power Metal (USPM) and European Power Metal (or Melodic Power Metal), named after the geographic regions in which the styles originated. Artists from either place are not tied down to playing that particular kind of power metal of course, such as the US band Kamelot who play the European style, while there are also artists from other countries who play power metal such as Brazil's Angra and Japan's Galneryus. These days power metal bands come from many places and have many different styles, documented further on. This page primarily deals with the European brand of power metal, with USPM placed under its own child sub-genre.

European Power Metal

Though it developed a little later than USPM, in the late 1980's, specifically Germany, the European, melodic power metal sound is no doubt what most first think of when the term power metal is mentioned. Indeed it is more distinct in sound than USPM, but features the same basic influences, with the key difference to USPM being that European power metal draws more heavily on the speed metal influences rather than traditional heavy metal ones. Indeed in the late 1980's power metal was instead referred to as melodic speed metal.

European power metal is widely credited to have been started by Germany's Helloween in 1987 with the release of their Keeper of the Seven Keys Part I album. Prior to that, Helloween had been a speed metal band. Blind Guardian, another popular German power metal act, had similar roots while other bands such as Grave Digger started more in the traditional heavy metal vein. Others like Running Wild blended both before becoming power metal bands later in their careers. Compared to USPM European power metal acts often feature keyboards, catchy lyrics and are generally less hard hitting, though the German scene is quite notable for its additional heaviness. Popular power metal acts from other countries include Italy's Rhapsody of Fire, Finland's Stratovarius and Sweden's Sabaton.

Sub-genres of Power Metal

Aside from the standard USPM and European power metal styles, there are a number of different sub-genres, or hybrid genres in some cases, of power metal that have since developed.

Symphonic Power Metal: A style of power metal typically only applicable to the European sound, symphonic power metal increases the use of keyboards to create a symphonic backing, drawing on classical music. The use of symphonic elements in such bands can vary greatly with some artists using them as a main element of their sound, such as Rhapsody of Fire, while some merely use symphonic elements to flavour their music, such as Avantasia. Symphonic power metal releases are always placed under power metal on MMA.

Heavy Power Metal: Not to be confused with USPM, which is closer to traditional heavy metal to begin with, this refers to a hybrid of European power metal with traditional heavy metal. Bands are typically less speed orientated than pure melodic power metal acts. HammerFall is a heavy power metal act from Sweden while Nightmare are from France. Some artists which fall into this category featured a harder hitting, more aggressive sound, such as Grave Digger of Germany, but are still considered to belong to the European power metal genre rather than USPM. They are included under power metal on MMA, although some such artists have also made albums more directly rooted in traditional heavy metal and have those tagged accordingly. Some of the older heavy power metal acts, including Grave Digger and Nightmare, started as heavy metal acts before adding power metal into their sounds later in their careers.

Folk Power Metal: The folk metal as a genre can take its metal elements from almost any other metal genre going, including power metal. Elvenking and Falconer are folk power metal bands. They are typically included under folk metal on MMA, but with cases such as Falconer where folk influences are normally minimal per album, they are included under power metal instead. Additionally some power metal artists, especially Blind Guardian but also Grave Digger, have utilised folk influences in their music.

Power-Thrash: A hybrid of power metal and thrash metal, which can be considered sister genres due to both evolving from speed metal. The so called blue collar USPM can also be considered to be power-thrash but the term typically refers to European power metal mixed with thrash metal, although the early work of Iced Earth is considered to be power-thrash. The mix of elements can vary even within the same artist with some being primarily power metal and others primarily thrash metal. As well as Iced Earth, Dark Empire and Paradox have also released power-thrash albums, while some power metal bands have included thrash metal elements in their sound in smaller amounts, such as Seven Kingdoms and Persuader. Power-thrash artists are treated on a case by case basis on MMA, for example Tales of the Weird (2012) by Paradox is placed under thrash metal, but The Fateful dark (2014) by Savage Messiah is placed under power metal.

Progressive Power Metal: Drawing influences from progressive rock and metal music as well as power metal of either the European or US variety, these acts are typically included under power metal on MMA, such as Pyramaze and Kamelot. The exception is when an artist’s progressive influences become the most recognisable thing about their sound. Illusion Suite is an example of such a progressive power metal act. Vandroya and Wuthering Heights are progressive power metal bands, the latter of which also being classifiable under folk power metal.

Neo-classical Power Metal: Melodic power metal that uses neo-classical guitar playing for its lead guitar parts. Magic Kingdom and Concerto Moon are neo-classical power metal acts, while other power metal acts such as Amberian Dawn and At Vance have incorporated aspects of neo-classical metal into their sounds. As there is no neo-classical metal sub on MMA all such acts are placed under power metal by default, while non-power metal based neo-classical acts are typically placed under traditional heavy metal, or sometimes progressive metal, with which there can also be crossover, as with Symphony X.

Extreme Power Metal: This particular sub-genre combines power metal with melodic death metal and covers artists such as Children of Bodom, the first album of Wintersun and to a lesser extent the first album from Seven Kingdoms. Extreme power metal typically features power metal music but with primarily growling vocals rather than power metal’s traditional clean singing. Such artists are treated with a case by case basis as to their placement on MMA. The genre is sometimes also called Power-Death.

Power Metal Inclusive Genres

Melodic Metal is sometimes included under Power Metal but usually under Traditional Heavy Metal. Melodic metal features a presence of melody akin to European power metal but lacks the focus on speed. Many melodic metal releases tend to use some actual power metal elements as well as hard rock and sometimes other genres. An example of a melodic metal release that is placed under power metal instead of traditional heavy metal is Arven's Black is the Colour (2013).

- Written by adg211288 (April 2013)

Sub-genre collaborators:
  • DippoMagoo (leader)
  • adg211288

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power metal Music Reviews

REBELLION A Tragedy in Steel Part II: Shakespeare's King Lear

Album · 2018 · Power Metal
Cover art Buy this album from MMA partners
adg211288
I'm sure that I can't have been the only one surprised when German heavy/power metal act Rebellion revealed their eighth studio album. It's not that the band was in a situation where a new album was either unexpected or past due; it'd been three years since the release of Wyrd Bið Ful Aræd – The History of the Saxons (2015), their usual length between albums for a few releases now. No, it was the title. The album was revealed as A Tragedy in Steel Part II: Shakespeare's King Lear (2018). Shakespeare's MacBeth - A Tragedy of Steel (2002) was Rebellion's first album and who could have expected that after sixteen years the group would return to the works of Shakespeare?

I for one did not and I have to admit, the move made me a little apprehensive. After all, MacBeth is undoubtedly Rebellion's weakest album; the very textbook definition of a record where the artist is still finding their sound. But not only that, the flow of that record was really disrupted by heavy use of narration elements, which unlike on other albums that make use of such weren't separated into their own tracks but inserted into the actual songs of the album and not always at the beginning or end of a piece. Of course it's obvious given the subject matter why they'd do that – it adds a feel of the theatre to the album, but for me at least, it really didn't work.

As a band Rebellion has obviously come a long way since then, producing an incredible run of albums starting with Born a Rebel (2003), their only non-concept and/or theme album, and going right up to the most recent release Wyrd Bið Ful Aræd. But even so, it seemed a really odd move for them to make. So now comes the burning question: were my concerns justified?

Yes, I think they very much were.

But with that said, positives first: it isn't like King Lear is a total bust for Rebellion. They still have their signature sound intact, with lots of heavy and power metal riff work on display, along with Michael Seifert's distinctive sung yet harsh vocal style. The album even actually breaks the band a bit of unexpected new ground with several tracks, usually the more heavy metal based ones, displaying an undertone of traditional doom metal, something that can be clearly picked up upon as early as opener A Fool's Tale. It's just a bit of flavour rather than a overt change in direction, but it's enough to differentiate the album from the band's others.

But the there's the issues with the album that put a real dampener on anything positive I can say about it. While it's not as extreme, the band did fall into exactly the same trap with the narrative elements on King Lear as they, way back when with a largely different line-up, did with MacBeth. Then there's the songs themselves. They're not bad and there is a few highlights to be had such as Dowerless Daughter, Storm and Tempest, and Battle Song, but there's an inescapable feeling that for the first time in a while Rebellion aren't coming close to knocking one out of the park and that despite those new doomy undertones, the album is very much Rebellion by numbers and that they went through the motions of getting an album out at the time they were expected to. As such it's difficult to really get invested in it as an album or get too excited by it.

It's still a solid enough release to avoid being considered bad, but there's no room for doubt in my mind that King Lear is the band's weakest album since MacBeth itself and I'm actually unsure which really deserves the dubious honour of being considered the actual weakest. I would say it's still worth picking up if you're a fan of the band and already have all their other work (and the price is right), but otherwise there's a choice of six other Rebellion albums out there that are considerably more powerful than this one that deserve your attention first. This one already feels like it's just there, a part of the band's discography that you're aware of and may listen to on occasion along with their other albums, but it won't ever be the one you reach for first.

HEAVATAR Opus II - The Annihilation

Album · 2018 · Power Metal
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DippoMagoo
Usually going into a new year, I have a pretty good idea of what bands will be in contention for my album of the year, but it seems every few years I’m thrown a curve ball and a band I would have never even thought of comes out and completely blows me away, leaving more anticipated albums far behind them. Obviously, it’s way too early in the year to tell if that’s how things will work out in 2018, but going into the year if anyone were to have told me that after a month my top album for the year would come from German power metal band Heavatar, I likely would have shook my head and said “not in a million years”, but somehow that’s exactly what happened. Heavatar was formed in 2012 by Stefan Schmidt, the mastermind behind a capella metal band Van Canto, who I happen to be quite a big fan of, so naturally when I heard one of their members was starting a new band, with a full metal sound, as well as some added classical music influence, I was excited. For whatever reason, though, Opus I: All My Kingdoms never really grabbed me, aside from a couple standout tracks, and I quickly forgot about the band. They’re now set to release Opus II: The Annihilation, an album which wasn’t even on my radar just a few weeks ago, and yet surprisingly enough it completely blew me away on my first listen, and has only grown on me more ever since, emerging as an early year favorite to possibly end up as my 2018 album of the year.

Stylistically, not much has changed on this album, as the band still plays an aggressive, guitar-driven brand of power metal, with a ton of classical melodies thrown in for extra flavor. As with Opus I, there are plenty of sections which clearly take classical pieces and create metal versions of them, with the likes of Puccini, Chopin, and Beethoven being cited as influences for some of the tracks. Sometimes these classical pieces are easy to recognize, such as on the title track and “Into Doom”, while on other tracks the classical influence is a lot more subtle, but it’s definitely there throughout the album. Honestly, it’s tough for me to pin down exactly why this album works for me in ways the debut didn’t, but I guess what it comes down to is more consistent, at times more adventurous songwriting, and the fact that the music constantly strikes a perfect balance, both between heaviness and melody, and also between being blazing fast at times, and slowing down to a more relaxing pace at other times. Many tracks go through tempo changes, especially during the four-part suite that closes the album, and I find overall the songs deliver everything I could ask for as a power metal fan, offering some awesome guitar riffs throughout, as well as big choruses on every track, huge, epic vocal melodies, plenty of great solos, which are often the points where the classical influence comes in, as well as a ton of other surprises. There simply isn’t a single dull moment on the entire album, where I found the debut to be very inconsistent. Obviously, the production is top notch, and the musicianship is great, with excellent guitar work from Stefan Schmidt and Sebastian Scharf, while former Stratovarius drummer Jörg Michael is explosive and exciting as always.

For some reason, I didn’t like Stefan’s vocals too much when I first listened to Opus I, but his voice has grown me a lot since then, and he has certainly delivered a strong performance on this album. He has a very deep and powerful voice that fits the music well, especially during the heavier sections and he can be very intense and animated at times, sometimes coming pretty close to using death growls, and his vocals add extra intensity to some already energetic and heavy tracks. Obviously, coming from an a capella band, he’s a great singer all around, though, so he can also sing very smoothly during calmer sections, which there are a ton of, especially in the second half of the album.

My biggest area of contention with Opus I was the songwriting, but thankfully this time around the band has delivered nothing but excellent music from start to finish. There’s nothing that clearly sticks out in a bad way like the acoustic “To the Metal”, and there are certainly many tracks that surpass even the best track on that album, the 11-minute epic “The Look Above”. Starting things off is “None Shall Sleep”, an absolutely stunning opening track that immediately had me collecting my jaw off the floor the first time I heard it. It opens with a brief keyboard section, before quickly giving way to some pummeling riffs that lead the way through the verses, which move by at a breakneck pace and bring a ton of energy, and then the chorus appears and is equal parts catchy, melodic, epic and just plain awesome. The best part, though, comes in the second half, with an excellent and very melodic guitar solo followed up by a classically influenced vocal section that is simply stunning and lifts the track to all new heights. All in all, this track is easily the best power metal track I’ve heard so far in 2018, and I won’t be surprised if it goes down as my favorite even at the end of the year, as it not only delivers everything I want from the genre, but it goes the extra mile with that one choral section to completely blow me away.

While that opening track is tough to match, the rest of the album certainly leaves nothing behind. Next is “Into Doom”, another fast-paced track, which has more of a classic power metal sound, compared to the somewhat thrashy riffs of the opener. It’s certainly still a heavy hitter, though, and it again has some huge classically influenced melodies throughout, as well as a blazing fast and super addictive chorus. Stefan changes things up during the verses with a soft and extra deep delivery, which works great. The big classical melody of the track comes in during the solo section in the middle and is both very obvious and quite awesome. After that is “Purpose of a Virgin Mind”, one of the tracks where I don’t notice the classical influence as obviously, but it’s certainly still an awesome track. It’s another up-tempo track, though slightly slower than the first two, with slow, but hard hitting verses with some great riffs, though it has some nice melodic leads, as well as one of the biggest and most melodic choruses on the album.

The first slower track of the album is the hilariously named “Hijacked by Unicorns”, which has some great lead riffs and some fun vocals during the verses, but it’s the chorus where the song really picks up, as the vocal melodies are excellent, the tune is super catchy and the lyrics are every bit as amusing as the name would suggest. It’s another track where the classical influences are quite easy to spot, coming in during the solo section later on, and it’s quite the fun track overall. After that is the title track, where the opening has a classical reference that is just as obvious as the one on “Replica” from Opus I, and it’s another heavy hitter, moving at a rather slow pace early on before picking up the pace in a big way, leading to an explosive and very epic chorus. Stefan comes very close to death growls later on in the track, and the choral section that follows is amazing, as is the guitar solo after that. The last normal song on the album is “Wake Up Now”, a mid-paced track and yet another heavy hitter, with slow but fun verses, excellent riffs throughout and yet another huge and super catchy chorus. This track changes things up a bit in the middle, with an epic keyboard solo, before the expected guitar solo, which is great as always.

After six amazing tracks, the band decided to go extra big for the grand finale, delivering a near 14-minute four-part suite, divided into four separate tracks. There’s a lot of ideas throughout the four tracks, but there’s one chorus that constantly shows up throughout, used in various forms, and it’s a very memorable one. Each part sounds different, though one thing that is constant is the use of symphonic elements, which help make the music even more epic and compared to the rest of the album these tracks are much more melodic and more complex. The opening part “A Broken Taboo” in particular goes through many tempo changes, and is quite the treat, introducing the main chorus in a big way, while also surprising me with some great female vocals, which appear later on, before again appearing briefly on the second part “An Awakening”, which is a more relaxed and melodic track, with some nice folk melodies. It’s definitely the closest the album comes to having a ballad, and it’s a very beautiful track. The most explosive section of the suite is “A Battle Against All Hope”, an epic, super speedy symphonic power metal track, which has some of the heavy riffs found on the first six tracks and it again moves at a breakneck pace and delivers a huge chorus, except this time the epic feeling is enhanced by the symphonic elements. I love all four parts of the suite, but this track is easily my favorite. Lastly, we have “A Look Inside”, which mostly serves as a softer, slower reprise of “A Broken Taboo”, and it’s a very nice ending to the main portion of the album.

There are two extra tracks here, the first being a cover of the Manowar classic “Metal Daze”, which is a very faithful recreation of the track, with a much better-sounding production than the original, while still hitting much harder and having more energy to it than Manowar’s own recording from Battle Hymns MMXI. Stefan uses some very over the top falsetto vocals at points, which are very cool, and it’s definitely a fun cover overall. One other bonus is “The Look Inside (Orchestral Version”, which is an instrumental version of the four-part suite, and while I obviously prefer hearing it with vocals, this version is quite good on its own, and it’s nice to have the whole thing on one track, which is perhaps the only thing I would have changed about the main version.

Overall, Opus II: The Annihilation is a huge surprise for me, as I didn’t care much for Opus I at all, but somehow Heavatar has really stepped up their game, offering some amazing and aggressive classically influenced power metal songs, which give me everything I could possibly ask for from the genre, while also managing to surprise me several times along the way. Obviously, fans of the band’s debut need to hear this, and I’d highly recommend it to any power metal fan looking for something just a bit different, as well as to any metal fan who wants to hear something with a classical influence, without being overly symphonic or using operatic vocals. A huge surprise, for sure, and while it’s still early in the year, I won’t be surprised if this ends up being one of my top five albums by the end of 2018, if not even my absolute favorite.

originally written for myglobalmind.com: https://myglobalmind.com/2018/02/03/heavatar-opus-ii-annihilation-review/

RHAPSODY OF FIRE Legendary Years

Album · 2017 · Power Metal
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Kev Rowland
Rhapsody have had an interesting career path, to say the least. What started as one band has been split in two for quite a while, with guitarist Luca Turilli behind Luca Turilli's Rhapsody, and keyboard player Alex Staropoli leading Rhapsody of Fire. Here, Alex has taken his band of merry men on a romp through songs from the first five Rhapsody albums, and in case anyone doesn't realise what is going on this selection is named after the debut, 'Legendary Tales'. What I have always liked about any of the Rhapsody bands, is that they not only have grandiose and almost Wagnerian Ring Cycle ideas, but they like to have the guitars tightly bound together with drums driving it all along. This may be Alex's band, but he acts more as a conductor and arranger, pulling the musicians in the way that makes total sense to his ears.

I haven't actually heard these early songs, so can't comment as to whether they are performed in a better or worse manner than the originals, so I am treating this instead as a brand new album by RoF, and in that context this works incredibly well indeed. They shred, they bring in a chorus, they stop the music dead, or let it sprawl through the speakers like an unstoppable lava flow, laying waste to all the lies before it. Fabio Lione is an amazing singer, and until this album has been the voice of first Rhapsody, and then Rhapsody of Fire, but here Giacomo Voli has taken on the role and it has to be said that he has done a very done job indeed. Overall this is a great album, and stands well in its own right, as well as an introduction to a band who have been at the forefront of symphonic metal for more than twenty years.

LIONE/CONTI Lione/Conti

Album · 2018 · Power Metal
Cover art Buy this album from MMA partners
DippoMagoo
In 2005, multi-instrumentalist Magnus Karlsson worked with elite vocalists Russell Allen and Jorn Lande to create a special collaborative album, titled The Battle. I’m guessing at the time people weren’t expecting it to be as big a hit as it was, but needless to say, it was so well received, it not only got a follow up two years later but to date, the two singers have released four albums together. More importantly, label Frontiers Music realized it was on to something, and so since that release, there have been other attempts at collaborative releases by the label, with the latest of these being Lione/Conti, due this coming week. I tend to not be the biggest fan of this kind of album, as I generally find the songwriting to be unimaginative and predictable, but this album is one exception to the rule, as I find it to be quite the enjoyable vocal driven power metal album, with some surprisingly strong instrumental work and songwriting at times.

Obviously, fans of both singers should notice the main connection between the two fairly easily, but for those unaware, a bit of background information is in order. Basically, Fabio Lione was the original vocalist of Italian symphonic power metal band Rhapsody/Rhapsody of Fire. After the release of their 2011 album From Chaos to Eternity, guitarist and main songwriter Luca Turilli left the band to form his version called Luca Turilli’s Rhapsody. The vocalist he ended up recruiting for his band was, of course, Alessandro Conti, and the rest is history. While those two are the clear stars of the album, one other very important member of this group is DGM guitarist Simone Mularoni, who was chosen to be the songwriter and producer for the album.

Simone is a very interesting choice for this kind of project, as he has a pretty aggressive style to his playing, and his band is much more progressive than most bands on his label, which made me wonder whether he’d be allowed to properly showcase his talents with this project, or if he’d be shoved into the background and forced to write some cliché and boring melodic metal tracks, where only Fabio and Alessandro could shine. Thankfully, the result is much better than I would have expected, as while many of the songs are vocal driven, as one would expect from this kind of album, there are quite a few speedy power metal tracks on this album where Simone gets to show off some of his heavy riffs, and the majority of the tracks have some excellent guitar solos from him. Obviously, the songwriting is more straight-forward than what he normally does, but there are a couple of nice surprises on the album, and I’d definitely say this release is a cut above most collaborative efforts of this nature when it comes to the musicianship and songwriting. Production is top, notch as fans would expect from Simone, and everything sounds perfectly crisp and clear.

The most important aspect of this album is obviously the vocals, I mean, the two singers’ names are used as the title, after all. Thankfully, both singers are in top form, with both of them being given plenty of great material to work with, and neither of them either fades in the background nor steals the show from the other. Fabio Lione needs no introduction at this point, as his voice should be familiar to just about any power metal fan, and he sounds as smooth as ever on this album, mostly staying in mid-range throughout the songs and he definitely has some huge moments, as always. Alessandro Conti generally sings in a higher register and his voice is a bit softer during some of the slower tracks, but on the more power metal driven songs he sounds very powerful and is at times a bit animated, very much reminding me of the great Michael Kiske.

I usually struggle a bit with the songwriting on this kind of album, but thankfully every song on Lione/Conti is enjoyable in its own way, with a few in particular clearly standing above the rest. Opening track “Ascension” was chosen as the lead single and I can see why, as it’s speedier, light and very catchy power metal track that has a fast-paced chorus as well as a great solo from Simone, while also giving both singers some excellent vocal melodies to work with, which they take full advantage of. It’s a very fun and catchy track, which gets the album off to a great start. The other single released so far is “You’re Falling”, which does a nice job of showing the softer side of the album. It’s a fairly slow paced and very light track which is mostly driven by keyboards and slight symphonic elements, as well as having another excellent chorus. It feels more like the kind of melodic metal one would expect from this kind of project, but again the guitar work is very nice, with the solo, in particular, being excellent, and both singers sound great, so it ends up being an enjoyable track, if not one of my personal favorites.

On the speedier side of things, power metal fans have quite a bit to look forward to on this album. After the great opener comes to the even faster paced “Outcome”, a heavier track where the main riff very much feels like it could have been taken from a DGM track, while keys are used nicely for extra flavor, and it’s a very speedy track with a ton of energy, where both singers excel as usual, and Simone in particular stands out, delivering some of his heaviest riffs on the album, as well as another great melodic solo. Another speedy track is “Misbeliever”, my personal favorite on the album. It’s a blazing fast track with slight symphonic elements, and again it has some excellent driving guitar work, powerful vocals from both singers and an excellent chorus, which feels like a classic Kamelot song in the best way possible. The guitar solo here is very beautiful and easily the best on the album, and overall it’s simply a stunning track from start to finish. Right after that is the slightly lighter but still fast-paced “Destruction Show”, a more melodic and catchy power metal track with another strong chorus and some excellent melodic guitar work. Two more speedy tracks are “Glories” and “Gravity”, both of which are heavy, high energy tracks with great guitar work, great choruses and some excellent melodies, with both songs having heavier sections that feel like they came straight out of a DGM track.

On the softer side, melodic metal fans have quite a bit to enjoy on this release as well. Right after “You’re Falling” comes “Somebody Else”, an excellent ballad which starts off as a piano ballad with some very soft vocals, before building up intensity as it goes along and allowing both singers to go all out, delivering some of their most powerful vocals on the album during the chorus, while Simone once again delivers an excellent guitar solo in the second half. It’s the kind of track I’d normally greet with a yawn on this kind of album, but here it’s pulled off to near perfection and is one of the best tracks on the album. Later in the album, we get “Truth”, a more mid-paced track which is fairly calm and melodic throughout, though there’s still some great guitar work at points, and it’s another solid track with an excellent chorus. Lastly, we have the closing track “Crosswinds”, another mid paced tracks which comes close to prog territory, again feeling very similar to DGM with its heavy main riff and its more complex rhythms. It’s definitely one of the more interesting tracks musically, with Simone really going all out during an incredible solo near the end, and the two singers are given some great vocal melodies, as usual, helping to make it a great end to the album.

I wasn’t expecting too much from Lione/Conti, but thankfully it turned out to be a pleasant surprise, offering up some great speedy power metal tracks, to go along with the expect melodic metal and great vocal showcases. While the two singers are clearly the main focus of the album, as one would expect, guitarist Simone Mularoni has managed to produce some great tracks here, managing to strike a nice balance between keeping things melodic and catchy enough to showcase his two singers, while still giving himself enough room to showcase his talents. Obviously, fans of everyone involved need to hear this album, as well as anyone who enjoys this kind of collaborative project, and fans of power metal and melodic metal are also highly recommended to give this a go, as they may be pleasantly surprised like I was.

Originally written for myglobalmind.com: https://myglobalmind.com/2018/01/21/lione-conti-lione-conti-review/

METATRONE Eucharismetal

Album · 2016 · Power Metal
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Kev Rowland
Metatrone started life as Metafora back in 1997, but some four years later keyboard player Davide Bruno decided that he wanted to become a priest. After much debate within the band, the decision was taken to change the name to Metatrone (which means "God is since now and forever"), and they started to write power-prog metal songs deeply inspired by a Christian Catholic view of life and human being. This 2016 album is their fourth studio album, and is a huge head and shoulders above anything else I have heard in the Christian music scene (although to be honest I do listen to way more Black Metal than I do White Metal). Some songs are in English, and some in Italian, but even though Jo Lombardo is a great singer, it is to the music that the ear is taken. The new rhythm section of Dino Fiorenza (bass, Billy Sheehan, Steve Vai, Paul Gilbert, John Macaluso)) and Salvo Grasso (drums, Hypersonic, DenieD) have slotted right in, and provide a heck of a platform for the rest to play against - some of the plucked bass runs are just amazing - and Davide and guitarist Stefano Calvagno have relished the opportunity.

Fast and furious with loads of interplay, one soon forgets that this is a Christian album and instead just relishes the opportunity to lose some dandruff. They have been kicking up a storm on the Christian festival circuit, but with this album they have pushed straight into the mainstream, and fans of the likes of Savatage and Angra should be seeking these guys out, no matter their view on religion.

power metal movie reviews

BETO VÁZQUEZ INFINITY 15 Years Alive LTD Edition

Movie · 2016 · Power Metal
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m3g52
A year ago Beto Vazquez Infinity met its 15 years ... And gave us a feast with joy, good music and diversity. And now we have the fruit in a DVD accompanied with 2 CDs with all the live sound of this recital. The show presented in this DVD contains a section of his classics, then a middle section where all played more Prog Metal and left many open mouths and an end to all motor either energizing. The DVD and limited edition cd show impeccable quality. Everything is divided as follows: The first part of the show was the memories, issues conodcidos discography BVI, renewed and with new energy, with the voices of Caro Guedes, Vero Libre, Casti and Pereyra on a solid band. The band shows with ease, stressed this fact with good camera movements. The sound and picture quality gives a good sense of what was experienced in that reecital of celebration of 15 years. Then began the most difficult part in stage movement, instrumentation and personnel. Metal Prog most part, higher flight, which leaves more than one amazed. Flutes game, rhythm guitars, harp, saxophone and a chorus that vibrated in states of metal, prog and Ethnic ... The third part returns to the strength of metal with Devil Vision by Caro flawless interpretation of Guedes and choirs Nadia Mancini, a soprano who gives the exact support. A material that is worth having, especially if you want to discover Beto Vazquez Infinity, risky in a scene (the Argentina) where it is very difficult for independent bands to achieve, first that recital that is documented, much less achieve DVD + CD unsupported's the big distributors.

ANGRA Angels Cry: 20th Anniversary Tour

Movie · 2013 · Power Metal
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Kingcrimsonprog
Angels Cry 20th Anniversary Live is a 2013 concert Blu-ray by the Brazilian Progressive/Power Metal band Angra. It features the line-up with Italian singer Fabio Lione (ex-Labyrinth, Rhapsody of Fire) on vocals performing material from all eras of the discography passionately – with some interesting guest appearances including Tarja Turunen (ex- Nightwish), Uli Jon Roth (ex-Scorpions), Amilcar Christófaro (Torture Squad) and the Familia Lima string section.

This set has quite high production values. Visually; the thing is an absolute gem. Top notch image quality, great camera work with tasteful editing, and the actual stage show contains interesting video screens with eye catching imagery. Its all just great for the eyeballs, which is why you’re getting a video recording and not an audio recording anyway, right? Well this is totally worth every penny in the visual department.

Sonically, the recording is crystal clear. You can hear every single note, every different drum and cymbal. Its like a Rush concert or something – brilliant clarity and definition. The only thing that’s not absolutely perfect is that in the stereo mix, the rhythm guitar is not as heavy as some of the studio versions, but it is still a brilliant mix nonetheless. Best of all; The performance is beyond stellar; Fabio nails it recreating the band’s different singers’ work well and injects some of his own flair into the proceedings. The guitar solos are out of this world and the tireless drumming of Ricardo Confessori sounds great. Listening to and watching the interesting music is an absolute joy.

Highlights include the fantastic renditions of ‘Evil Warning,’ ‘Nothing To Say’ and the fantastic set closer ‘Nova Era.’ The enthusiastic São Paulo audience seem really into it.

Overall; Its an absolutely great concert DVD on a technical level, and better still it’s a great concert in and of itself. The line-up is strong, the setlist is great and the guest musicians add an extra layer of interest. I highly recommend this to fans of the band, fans of this end of the musical spectrum, and fans of good quality concert recordings. It would be an unquestionable treat for existing fans but would also work really well as a first purchase for newcomers

STRATOVARIUS Under Flaming Winter Skies - Live in Tampere

Movie · 2012 · Power Metal
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Kingcrimsonprog
Under Flaming Winter Skies, Live In Tampere is the first official concert Blu-Ray by the legendary Finnish Power Metal band Stratovarius. It was filmed in Tampere, Finland on the Jörg Michael farewell tour and as such the crowd interaction is in Finnish (with English subtitles) and Jörg gives the crowd a farewell speech. In part, the setlist is built around him, such as the inclusion of `Speed Of Light’ because it was the first song he ever played with the band… although to be fair they’d have probably played that anyway. The main feature lasts around 1hr 52mins and contains 22 tracks, which works out as 17 songs when you discount the intro, guitar solo, bass solo, keyboard solo and speech. There’s a Deep Purple (`Burn’) and The Who (`Behind Blue Eyes’) cover in there, as well as all the fan favourites you’d expect like `Eagleheart’ `Kiss Of Judas’ `Hunting High And Low’ `Paradise’ `Father Time’ `Black Diamond’ etc

The picture is absolutely fantastic, clear and sharp. Its helped a lot by a great but subtle stage show with intelligent use of lighting, and not too much dry ice as well as a tasteful and sensible editing job that is fast and contains enough movement to keep your interest but is slow and still enough so that you can appreciate the actual musicianship (of each member, as none are overlooked.)

The sound is even better with an absolutely crystal clear mix in which you can hear every stoke of every drum, each key get pressed (without the keys being too loud and overpowering the Metal) and every note the bass plays. The vocals are impressive and the crowd noise doesn’t overpower them, even though they sing almost every word and best of all, it all actually seems to be live and not obviously mimed or overdubbed (or indeed out-of-sync). In general, its just one of the best concert audio mixes that I’ve heard so far and very solid visually as well.

The biggest thing in this concert’s favour however is the sheer enthusiasm of the performance; the band are so into it and absolutely deliver on all levels. They are very interactive with the crowd, they interact with each other, Jörg twists and throws his sticks around, the guitars and mic stands are enthusiastically moved around and generally the band just look like they love being there.

In terms of extras; the booklet has a lot of high-quality photos and a little written interview with Jörg. The disc has a bonus 5.1 mix of the track `Elysium’ and there is a 29 minute documentary called `Rewinding From The Past To 2012.’ In terms of Blu-Ray Statistics; the screen format is 1080i/29,97/16:9(1,78:1) and the audio format is DTS HD MA 2.0/5.1 (although the documentary is only available in stereo), the disc format is BD-50 and the region code is: A/B/C.

Overall; this is an excellent, well made and masterfully performed concert Blu-Ray and I’d highly recommend it to anyone who’s into this sort of thing.

HELLOWEEN Helloween - High Live

Movie · 1997 · Power Metal
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Kingcrimsonprog
High Live is a concert DVD by the legendary German Power Metal band Helloween, recorded in Milan, Italy (and Gerona, Spain) in 1996 on the Time Of The Oath tour.

The main feature is a scorching 84-minute concert, in which an energetic and totally on-form band blast through a lot of material from Master Of The Rings and Time Of The Oath to an enthusiastic crowd. Just going off the performance, this is an absolute 5-star live album.

Songs like “Sole Survivor,” “Before The War” and “Power” sound absolutely blistering here, and I’d highly recommend checking it out on that basis. Andi’s vocals on his own material are absolutely excellent on this release, and Uli’s powerful, understated drumming absolutely kills.

There are a few downsides to the overall product however, such as the picture being a little soft and not the sharpest. The sound is pretty great in one way, and you really get that “live feel,” but you have to turn it up fairly loud for it to become clear, as things can sound a bit muddy on low volumes. Nothing show-destroying though.

The other potential downside is that at the end of some songs, it stops, when they cut to the other concert (eg. from Italy to Spain) and the transition isn’t perfectly smooth, which may interrupt the flow a little. Luckily this never happens in the middle of songs or anything outrageous like that, and for the most part isn’t actually too disruptive.

Apart from that, this is a pretty great main feature all round, and shows the band proving why they are still one of the biggest names in Power Metal. In terms of bonus features: There is a text “History” feature, a discography feature and a photo gallery. All your standard ‘90s DVD extras that don’t add too much really, but look good written on the back of the box.

There is also a five minute “review” feature by Malcome Dome, which is a brief Metal Evolution style history lesson with a mixture of archive footage of the band and talking-head footage of Dome. The dialogue is a bit stiff and the audio is a bit muffled, but as a free extra its still worth a watch.

The track-listing for the main concert is:

1. We Burn 2. Wake Up The Mountain 3. Sole Survivor 4. The Change 5. Why 6. Eagle Fly Free 7. Time Of The Oath 8. Future World 9. Dr. Stein 10. Before The War 11. Mr Ego 12. Power 13. Where The Rain Grows 14. In The Middle Of A Heartbeat 15. Perfect Gentleman 16. Steel Tormentor

Overall; If you like the band, especially if you like the Deris era, then it’s a pretty worthwhile purchase. It shows the band at their Europe-conquering best, dripping with enthusiasm and playing like they mean it. The sound and editing are a tiny bit imperfect, but the band themselves more than make up for it. Comment

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