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 (shared with US Power Metal & Neoclassical Metal):
  • DippoMagoo (leader)
  • adg211288
  • Sisslith

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power metal Music Reviews

ORION'S REIGN Scores of War

Album · 2018 · Power Metal
Cover art Buy this album from MMA partners
DippoMagoo
There are some bands I will follow for a while before hearing anything substantial from them, just out of the sheer promise they show in bursts. The most recent case of this is Greek symphonic power metal band Orion’s Reign. The band has been around for over thirteen years, releasing their debut Nuclear Winter in 2008, but they had escaped my attention completely until a few years ago when I saw one of their many yearly Christmas music videos. These tracks have always been equal parts silly, epic and just plain entertaining, and so when I heard the band was working on a new album in their current form, I was excited to see what they would be capable when writing their own material. Now that Scores of War is here, it’s safe to say, the band has shattered all my expectations, and delivered one of the absolute best power metal albums of the year!

Fans of the genre should have a good idea of what kind of material to expect here, as this is very much fantasy themed symphonic power metal in its most epic form, with the main focus being on symphonic keys and orchestras, with guitars serving mostly as rhythm for any sections, though when they do come to the front of the sound, they can be quite strong, with some classic heavy metal leads at times, in the vein of classic Maiden, as well as some excellent shredding solos. For the most part, though, it’s the symphonic arrangements and drums that carry the songs, and both of these elements are very well done, with the drums doing an excellent job in setting the pace, while the orchestral elements and symphonic keys are grand, sweeping and epic in every possible way, at times creating the atmosphere of a film score. There’s occasionally the use of folk elements as well, such as fiddles and bagpipes. While there’s always a lot going on, with most tracks containing multiple layers of orchestral elements, everything works together perfectly, and the actual songs are fairly straight-forward and always engaging. There’s also quite a bit of variety in the songs here, with the expected speedy power metal tracks being balanced out by a couple slower tracks, including a ballad, as well as a couple more folk-influenced songs, and other surprises. The album always manages to stay fresh and consistently amazing from start to finish. Performances are excellent all around, and production was handled by Jens Bergen, who did an excellent job as always.

The band has gone through a few lineup changes over the years, with their latest addition being vocalist Daniel Vasconcelos, who joined in 2015. For a while, the band had no vocalist and was just using guests for their various singles, but now with Dan in the group, they are ready to forge ahead. Thankfully, Dan is an excellent vocalist, with a rather deep and powerful voice, which fits the music perfectly. His vocals are often theatrical, somewhat operatic, and fit in well with the overall epic feel of the album, adding an extra layer to everything. He can sometimes get a bit more intense and uses some falsetto every one in a while, to great effect. There’s also a ton of choir vocals throughout the album, which are used quite effectively, as well as a few guests, who I’ll mention in the song by song descriptions.

Having only heard the band performing covers coming into this album, I was interested in seeing what their songwriting skills were like. Needless to say, they do not disappoint, as every song on Scores of War is fantastic in its own way, as the album manages to be both varied and consistently amazing the whole way through. Things kick off with the super epic opener “Elder Blood”, which starts off with an epic orchestral section, accompanied by choral vocals, before the metal instruments and Dan eventually kick in, and then the song speeds up and turns into an epic speedy symphonic power metal track, with excellent verses, an even better chorus, and some excellent rhythm guitar work throughout, as well as an excellent solo. Next is “Together We March”, another speedy track, where the symphonic elements are very prevalent throughout, with guitars mostly serving as rhythm, though they do so effectively. The song has fun verses and another strong chorus, this time with some excellent guest vocals from Tim “Ripper Owns”, who uses his signature falsetto vocals throughout the verses and chorus. There’s also an extremely epic vocal section in the second half, giving way to a great guitar solo, and overall it’s an absolutely wonderful track.

The first slower track is “Gravewalker”, another very epic track, dominated by symphonic elements and choir vocals. The verses are slow but have some rather hard-hitting guitar work, as well as some excellent orchestral sounds, and the chorus is huge, with Dan accompanied by some very epic choir vocals, making for one of the catchiest and most engaging choruses on the album. The track gets intense in the middle for a while, with a great instrumental section, and overall it’s one of my personal favorites here. The highlights keep coming with lead single “The Undefeated Gaul”, one of the fastest, hardest hitting tracks on the album. The riffs are extra aggressive here, and Dan gets very intense during the verses, giving way to a catchy, but frantic and very heavy chorus, which eventually leads to the heaviest instrumental section on the album, with some great shredding guitars. It’s a wild and intense track but still manages to be very epic and fun at the same time. Speaking of fun, “Adventure Song” is a slightly lighter but still fast-paced track, with some excellent choir vocals throughout. It has the vibe of a tavern song and features various folk instruments throughout, that give it the feel of a classic folk song, except with heavy guitars. It’s a fast, melodic and very catchy song, and certainly one of the cheeriest metal songs you’ll ever hear, with an especially great instrumental section, where several different folk instruments are used. The band returns to a more familiar symphonic power metal territory with “Freedom is not Negotiable, which has slow verses, but a fast and intense chorus, filled with more epic choir vocals, and as well as another intense instrumental section with some very heavy guitar work.

Another change of pace comes with “Nostos”, a very melodic mid-paced track, with a slight folk feel to it. The symphonic elements are dominant once again, and it’s a very light, upbeat track with some amazing vocal melodies throughout. It serves as a duet between Dan and Youtube cover vocalist Minniva, who had previously worked with the band on their past few Christmas carols. She fits the track perfectly, with very light but powerful vocals, that capture the vibe of the music wonderfully, and her higher vocals serve as a perfect contrast to Dan’s deeper voice, making them a great duo. The chorus is probably the catchiest and most engaging on the album, and overall it’s simply a wonderful track, and probably my favorite on the album. Next is “Warrior’s Pride”, a faster, more classic power metal feeling track. Guitars lead the way through most of the track, with heavy, driving riffs, and the chorus is fun and catchy, without being quite as grand as usual. The symphonic elements are still there but feel a bit less prominent than usual, and overall it’s a very fast and heavy track, with the occasional growls thrown in for some extra flavor. The lone ballad here is “Withering Heart”, which starts out as a soft piano ballad, but gradually develops into something much more epic, with a great use of choirs and orchestral elements, as well as having by the best vocals from Dan on the entire album, as he really steals the show, especially during the final run-through of the chorus, where he goes all out and absolutely nails it. One last speedy track is “Last Stand”, which certainly feels like the kind of song Rhapsody of Fire would have released in their prime. It’s very fast, intense and makes great use of symphonic elements, while still having some pretty heavy rhythm guitar work, as well as an excellent keyboard solo in the second half, performed by Firewind’s Bob Katsionis. Most vocals on the track are performed by Mark Boals, who does a great job as always, especially during an epic vocal section right at the end, which feels like it could have been a perfect end to the album. Instead, the band chose to close the album out with “Ride Into War”, a slow but very epic track, with a very classic Maiden vibe to the guitar work. It starts out with some classical piano, and stays soft and theatrical for a while before the guitars kick in and that classic heavy metal feel takes over for a while. It’s another very epic track, with great guitar work and an excellent chorus, and it does a nice job of alternating between soft and heavy sections throughout, making it an appropriate ending track.

Overall, Scores of War is an incredible album, from a band I had been following for a while to see if their original material could live up to their cover work. It’s safe to say, Orion’s Reign has not only lived up to my expectations, but they have also completely shattered them, and have produced the best symphonic power metal album of the year, as well as one of the best in recent years. It’s a consistently excellent album, with nicely varied songwriting, a great use of symphonic elements, and excellent guest vocals on a few tracks. Highly recommended for any power metal fan looking for something especially epic, as well as symphonic power metal fans looking for something similar to Rhapsody of Fire at their best, while still doing more than enough to stand out.

originally written for myglobalmind.com: https://myglobalmind.com/2018/10/19/orions-reign-scores-of-war-review/

DIRE PERIL The Extraterrestrial Compendium

Album · 2018 · Power Metal
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DippoMagoo
American power metal band Dire Peril is a group I have known of for over four years, first hearing their second EP Queen of the Galaxy back in 2014, but they had never made such an impression on me up until now. First off, a lot has changed since my initial experience with the band. For three EP’s, mastermind Jason Ashcraft had been working with a full band, including Imagika vocalist Norman Skinner. I only heard the one aforementioned release and found it to be solid, but unspectacular. However, in 2015, Jason took some time away from the band, before eventually regrouping and decided to work as a duo, bringing in Judicator vocalist John Yelland. I have experience with both current members of the band from other projects, discovering Jason’s other band, Helion Prime with their solid self-titled released in 2016, as well as hearing John in three different bands, with the most recent Judicator release, The Last Emperor, being one of my favorite power metal releases of 2018. With these two working together, along with some guest musicians, and two major guest vocalists, I was excited to see if Dire Peril could finally reach their full potential. Now that their full-length debut, The Extraterrestrial Compendium, has arrived, it’s safe to say I won’t be forgetting about this band again any time soon!

Based on the EP I had heard, the band had initially been more of an all-out aggressive power/thrash band, where The Extraterrestrial Compendium is a much more varied, more challenging and more dynamic release. There’s definitely still traces of thrash in many of the riffs, particularly on tracks like “Total Recall” and “Roughnecks”, but there’s also a surprising amount of softer sections, including two ballads, as well as a fair amount of classic heavy metal guitar work, which often brings to mind classic Iron Maiden. I can definitely see the aforementioned band, as well as Iced Earth, being two major influences on this release, but there’s certainly enough fresh ideas here for the album to stand on its own. For the most part, this is an album full of hard hitting, fast paced power metal, with the guitars being the main focus, and often being very aggressive as well as quite technical. Jason’s lead guitar work is excellent throughout the release, and there are also several solos from guest musicians, which are all very well done. This is a very heavy album overall, but it strikes a perfect balance between more intense passages and calmer passages, sometimes within the same track, or sometimes with some very wise track placements. Songwriting is excellent all around, sometimes being direct and instantly engaging, other times being a bit more subtle, and there’s a couple tracks with some slight prog leanings, particular the closing track “Journey Beyond the Stars”. The key, though, is that each song is amazing in its own right, and they all flow nicely together. There’s an overall concept, with each track featuring lyrics based on classic Sci-Fi films, such as Predator, E.T., Starship Troopers and 2001: A Space Odyssey.

One reason I wasn’t overly thrilled by Queen of the Galaxy back in 2014, was former vocalist Norman Skinner, whose voice and style just didn’t match my tastes at all, and so I struggled with most of the vocal parts. Thankfully, that is not an issue here, as I’ve been a fan of John Yelland since I first heard him with Disforia, back in 2011, and his vocals have only improved greatly ever since then. While I’ve enjoyed his vocals on the past few Judicator albums, I think his performance on this album is by far his best to date, as he gets to show more aspects of his voice than ever before, and he does an excellent job throughout. His usual, super smooth mid-range vocals are in full effect here, but he also gets to sing a lot deeper than normal on many of the thrashier sections, singing very powerfully and fitting the music perfectly, and he also throws in some epic falsettos from time to time. On the ballads, he sings softer than usual, and puts a lot of emotion into his performance, to help enhance the songs. Overall, this is easily the best, most dynamic performance I’ve ever heard from him.

While I wasn’t overly fond of the vocals on the one EP I heard in the past, I found the songwriting to be fairly enjoyable, and so I was hoping Jason could do a great job of writing songs for a full-length album, especially now that he was working with a singer I prefer. It’s safe to say, he succeeded big time, as the songwriting on this release is both consistently excellent and quite varied, managing to keep me fully engaging throughout, without ever feeling predictable. Opening track “Yuatja (Hunter Culture)” gets things off to a great start, opening with some nice classic heavy metal guitar leads, before picking up the pace and turning into a full throttle, hard-hitting power/thrash track, which definitely brings Iced Earth to mind, in the best way possible. It’s a fast-paced track, with some very good thrashy riffs, and John instantly gets to show off some deep and powerful vocals, which give way to an epic chorus, where some of those classic heavy metal leads return, and then they become a focus once again during a great solo section. It’s an awesome track overall, with a perfect blend of power/thrash and classic heavy metal. Speaking of heavy metal, the next track, “Planet Preservation” has quite a bit of that, especially during its epic, slow but very melodic chorus, where the guitars have a strong Maiden influence to them. Throughout the verses, it’s a slow paced, hard-hitting crusher of a track, but it opens up big time for an amazing chorus. Next is “Enemy Mine”, which starts off with some nice soft guitar work, before settling into a nice rhythm, moving at a somewhat fast pace, without ever fully going all out. It’s a more mid-paced track, with some hard-hitting riffs and powerful vocals throughout the verses, which lead into another very melodic and catchy chorus. In fact, it’s one of the more fun choruses on the album, for sure, and the extended guitar solo is also quite strong.

The first big change of pace comes next with “The Visitor”, the first of two ballads on the album. It’s a largely acoustic track, which moves along at a nice pace, with some very soft yet very emotional vocals from John, where he pushes for some higher notes during the chorus, and does a great job, as always. The song manages to stay engaging throughout and ends with some excellent guitar work and some very powerful vocals, which help bring the song to the next level. Following that track, the pace picks up considerably for the next while, starting with “Total Recall”, an all-out speedy power/thrash assault, based on the film of the same name. It’s one of the heaviest, most furious tracks on the album, with blistering lead guitar work and a great, super fun chorus. Next is “Queen of the Galaxy”, a song I had heard before, as it was the title track of that particular EP. It’s a mid-paced, slightly upbeat track with some nice melodic guitar leads, fun verses and a very melodic, super catchy chorus, which certainly works much better now, with John singing it. Throughout the verses and chorus, John is accompanied by Unleash the Archers vocalist Brittney Slayes (who was also on the original version) and the two sound great together, with the latter lending her powerful, yet super smooth vocals to the track. Next is another fast and furious track in “Roughnecks”, which if anything is even more intense than “Total Recall”, as John uses some crazy falsetto vocals during the verses, and the riffs are just as fast and as violent sounding as ever. It’s definitely an extremely fun, if brief, track, and it sure packs in a ton of energy and power within a short amount of time. From shortest to second longest we go, as “Blood in the Ice” is next, and it’s a sort of mini-epic, based on The Thing. It has a very thick atmosphere to it, starting off with some soft but slightly sinister acoustic guitar work, before picking up the pace and turning into an epic, hard-hitting progressive power metal track, with some more excellent guitar work. It largely moves at more of a mid-paced tempo, before going all out for another very fun, super catchy chorus. There’s a lot of tempo changes throughout, as well as some extended softer passages, which are very effective, and help make the heavier passages all the more effective, by providing a great contrast. Overall, it’s definitely one of the best tracks on the album, as well as one of the most epic, and the vocals are very dynamic and absolutely terrific throughout.

Moving towards the home stretch, lead single “Heart of the Furyan”, again starts off with some dark, soft guitar work, before quickly speeding up and turning into another all-out power/thrash assault. It’s another very hard hitting, blazing fast track, with aggressive verses and a very melodic, epic chorus, again doing an excellent job of mixing together thrashy riffs, epic solos, and some great melodic leads. The highlights keep coming with “Altair IV” The Forbidden Planet”, another fast-paced track, which again has some great melodic leads. It never quite gets as intense as some of the other faster songs, but it still has some great guitar work throughout, as well as bursts of aggressive riffs, and another strong chorus, as well as an outstanding guitar solo. The second ballad of the album is “Always Right Here”, where the guitar work has a very Metallica feel to it, starting out very soft, yet kinda cold, before slowing building up to an intense and epic chorus. John again does an excellent job, and it’s yet another excellent track, with an amazing guitar solo from Christian Münzner.

My most anticipated track going in was 9 minutes closer, “Journey Beyond the Stars”, not just because I tend to love epic length tracks, but also because it features Ayreon mastermind Arjen Lucassen, who provides some guitar work, as well as some lead vocals. It is indeed the most progressive track here, starting out with an extended instrumental section, before settling into a calm, slow pace. It’s a fairly slow paced song throughout, with some extended softer passages, and it has another very melodic, fantastic chorus early. Around the midway point, there’s a sequence with some intense guitar work, and from there the song changes a bit, becoming a bit heavier, while still maintaining a fairly slow pace. It’s a track filled will some great instrumental work as well as a great chorus, but I was most interested in Arjen’s contributions, and as a fan of his singing, who has been disappointed with how little he’s been using his voice in recent years, I must say this track had me absolutely thrilled from the first time I heard it! Arjen gets to sing quite a bit, using his soft, warm voice during the early parts, before getting a bit more intense in the second half, singing with more intensity than I’m used to hearing from him, and it works wonderfully. John is, of course, fantastic as always, and overall, it’s definitely an amazing track in its own right, as well as being a perfect way to end the album.

Sometimes, a band I expect very little from at one point in time will go all to produce something truly amazing in the future, and that is exactly what has happened with Dire Peril! When I first heard the band in 2014, I saw some potential for greatness, but I wasn’t sure if they could ever fully get there. With their full-length debut, The Extraterrestrial Compendium, they have gone above and beyond my expectations, producing one of the best power metal albums of the year, which manages to be both very dynamic and consistently engaging throughout. I especially recommend it for fans of the harder hitting, more guitar driven side of power metal, as there’s a ton of thrash influence here, as well as a fair bit of classic heavy metal and some slight prog leanings. Everything is done well, with vocalist John Yelland giving the best performance of his career, and overall, it’s an amazing album from start to finish.

originally written for myglobalmind.com: https://myglobalmind.com/2018/11/10/dire-peril-the-extraterrestrial-compendium-review/

GUARDIANS OF TIME Tearing Up the World

Album · 2018 · Power Metal
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DippoMagoo
Over the years, I have discovered quite a few bands that failed to make much of an impression on me at first, only to come back to them somewhere down the road and suddenly find myself hooked on their music. One such example is Norwegian power metal band Guardians of Time. My first time hearing the band was with their 2011 release A Beautiful Atrocity, which initially did very little for me, and left me quite unimpressed. However, when the band released their next album, Rage, and Fire, in 2015, I decided to give them another shot, and this time around I found myself instantly wowed by their brand of hard-hitting, fast-paced power metal. It turns out, that one release I tried before had been a bit experimental, and even to this day, while I certainly enjoy it more than I did initially, it still remains my least favorite by the band. Now, three years after me becoming a fan, the band is set to release their fifth full-length release, Tearing Up the World, and this one is certainly more of an instant classic than any of their others I’ve heard, so far!

The band has changed their sound quite a bit over the years, but on their previous album they played a very aggressive, guitar-driven brand of power metal, similar to what one would expect from a German band, and this has continued with Tearing Up the World. In fact, this is definitely the fastest paced, most intense album I’ve heard by the band so far, with the majority of the tracks being very up-tempo while striking a perfect balance between frantic verses and very melodic, catchy choruses. There’s some slightly thrashy guitar work at points, as well as brief bursts of harsh vocals, most notably on “Valhalla Awaits”, but for the most part, this is about as pure a power metal album as you’ll ever hear. Performances are strong across the board, with the crunchy guitar work, in particular, being a highlight, with a mix of excellent riffs and grand solos, while the drums are also quite interesting and rather complex at times. Songwriting is excellent across the board, and while the songs are generally fast and straight-forward, there are a couple slower tracks to serve as a nice change of pace, as well as just enough surprises thrown in to keep the album feeling fresh and inspired the whole way through.

One element of the band I needed some time to get used to is vocalist Bernt Fjellestad. At the time I first heard the band, I was not really into rougher power metal vocals, which was obviously a problem, because that’s exactly what Bernt does. He has a rather deep voice and can get very animated at times, coming pretty close to screaming at the top of his lungs on occasion, while generally being quite fiery and powerful. He can deliver choruses nicely and does so frequently on this album, and he also does a good job of singing softly from time to time, but for the most part, he sticks to being very intense, and he isn’t afraid to throw in some epic falsettos, either.

I’ve found past Guardians of Time albums to be a bit slow starting, but it’s safe to say, that’s not the case with Tearing Up the World. The album gets off to a blistering start with the explosive title track, which opens up with some hard-hitting riffs that would feel right at home on a modern melodic death metal album, and indeed we get our first glimpse at some brief harsh vocals during the second verse. The song overall is fast, intense, and has an excellent chorus, as well as a fun solo section, and it certainly gets the album off to a strong start. The pace drops slightly on “Raise the Eagle”, a lighter, more melodic track, which introduces some light keyboards. It has a very classic power metal sound to it, alternating between mid-paced verses and a fast, very melodic chorus, and it has one of the most melodic and impressive solo sections on the album. Next is “We Bring War”, a hard-hitting song, which also had fairly slow verses, before speeding up for a frantic and intense chorus, which stands as one of the bands on the album.

The album only picks up further with “The Burning of Rome”, one of the fastest tracks on the album, slowing down briefly during the first verse, before picking up the pace and never looking back. It has probably the catchiest, the most epic chorus on the entire album, as well as one of the more relaxed performances from Bernt, which ends up paying off in a big way. Following that, “Kingdom Come” is even speedier and doesn’t slow down at all, with some excellent rhythm guitars and drums throughout, as well as a very frantic but melodic chorus. It’s short, but definitely one of the most addictive tracks on the album. The first curveball comes next, during “Valhalla Awaits”. The song itself is typical high energy power metal, as always, with some very fun, melodic verses, but it’s during the chorus where it takes a surprising turn. The guitar work stays very melodic throughout, but the vocals are performed by former Immortal vocalist Abbath, who uses his usual blackened growls. Honestly, I usually don’t mind harsh vocals in power metal, but I find the vocals really clash with the melodic chorus here, and if anything would fit better on the verses, or even on one of the heavier tracks on the album, such as the title track or “We Bring War”. To have placed them on such a melodic track feels like a bit of a mistake to me, and causes the song to be my least favorite, even though the rest of the track is still up to the excellent quality of the rest of the album.

After that slight disappointment, the band bounces back with yet another super fast track in “Brothers of the North”, this time offering up some very intense verses, before giving way to one of the most melodic and well-sung choruses on the album, making it an instant favorite. The last run through is especially inspiring, and overall it’s simply an addictive track. In case anyone thought the band was incapable of slowing things down, “Light Won’t Shine” comes in to offer a sledgehammer to the head of that theory. Indeed, it’s a slow but very hard-hitting crusher of a track, with some especially hard riffs during the verses, giving way to an excellent chorus. It’s both a nice change of pace and an excellent track on its own. Next is “As I Burn”, the other track on the album to feature guest vocals. It’s another speedy track, with slight thrash influences to the guitar work, which fits perfectly as the guest here is Tim “Ripper” Owens, using his typical falsetto vocals to great effect. There’s a nice guitar solo near the end, with some slight Maiden influences, and overall it’s another excellent track. The second and last slower song on the album is “Drawn in Blood”, a very folk-influenced song, with some folk melodies thrown into the guitar work. It’s the most relaxing track on the album, with some excellent melodies, as well as some more lighter vocals from Bernt, and while it’s fairly short-lived, it’s certainly a very fun, catchy track, and stands as my personal favorite, just because it’s such an effective change of pace, and because I love the folk melodies. Closing out the album is “Masters We Were”, another fast-paced track with an excellent chorus, and some excellent melodic guitar work, as well as probably the best solo section on the album. It closes out the album in great form and is another one of my personal favorites. As a bonus, the band has offered up a live performance of “Empire”, a track from Rage and Fire, and it’s a fine performance, with everything sounding near identical to the studio version.

I was hoping for Tearing Up the World to be a fun, hard-hitting power metal album, and it’s exactly that, except with a few nice surprises thrown in, as well as one slight misfire. Aside from that one chorus, though, the album is excellent the whole way through, giving listeners plenty of excellent fast and furious power metal moments, as well as a couple very effective slower tracks. It’s my favorite Guardians of Time album to date, and one that can easily be recommended, both to fans of the band as well as to anyone looking for some great guitar driven power metal, as it’s definitely one of the best released this year.

originally written for myglobalmind.com: https://myglobalmind.com/2018/10/13/guardians-of-time-tearing-up-the-world-review/

SHAMAN Ritual

Album · 2002 · Power Metal
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martindavey87
Formed by former Angra frontman Andre Matos, Shaman is another one of those typical power/progressive metal bands that are pretty unknown and only have small, cult followings to go by. I’d seen ‘Ritual’, their 2002 debut album, pop up on a number of websites such as Amazon and eBay, where it was being compared to prog metal pioneers Dream Theater, and while I was never under any illusion that they were as good or prominent, it just seemed like they were a bit of a cult band that had something special to offer.

Unfortunately they’re not really anything out of the ordinary when it comes to this kind of music.

That’s not to say they’re bad, in fact, ‘Ritual’ took quite a few listens to get used to, but it’s actually a pretty decent album. It’s not overly “progressive”, but is definitely a typical power metal record with fast, upbeat songs (with an almost “happy vibe”), incredible musicianship, and in fairness, Matos vocals are damn impressive too. The tracks are all well produced, and with solid songwriting that takes influences from Brazilian music, it’s an interesting enough debut, if not generic, but still pretty good none-the-less.

Tracks like ‘For Tomorrow’, ‘Distant Thunder’, ‘Time Will Come’, ‘Here I Am’ and the title track are all pretty good songs that are definitely worth a listen if you’re into this kind of thing. While most of them employ the usual traits of the genre, there are a few moments that do make Shaman stand out. ‘For Tomorrow’ has a very nice, tribal sound, with some interesting vocals and guitar work, while ‘Time Will Come’ has some very tasty, speed metal-inspired riffs.

Shaman aren’t anything particularly unique or innovative, and while it took a fair amount of time to get into, I’m glad I stuck it out, because ‘Ritual’ is a pretty solid debut that shows a band that certainly has potential to improve.

KAMELOT Karma

Album · 2001 · Power Metal
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martindavey87
Power metal has always been the ginger-haired stepchild of metal. It’s cheesy, and full of corny lyrics about mythical lands and beings going on wondrous adventures. Lame, right? But occasionally, a band comes along who does away with the speed-metal roots and wailing vocals of the genre, and releases something with a bit more depth and substance.

Enter Kamelot, with their fifth studio album, 2001’s ‘Karma’, the group have really hit their stride, with a refined sound and more polished song writing, this is where the band truly begin a streak of strong releases that establishes them as one of symphonic metals true champions.

Building upon what they’d started with 1999’s ‘The Forth Legacy’, ‘Karma’ has a very rich sound that gives the band an amazingly fantastical feel. Brimming with lavish orchestrations and exotic musical influences, Kamelot have slowly stepped away from the medieval themes of past albums and gone for a more varied, worldly sound, and it works well with their upbeat and energetic performances. Special mention must go to vocalist Roy Khan, who’s incredible voice works very well with the music and gives it a warm and wholesome sound.

With highlights such as ‘Forever’, ‘Across the Highlands’, ‘Wings of Despair’, all three parts of a trilogy entitled ‘Elizabeth’, and the beautifully emotional ‘Don’t You Cry’, it’s clear that here is a band who, after a few albums tweaking their sound, have finally found their identity and established a style befitting a band named after the home of the legendary King Arthur. Kamelot may not be for everyone’s tastes, but if you’re okay with a bit of fantasy and majesty in your music, then this is definitely worth checking out.

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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