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

power metal top albums

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HELLOWEEN Keeper of the Seven Keys Part II Album Cover Keeper of the Seven Keys Part II
HELLOWEEN
4.49 | 114 ratings
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LOVEBITES Clockwork Immortality Album Cover Clockwork Immortality
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4.71 | 10 ratings
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JUDAS PRIEST Painkiller Album Cover Painkiller
JUDAS PRIEST
4.48 | 121 ratings
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SABATON Heroes Album Cover Heroes
SABATON
4.80 | 7 ratings
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HELLOWEEN Keeper of the Seven Keys Part I Album Cover Keeper of the Seven Keys Part I
HELLOWEEN
4.43 | 94 ratings
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SEVEN KINGDOMS Brothers of the Night Album Cover Brothers of the Night
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4.72 | 7 ratings
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NIGHTMARE The Dominion Gate Album Cover The Dominion Gate
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4.80 | 5 ratings
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3 INCHES OF BLOOD Fire Up the Blades Album Cover Fire Up the Blades
3 INCHES OF BLOOD
4.62 | 8 ratings
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ARMORY Empyrean Realms Album Cover Empyrean Realms
ARMORY
4.68 | 6 ratings
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TRIOSPHERE The Heart of the Matter Album Cover The Heart of the Matter
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4.67 | 6 ratings
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4.50 | 12 ratings
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ETERNITY'S END The Fire Within Album Cover The Fire Within
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4.66 | 6 ratings
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power metal Music Reviews

HAMMERFALL Dominion

Album · 2019 · Power Metal
Cover art Buy this album from MMA partners
DippoMagoo
Swedish heavy/power metal band Hammerfall have become very reliable over the last 22 years, releasing one great album after another, without showing any signs of slowing down. They first splashed onto the scene in 1997 with their critically acclaimed debut, Glory to the Brave, and ever since they’ve been both very prolific and consistently entertaining, proving themselves to be one of the absolute best in their field. While I tend to enjoy some of their albums more than others, they always manage to have their fair share of excellent tracks on every release, and so I always look forward to hearing new music from them. I was particularly impressed by their previous release, Built to Last, which proved to be a big return to form following the much-reviled Infected, and the solid but somewhat underwhelming (r)Evolution. Their eleventh full-length release, Dominion, is nearly here, and after several spins, I can safely say it not only improves upon its already excellent predecessor, but it’s an amazing album in its own right and one that can easily stand toe to toe against any of the band’s best works!

Hammerfall has a pretty distinct sound at this point, striking pretty much a perfect balance between 90’s-early 2000’s Euro power metal, with slight modernization here and there, and some classic heavy metal. The only album that didn’t quite fit that description was Infected, which had a much darker, slightly heavier and more modernized sound, overall. Dominion, however, continues where Built to Last left off, showing the band at their most melodic, and the most energetic they’ve been in quite some time, channeling their younger selves at times, while still having some sight modern twists, as well as a couple of their heaviest songs to date. The guitar work is, of course, excellent, as always, with some amazing melodic lead guitar work, some great solos, and some very heavy riffs, and while there are times where the music takes a slightly modern twist, for the most part, the songs have a very classic feel to them, which works perfectly. There are a few points where the music approaches Infected levels of heaviness and darkness, but the band always counters it with some excellent, uplifting vocal melodies, and so anyone turned off by that release should not be disappointed by this one. As far as pacing goes, the album is very much what any Hammerfall fan should expect from the band, with a perfect mix between speedy power metal, some slower, hard-hitting heavy metal, a couple of tracks which alternate between the two, and a couple of ballads. Perhaps the strongest aspect of the release, though, is the vocals, with Joacim Cans sounding clearly at the top of his game, delivering the kind of epic, soaring power metal vocals he’s always excelled at, and especially shining during the choruses, which are easily some of the band’s catchiest, most melodic and just plain best in quite some time. Production and performances are of course excellent across the board, as always, and everything sounds perfect.

Leading up to the release, the band has delivered three singles, all of which would suggest a move away from their typical power metal sound, though all three of them are excellent tracks, in their own right. First up, lead single “{We Make} Sweden Rock” is a rather upbeat, moderately paced heavy metal track, with a slight hard rock feel to it. It has some nice heavy riffs throughout the verses, which give way to a very melodic, extremely catchy chorus, and while the lyrics may be a bit cringy for some, the performances and overall songwriting are more than strong enough to help make it a winner, and the guitar solo and chanting in the second half are quite excellent. The second single is “One Against the World”, which starts with some pretty cool modern sounding keys, before slowing down and turning into one of the band’s heavier tracks. The verses plod along at a slow pace, but with some very powerful guitar work, and they do a great job of building towards the typically great, uplifting chorus. The track picks up in the middle, with an epic speedy section that brings classic Iron Maiden to mind, and then it only speeds up further from there, going into full power metal territory for a truly awe-inspiring final run through the chorus. The third and most recent single is the title track, another very hard-hitting track, with a killer lead riff that falls somewhere in between Black Album era Metallica and classic AC/DC, as well as being some of the band’s most brutal guitar work ever, aside from Infected. The track moves along at a fairly slow pace, with calm, melodic verses, enhanced by some cool choir vocals chanting the name, and then the chorus comes in and is beautiful, with some of the band’s best vocal melodies of all time, and some very funny lyrics. The solo section in the middle is also epic and brings back some of the heavy riffs from early on. Overall, it’s my favorite song on the album, as as well as probably my favorite heavy metal track they’ve ever made, aside from maybe “Patient Zero”, from Infected.

The singles may cause fans to expect less power metal on the album, but thankfully that is not the case at all. First up, we have the explosive opener, “Never Forgive, Never Forget”, which starts with a nice soft intro, where the music immediately gives off a slight old Western vibe, and this remains throughout the entire track. Following that intro, the tempo immediately picks up, with the verses galloping along at a fast pace, while the chorus is very fun, melodic and quite fast-paced, with the track only briefly slowing down for some nice instrumental work in the second half, followed by an extremely fun and intense vocals section, which gives way to some great solos. Two tracks later, “Testify” is the heaviest of the power metal songs here, moving at a fast pace throughout and delivering some pretty crushing riffs, with a slightly modernized sound, overall. The highlight of the track is the chorus, with some pretty cool gang vocals delivering the title. It’s very fun and intense track, overall. On the more melodic side of things, “Scars of a Generation” has a very classic Hammerfall feel to it, moving at a nice pace with some moderately paced verses, before going full throttle for a very speedy, yet extremely melodic chorus, which is sure to please many power metal fans. It’s a very fun track, with some awesome vocal melodies, and is one of my favorites. The last two speedier tracks on the album are “Bloodline” and “Chain of Command”, both of which strike a nice balance between being fast-paced, melodic and having some heavy riffs and very melodic, catchy choruses, as well as some great instrumental work during the solo sections. Both tracks also have some excellent choral vocals throughout, and both are excellent tracks, overall.

Aside from the singles, the only real heavy slower track is “Dead by Dawn”, which has more of a classic Hammerfall sound to it, with some pretty heavy riffs during the verses, but with more of a traditional feel to them, while the chorus is quite fun and intense, and has some more great choral vocals. On the softer side, Built to Last ended with the incredible power ballad “Second to None”, which the band decided to follow up on this release with “Second to One.” While this track isn’t quite as epic as the aforementioned masterpiece, it’s still a very nice ballad, starting with some nice piano work and vocals, which remain throughout the first two verses and chorus, before guitars take over for a very emotional solo. The chorus is excellent, and the verses do a good job of building up to it, while the instrumental work is excellent. It doesn’t have any speedier passages or any real metal elements, at all, unlike “Second to None”, but it’s an excellent ballad, in its own right. Closing out the album is the second ballad, “And Yet I Smile”. This one starts with some excellent melodic guitar work, and it’s a slightly heavier track, overall, with some nice bursts of heaviness, particularly in the second half, while still clearly falling into power ballad territory. It balances nicely between soft and heavy sections, with Joacim delivering some brilliant vocals throughout, especially during the chorus, the instrumental section is extremely well done. Overall, it’s a very strong, if somewhat predictable, way to end the album.

For the longest time, I used to consider Hammerfall as one of those “singles” bands, where each of their albums would have maybe 2-5 excellent songs I played over and over, while ignoring the rest, but over time I’ve grown to enjoy almost all of their work, and while some of their albums do still feel a bit inconsistent, the band has proven their ability to deliver some great, more consistent releases over the years. Dominion is yet another triumph, with some of their best tracks to date, including some excellent speedy power metal, some slow, crushing heavy metal with excellent vocal melodies, and a couple of excellent ballads. Longtime fans of the band should be very pleased, while anyone looking for some fun heavy/power metal is highly recommended to give this album a shot, as it’s one of the band’s best works to date!

Originally written for myglobalmind.com: https://myglobalmind.com/2019/08/10/hammerfall-dominion-review/

SABATON The Great War

Album · 2019 · Power Metal
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DippoMagoo
Sometimes, even my favorite bands will leave me a bit disappointed, which happened with Swedish power metal band Sabaton in 2016. They’ve been among a short list of my few absolute favorite metal bands for close to 10 years now, so I always have sky high expectations for them, which means even an album that could merely be called “very good” instead of “incredible” will leave me feeling somewhat disappointed. Sadly, that’s what happened with their sixth full length release, The Last Stand, as while it was still a highly enjoyable release, with a few particularly amazing tracks, it felt a little low in energy and inspiration compared to normal, and it had some songs that simply never grabbed me the way the band usually does. Despite that slight setback, I was excited when I heard the band had a new release coming in 2019, and I was hoping they could get back on track and blow me away once again. Early indications, from the first single as well as hearing the concept of the album, had me very optimistic, and now that I’ve listened to their seventh full length release, The Great War, 20+ times, I can officially say that whatever happened last time did not happen again, as this release represents the Swedes at their best, most energetic and most fun, while also having some truly powerful and awe inspiring moments!

There was a slight lineup change in between albums, with guitarist Thobbe Englund departing and being replaced by Reinxeed singer/multi-insturmentalist Tommy Johansson, who of course does a fantastic job, as always. I’m not sure if it’s specifically because of his presence, or just a general burst of inspiration, but the performances on this release feel even stronger than normal, with some otherworldly good melodies at times, as well as some of the most inspired solos I’ve ever heard from the band. They’ve always been known to have some incredible memorable choruses, but on The Great War, even the verses are infectious, as well as the bridges. In fact, there really isn’t a moment on the entire album that isn’t memorable or epic in some way or another. With all that being said, though, it’s still fairly similar to their previous few releases stylistically, in that the tempos are generally a bit more restrained compared to some power metal bands. In fact, the tempo rarely goes full speed on this release, aside from on a couple tracks, but instead, most tracks end up feeling fairly upbeat and move along at a pretty nice pace, without fully speeding up. It very much reminds me of Heroes, with how the songs are short, straight to the point and move along at a good pace, with each track having plenty of memorable moments, while all going by quickly enough to let the album flow from highlight to highlight.

As with many of their previous releases, The Great War is a concept album, and in that regard, the band has really gone above and beyond with how well they’ve covered their main theme. Obviously, all Sabaton songs (with a few exceptions) are about historic battles in one way or another, with most albums tending to focus on one specific theme. This time around, they’ve chosen to make an entire album focused on World War I, which is obviously a very important, logical topic for the band to tackle, and they’ve done it perfectly, covering many important moments, as well as historical figures, units and the like. While all their albums have very good lyrics, I think this one might have their best yet, just due to the important of the topic, as well as because of how well they’ve covered it. The album really feels like it flows together perfectly, and the concept helps everything to feel unified, while still allowing each track to stand out in their own way, which is pretty much exactly what I want from a concept album. Obviously, the production is as perfect as always, all musicians do an amazing job as always, and Joakim Brodén’ deep, powerful yet melodic vocals are as epic and amazing as always.

While I’ll always love Sabaton’s core sound and Joakim’s voice, their songwriting tends to be one of their biggest strengths, as well, so I was hoping The Great War would deliver in that area, after The Last Stand was a bit disappointing, and thankfully it does. Similarly to Heroes and The Last Stand, it’s a fairly short album, containing 11 tracks and clocking in at just under 39 minutes, which causes the tracks to fly by in a hurry, and of course that also makes it very easy to play the album several times over in one sitting, to really dig deep into it. Kicking off the album is “The Future of Warfare” a fairly slow paced, atmospheric track with some excellent keys throughout. The verses move along fairly slowly, but are filled with some very strong vocal melodies, while the chorus opens up and is very fun and epic, as always, while the solo section in the second half is very energetic and a lot of fun. It’s a very catchy, very enjoyable opener, and it kicks the album off quite well. Next is “Seven Pillars of Wisdom”, a slightly speedier track, with a very classic feel to it, including a main melody that feels like it could have come straight from the band’s “Metal” trilogy of songs, spread across their first two albums and Coat of Arms. This feel is especially true for the main keyboard melodies, and it sticks around for most of the song, while the guitar work is a bit heavier than on the opening track, the verses move along at a pretty nice pace, the chorus is extremely infectious and catchy, the bridge is awesome and very inspired, and of course the guitar solo in the second half is excellent. It’s an awesome track, overall, and an early album highlight.

Things only get better with “82nd All the Way”, another speedier track with some excellent keyboards, as well as some nice melodic guitar work. It moves along at a slightly relaxed, but nice pace during the verses, with more excellent vocal melodies, and then the chorus is quite fast and it’s simply a treat, with some awesome keys, awesome vocals and some amazing melodies, and just like the previous track, there’s an excellent bridge, which gives way to a very melodic and fun guitar solo in the second half. The first real slow track on the album is “The Attack of the Dead Men”, and it has a slightly unique feel to it, with much darker, more atmospheric sounding keys, and indeed the track has a fairly grim feel to it overall, and the band pulls it off quite well, with slow, but heavy verses and a fairly strange but quite interesting build up to the chorus, which is of course every bit as upbeat, melodic and super catchy, as always. The track has a particularly inspired instrumental section, which goes on for quite a while, with some very classic sounding melodic guitar work, as well as possibly the heaviest, most technical passage on the album and it’s one of the highlights of the album for sure. Next is “Devil Dogs” and it’s yet another instant classic. It again has a familiar feel, opening with an epic tease at the chorus, before the pace picks up during the opening verse, which contains some very epic choir vocals, as well as some heavy riffs, and the song moves along at a nice pace, with another huge, epic chorus, as well as a very fun instrumental section, preceded by an epic, triumphant vocal section, which is followed by an over the top, but quite funny voice over, as well as more excellent solo work.

Next is second single “The Red Baron”, and some fans may not have heard the normal album version yet (for reasons I’ll explain near the end of the review), which contains an epic hammond organ recreation of Johann Sebastian Bach’s “Little Fugue in G Minor” during the intro. Following that, the track introduces a rather playful keyboard melody, that has a bit of a swing feel to it, and it carries on throughout the track, giving the track a very cheerful feel. The song moves along at a fast pace, with very fun verses, one of the catchiest choruses I’ve heard so far this year, and it has yet another excellent instrumental section, with more playful keyboards and some excellent melodic guitar work. Following that is third single, “Great War”, which is one of the slowest, yet also most epic tracks on the album. It moves along at a slow pace during the verses, with more atmospheric keys and strong vocals from Joakim, and then the chorus is of course unbelievably powerful and epic, with strong symphonic elements and some excellent choral vocals, to help give it a more dramatic feel. The pace picks up again with “A Ghost in the Trenches”, which is one of the faster tracks on the album, with a nice gallop to the verses, as well as another very upbeat, very fun chorus, and more great instrumental work throughout. It’s definitely one of the catchier songs on the album.

The band did something which I think may be unprecedented with lead single “Fields of Verdun”, by having cello metal band Apocalyptica record a cover, and then releasing that cover a couple days before the release of the original track, itself. The cover was actually an amazing, very beautiful and atmospheric piece, with a nice use of varying tempos, while the Sabaton version is fairly straight-forward, very fast paced and quite fun, with an excellent, super catchy chorus, a very strong guitar solo, and fun verses. Both versions of the song are excellent, and it’s easy to see why it was picked as the first single. The last full length song on the album is “The End of the War to End All Wars” and it’s another very epic track, opening with some soft piano and slight symphonic elements, before turning into a full blown symphonic metal track, which gets more and more epic as it goes on, complete with some orchestral elements and some very epic choir vocals. It’s definitely one of the most epic, cinematic tracks the band has done, while still fitting their style perfectly. Verses are fairly dark, atmospheric and a bit heavy, while the chorus is extremely fun and theatrical, with the choirs taking full charge, and there’s a very epic, classical flavored guitar solo in the second half (I suspect it is taken from a classical piece, but I can’t figure out which it is) and overall it’s a very beautiful, powerful track, which gives way to an outstanding ending to the album. This outstanding ending comes in the form of “In Flanders Fields”, a choral performance of the classic poem, written by Canadian Lieutenant-Colonel John McCrae. It’s a very beautiful cover, done entirely a Capella, with a choir, and it’s an absolutely wonderful way to end the album.

Before concluding this review, I’d like to point out that there are actually two version of the album: A normal version, which has all tracks uninterrupted, as well as a “History Version”, which includes some narration. The latter effectively makes the album feel similar to The Art of War, with a woman briefly introducing the topics for each track, and these narrations are fairly brief, so as not to disrupt the flow too much, while giving a bit of insight and historical context for each track. For the most part, the songs themselves are exactly the same on both versions, except that the History Version removes the Hammond organ intro for “The Red Baron”, and that’s the version the band used for their video. I generally prefer the normal version, for its overall flow, but the History Version is definitely worth a listen or two, for the narrations.

Sabaton will always be one of my all time favorite bands, with even a disappointing album like The Last Stand still managing to entertain me time and time again. Thankfully, though, The Great War is a big return to form, containing the same mix of speedy and slower tracks as Heroes, along with the seamless flow of that album, moving from highlight to highlight, while also having a very important concept, and executing it to perfection, with optional narration, excellent lyrics, and a stunning ending sequence. At the same time, there are plenty of amazing individual tracks here, as well, so anyone just looking for some addictive power metal, with little care for the lyrical themes, will also find a lot to enjoy here. It’s too early to say where it ranks among my all time favorite albums, but The Great War is definitely one of my top three favorites from Sabaton, along with The Art of War and Heroes, which is already saying a lot, and it’s far and away the best album I’ve heard in 2019 so far, with any upcoming releases having next to zero chance of topping it.

originally written for myglobalmind.com: https://myglobalmind.com/2019/07/15/sabaton-the-great-war-review/

BEAST IN BLACK From Hell With Love

Album · 2019 · Power Metal
Cover art Buy this album from MMA partners
Kev Rowland
Right after the departure from his former band Battle Beast, Beast In Black’s founder Anton Kabanen recruited new companions in the way of high-pitched vocalist Yannis Papadopoulos (Wardrum), bassist Mate Molnar (WISDOM), guitarist Kasperi Heikkinen (U.D.O.) and last but not least drummer Atte Palokangas (Thunderstone), who officially replaced Sami Hänninen in early 2018. Their debut, ‘Berserker’ was well received, and now they are back with the follow-up, ‘From Hell With Love’. With a similar name to his last band, as well as the cover artist who worked on the debut Battle Beast album, ‘Steel’, Kabanen is making sure everyone knows he is following in a similar vein of symphonic power metal. Some of these songs, or at least bits of the songs, are really very good indeed and show just what is possible, but as for the rest…

Okay, let’s agree to just take the keyboards out the back and put them in a crusher. There are just way too many Eighties sounds and styles for my brain to process and as for the beginning of “True Believer”, if anyone remembers “Popcorn” by Hot Butter and thought we never hear the like again, well you were wrong. As for the synth drum roll in the same song, combine this with the over the top sugar harmonies and I felt not only was I in a timewarp but I was about to be very ill. I keep reading rave reviews of this album so guess I’m in the minority again, but I know this will never again desecrate my eardrums.

MAJESTY Legends

Album · 2019 · Power Metal
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DippoMagoo
It can sometimes be very shocking, when a well established band, known for a very specific sound, suddenly decides to shift gears seemingly out of nowhere. It’s happened with countless numbers of well known bands before, and will almost certainly happen countless more times, as bands continuously look to evolve and distinguish themselves from everyone else. One band who always had a clear, distinct direction to their music is German heavy/power metal band Majesty, formed in 1997, and with eight albums in their discography (or nine, if you include their Metalforce album, which had a different name, but was largely similar to their other releases.) While the band had made some very subtle changes on some of their albums (such as the more laid back Sword & Sorcery, or the pure, intense knockout of an album that was Hellforces) their main sound was always immediately noticeable, falling somewhere in between classic Manowar and early Euro power metal.

So, when the first single for their upcoming ninth album, Legends, was released and proved to be a dramatic change in direction for the band, fans were shocked, and in some cases disappointed to hear the band seemingly abandoning their usual sound. Personally, I found the change interesting, as I do love the band’s earlier releases, and found their previous album, Rebels, to be easily their best since Hellforces, but a potential shift in sound didn’t bother me one bit, as long as they could pull it off well. Now that I’ve heard Legends several times, I am left with mixed feelings, as there are moments where the new sound works wonders and takes the band to new heights, but there are also some misguided experiments, as well as times where trying to mash old and new elements together don’t quite work out. The album ultimately feels like a new beginning for something that could pay off on future releases, but at least for now, the band hasn’t quite nailed their new sound down as well as their old one.

Longtime fans of the band were certainly in for a shock when they heard the rather cheesy keyboards used on lead single “Burn the Bridges”, and while not every song falls in line with that one, there’s certainly a lot more where that came from. On each of their previous albums, Majesty played a style of music that could best be described as a mix of classic Manowar and Euro power metal, with a bit more speed and intensity compared to the former, while at times being a bit more laid back than the latter, while still being very epic and melodic at all times. Their lyrics were often in line with their heroes, as indicated by such album titles as “Keep It True” and “Reign in Glory”, and so Legends is already a big chance of pace, being a concept album centered around a post apocalyptic wasteland, complete with little bits of narration. This is the first sign of trouble, as the album lacks some of the fun and wackiness of their past albums, while the narration is very forced and irritating, especially on the very skippable intro track, which gets the album off on the wrong foot.

Musically, the band still has traces of their classic metal sound, but the songs all have a more modernized feel to them, with keyboards aplenty, and some of the guitar work has a slightly chunkier, more modernized sound to it. I actually find the album works best when the band goes all in with their new sound, as they do have the ability to write some very fun, energetic tracks with a slightly more modern sound, and the speedier, more power metal focused tracks are especially strong on this one, while some of the tracks where they try inserting some of their classic elements to go along with the keys and overall more melodic approach, just don’t quite work out too well. Performances are still strong across the board, with the guitarists having some great moments, especially some really beautiful, melodic solos on many of the tracks, while vocalist Tarek Mahgary still sounds like a slightly lighter singing, deeper voiced version of Eric Adams, and his vocals are as excellent as always, while the production is also top notch.

The biggest area where the album comes up short is in the songwriting. There are some excellent songs here, but there’s also a few that come up just a bit short of greatness, as well as one that could only be described as a total disaster. Following the terrible intro track I already mentioned, the band comes out full guns blazing with “Rizing Home”, a speedy, hard hitting power metal with some great lead riffs, an excellent solo in the second half, fun verses and an absolutely incredible anthem like chorus, the likes of which they’ve always excelled at, though this may be one of their absolute best, especially with the infectious hook of “ruh-ruh-ruh-ruh Rizing Home”, which will never get old! It’s also a perfect example of how to pull off their new sound effectively, without fully abandoning their past, as it’s still very much a heavy, energetic metal track, but it mixes in some keyboards, though the key is they’re largely kept in the background and used to add an extra layer of epic, to what’s already a great track, and so they’re never dominant or distracting. Overall, it’s an absolute masterpiece of a track, and one which, sadly, the rest of the album can’t quite live up to.

Following that epic opener is lead single “Burn the Bridges”, another fine example of the band’s new sound. This one immediately gives off some Sabaton vibes, with the very cheesy keyboards, and it has a lighter sound overall, though it still moves along at a fast pace, with some very fun verses, an epic build up and then the chorus comes in and manages to be simultaneously a whole lot of fun, while also being one of the most annoyingly repetitive things I’ve ever heard on a metal track. I eventually came to love it, but the fact that it has to follow “Rizing Home”, which manages to be equally energetic, while having a much stronger chorus, does end up hurting it just a bit. The solo in the second half is excellent, though, and it’s a very fun track overall. Next is “We Are Legends”, and this one is a bit of a mixed bag. It has traces of the band’s classic sound, with an epic, fun chorus that brings “Rebels of Our Time” to mind, but at the same time, the chunkier guitar work during the verses feels a bit out of place, while the keys are a bit awkward sounding, and don’t mesh well with the overall classic vibe of the track. It’s a case of old and new clashing together in a way where everything just comes off feeling a bit muddled.

The album picks up for a while after that minor letdown, with second single “Wasteland Outlaw” laying down the blueprint for how to make a slower paced, more laid back heavy metal track with the band’s new sound, as it’s very light, very keyboard dominant and is one of the most relaxed and more melodic tracks on the album, with guitars playing a very minor role. At the same time, it’s a very enjoyable track, with an excellent, irresistibly catchy chorus and an excellent melodic guitar solo. Next is “Church of Glory”, another very keyboard driven track, though it’s a more upbeat track, with some very bouncy keyboard hooks during the verses, while the chorus has more of a classic feel to it, with some nice melodic guitar work, some insanely epic backing vocals, and awesome vocal melodies all around. It’s definitely one of the best, most fun tracks on the album, though some fans may be turned off by the over the top keys. Another strong track is “Mavericks Supreme”, which is very much in line with the previous track, though the keyboards are a bit more restrained, and if anything the chorus is even more epic and fun. It’s another fun, upbeat track, with incredible backing vocals, an excellent, very melodic guitar solo, and a nice use of keyboards. The final speedy track on the album comes two tracks later, with “Last Brigade”, and it’s another massive highlight, probably the best on the album aside from “Rizing Home”. It’s a fast paced, hard hitting track with some very aggressive guitar work, fast and furious verses, and an unbelievably uplifting, insanely epic chorus, with some more incredible melodies and backing vocals. It’s one of those tracks that fits in perfectly with the new sound, while still managing to have a slight throwback feel to it, and it’s absolutely amazing from start to finish.

Unfortunately, the worst moment of the album comes in between those last two tracks. Majesty are usually pretty good at ballads, with “Across the Lightning” from Rebels being particularly excellent, but it’s safe to say, “Words of Silence” is by far their weakest ballad ever, if not their absolute weakest song, period. It’s largely a piano ballad, with slight symphonic elements, but it struggles to get going right away with some rather awkward vocal melodies, and more alarmingly, an F-Bomb shows up early on, with more to follow later in the track. The thing is, swearing can be effective, if used on an angry, aggressive track, but on such a tame sounding ballad, it just feels forced and hopelessly out of place. Worse though, the second verse has an attempt at some very bouncy vocal melodies that come close to rap, and it’s just pure torture to listen to, while the chorus is better, and feels close to being good, but it just doesn’t quite get there: Something about it just feels a tad off, and so it never gives the emotional feeling it should. A nice guitar solo in the second half is really the only redeeming quality the track has, but otherwise (and I really hate to say this,) the track is an outright colossal failure, and one of the worst tracks I’ve heard so far this year, if not the absolute worst.

With that downer of a track out of the way, we move to the final two tracks, both of which are solid, but unspectacular. First up is “Blood of the Titans” a slightly upbeat, hard hitting track, with solid verses and a pretty epic, fun chorus, though it doesn’t reach the heights of most of the earlier tracks on the album, aside from another excellent guitar solo in the second half, as well as a great use of keys. Closing out the album is “Stand As One”, a very modern sounding, more mid paced track, with some very chunky riffs, an overuse of keys, and decent verses, helped somewhat by yet another very fun, epic and catchy chorus, with more outstanding vocal melodies. Its not the strongest way to end an album, but it’s a pretty solid track, and it doesn’t reach the lows some of the other tracks do, so it’s a fine enough ending.

Legends is an interesting album, in that it shows signs of being incredible at times, with the new keyboard driven focus working wonders on some tracks, while the vocal melodies and choruses are generally amazing, the speedier sections tend to be equal parts intense, melodic and pure fun, while the solos are excellent, as always, and yet there are enough weaker points to drag the album down, to the point where it ends up being a bit of a mess. I think Majesty need to decide whether or not they’re willing to fully commit to this new sound or go back to their roots, as the tracks that lean more towards one way or the other tend to work out the best, while tracks that try and mix the two together often see the two styles clashing in ways that cause the song to turn into a muddled mess. I can definitely see longtime fans of the band being disappointed, though I can also see people turned off by their Manowar influences being more willing to give this album a chance, thanks to the more modernised approach, while newcomers are likely to find some enjoyment, as there’s enough variety and enough outstanding moments for the album to be worth a shot. It’s not as good an album as I was hoping it would be, but it’s still very fun at times, and it does show potential for better things in the future, if the band can figure out how to pull everything together. At the vary least, it feels like a potential start to a new era for Majesty, and it leaves me very excited to see what they come up with next. It may not be the total knockout I was hoping for, but it certainly isn’t a total failure, either. It’s more of a fascinating near miss, than anything.

originally written for myglobalmind.com: https://myglobalmind.com/2019/06/26/majesty-legends-review/

SABATON Carolus Rex

Album · 2012 · Power Metal
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Kev Rowland
‘Carolus Rex’ was originally released in 2012, a concept album about Sweden’s 17th and 18th century empire, with a special focus on the rise and fall of Charles XII, the tragic king who devoted his whole life to war but could not prevent his empire’s downfall. They were the first Swedish metal band to gain platinum status in their home country, and it was recently certified as quadruple platinum, so it has been reissued with new artwork, additional tracks and even blu-ray discs. I always think of this as the beginning of the Sabaton at the top of their particular power metal tree, although strangely enough I have always preferred the albums which followed this.

The powerful riffs, strong anthems and vocals are of course all in place, but it never really has the spark which is so prevalent on the later works. Strangely enough, the live album which followed this and includes plenty of these songs is probably the one I would suggest people listen to first when coming across the band before moving on to ‘Heroes’ and ‘The Last Stand’. There are some bonus songs on the new version, including a Sabaton-ised version of “In The Army Now”. It may fit with their lyrical vision, but it certainly doesn’t fit musically! Made me smile though. Sabaton have released great albums throughout their career, and while I don’t think this is one of them it is still certainly worth investigating in the new expanded versions.

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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