Power Metal

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Introduction

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

European Power Metal

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

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

Sub-genres of Power Metal

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

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

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

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

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

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

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

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

Power Metal Inclusive Genres

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

- Written by adg211288 (April 2013)

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

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power metal Music Reviews

AMBERIAN DAWN Darkness of Eternity

Album · 2017 · Power Metal
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DippoMagoo
Finnish symphonic power metal band Amberian Dawn has long been one of my favorites in the genre, but at the same time, I’ve always felt they had potential to be even better than they are if they could just be a bit more consistent with their songwriting quality. They’ve released some excellent albums in the past, to be sure, with 2009’s The Clouds of Northland Thunder, 2011’s Circus Black and 2015’s Innuendo being my personal favorites. However, I find even their best albums always manage to fit in one or two tracks that don’t quite do it for me, as the band often goes for some oddball tracks, some of which deliver big time and end up as major highlights, while others fall flat and end up stalling momentum on their respective albums. I’ve said all this to say, out of every album Amberian Dawn has released so far, Darkness of Eternity, their seventh full-length release, and one I was highly anticipating, is easily their most frustrating, inconsistent release to date, with some tracks that match their career highlights, while others simply feel odd and out of place on a metal album, and it all makes for a release where you can have songs placed together that conflict with each other and are so strikingly different, it feels like you suddenly switched to a different album. With all that being said, the high points of the album are good enough to make it easily worth enduring the low points, and it’s still a quality album overall, but it’s also incredibly frustrating.

Every Amberian Dawn album to date has a had a mix of different styles, ranging from speedy symphonic power metal with excellent guitar riffs and epic keyboard solos, to slower, more theatrical tracks, all while mixing in some classical flavoring throughout. All of this is true on Darkness of Eternity, however, while the speedy power metal portions are still intact on a few tracks here, a couple of which can be considered among the band’s best work to date, I find some of the slower songs here to be a bit off-putting and not really in line with what I want from the band. Obviously, they’ve never been the heaviest, most guitar-driven band in the world, as keyboards and orchestras have always been the most dominant elements of their music, however, some of the tracks here fall into straight up 80’s pop territory. Again, this is something they’ve briefly hinted at on past albums, with “The Court of Mirror Hall” from Innuendo being perhaps the most obvious example, but even a track like that felt more metal and more epic than a few of the tracks on this album. Take, for example, the second track, “Sky Is Falling”, a track dominated by bouncy vocal hooks, cheesy, pop-inspired keyboard lines and a catchy, overly pop-infused chorus. There’s absolutely nothing in that track I consider metal in any form, and even the brief flashes of guitar work sound so light as to have no effect, plus I don’t even notice any symphonic elements at all, effectively making the track feel more like a dance-pop track than anything else. I will admit, it’s a decent track in its own right, but I really don’t think it belongs on a metal album, even coming from a band that tends to stay on the lighter side of the genre most of the time. The song especially feels out of place when coming after such a classic sounding power metal track like “I’m the One”, and it’s the first sign that band leader Tuomas Seppälä is perhaps overreaching a bit in his attempts to be creative and ambitious.

Moving onto the biggest positive element of the album, Capri’s vocals remain as strong as they’ve been since she first took over vocal duties on the excellent re-recordings compilation Re-Evolution in 2013. As always, her voice is very powerful and deeper than many other female vocalists in symphonic bands, and she sounds as impressive as ever, be it during the heavier tracks like “I’m the One” and “Dragonflies”, or the lighter, more pop-infused tracks, all while sounding as varied in her approach as ever. In fact, she briefly does some semi-operatic vocals on “I’m the One”, making it an instant highlight. She’s also very effective on the two ballads, as expected, and her vocals are definitely the band’s biggest strength at this point.

Unfortunately, the area where the album struggles the most is in perhaps the most important area of all, that being the songwriting. The band at least gets things off to an exciting start with “I’m the One”, a very speedy, classic sounding symphonic power metal track with some excellent guitar leads, epic symphonic arrangements, a huge, catchy chorus with awesome operatic vocals, and an amazing keyboard solo. For all the flaws in the songwriting department, the band still displays some great musicianship throughout the album and this track is certainly one of the best examples of that. It’s also extremely catchy, while still sounding metal and it would definitely feel right at home on one of the band’s earlier albums. While that song is probably my personal favorite here, “Dragonflies” isn’t too far behind. It has some pretty heavy guitar work throughout, with a darker feel than many of the other tracks, though Capri’s vocals still help add a lighter tone to the track, and she excels throughout as always. It has incredible instrumental sections, with some very chunky guitar riffs and epic orchestras accompanying an excellent keyboard solo, and of course, the chorus is spectacular as well. From a purely instrumental standpoint, I think this is probably the best track on the album, and I love how the guitar manages to have come excellent neoclassical flavoring while still being very heavy. Also in the speedier category, are“Golden Coins” and “Abyss”, with the former again having a very classic Amberian Dawn vibe throughout, with epic keyboards and some very impressive, classical flavored melodies, while the latter is brief but very fun and perhaps the speediest track on the album, with some more excellent keyboard work and vocals.

On the slower side of things, we start with the previously mentioned “Sky is Falling”. I’ve already mentioned why I’m not so fond of it, with the biggest reason being that it really throws off the pacing, being thrown in there right next to such epic speedy tracks as “I’m the One” and “Dragonflies”. Well, I wish I could say it was one-speed bump and that the album fully recovered afterward, but sadly that would be a lie. Two tracks later, we get lead single “Maybe”, another very pop inspired track, with some cheesy keyboards, bouncy vocal lines, a catchy chorus and a general lack of anything resembling metal. Again, I know the band has done tracks like this in the past, but this feels very pop like even by their standards, and while I do slightly notice symphonic elements on this track, they aren’t enough to prevent it from having an “Abba with guitars” feel, and the thing is, if I wanted to hear dance pop, I’d listen to dance pop, not a symphonic power metal album. Even worse, the track feels like it’s cut off at the end, as the keyboard lines simply fade out instead of actually reaching a conclusion. I’ll admit it’s certainly a catchy and well-written track, but it simply isn’t what I want from the band, and that ending does come across as a bit sloppy.

Moving into the second half, there are two ballads and two tracks which feel like a blend between the two dominant styles on the album. Firstly, “Luna My Darling” is a pretty solid track, starting with an epic vocal section before moving onto some bouncy, pop-infused melodies during the verses, which give way to a slightly heavier, more epic chorus. The highlight of the track is in the second half when the music speeds up and we get epic dueling guitar/keyboard solos. See, if I’m going to get obvious pop elements in my symphonic metal, I prefer it to be done in this way, as at least this track has a nice blend of both pop and power metal, and is a nice track overall. Similarly, “Ghostwoman” is a speedy track, which also has a power metal feel to it, though it sounds a lot bouncier than the other up-tempo tracks on the album, especially during the verses, and even the chorus is pretty pop like as well. It’s a fun track, and the chorus is very catchy, though not really one of my favorites. The highlight is the epic guitar solo in the second half.

Lastly, we have the two ballads which close out the album. Yes, just in case the overall flow of the album wasn’t already completely out of whack, the band decided to end with not one ballad, but two ballads! First is “Breathe Again” which starts out slowly and calmly, serving as an excellent showcase for Capri’s vocals, before the music picks up in the second half, with some epic orchestral arrangements and some heavier guitar work at points. It’s an excellent track overall and probably the better of the two ballads. After that, we have the closing title track, which also happens to be the second part of “Symphony Nr.1”, the epic sequence the band started on Innuendo. Where part 1 was an epic, complex symphonic metal track, with many twists and turns, this track is a pure ballad throughout, with some nice classical piano serving as the main focus, though there are also some nice orchestral elements in the background. Capri does a wonderful job as always, and it’s a nice track overall, but because part 1 was so epic and especially because this one serves as a title track, I was expecting a bit more from the track overall.

And that about sums up my feelings towards Darkness of Eternity on the whole: It’s a nice enough album, which at times has some big standout moments that equal some of the band’s best works, but overall it’s simply a messy, inconsistent album that left me wanting a whole lot more. Power metal fans, in particular, are likely to have mixed feelings, as “I’m the One” and “Dragonflies” are sure to get them excited, while many of the more pop-infused tracks are likely to frustrate them just like they frustrate me, and the overall focus on bouncy keyboards over epic symphonic arrangements on many tracks here is a rather puzzling choice, as is the decision to end an already oddly paced album with two ballads. Overall, longtime fans are sure to find some songs here to be satisfying, but I consider this to be Amberian Dawn’s weakest album to date, and I have a hard time recommending it to my fellow metal fans.

originally written for myglobalmind.com: https://myglobalmind.com/2017/11/12/amberian-dawn-darkness-eternity-review/

EDGUY Mandrake

Album · 2001 · Power Metal
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Kingcrimsonprog
There’s a very handy Metallica comparison that works when thinking about Edguy. So, Kingdom of Madness is the Kill ‘Em All of the discography, a more raw and charming affair that wears its influences loud and proud and is fun but not yet fully developed. Vain Glory Opera is like Ride The Lightening, a more mature and uniquely them record that starts showing off their ambition while still rocking. Theater Of Salvation is Master Of Puppets, the magnum opus, the really grand and ambitious album that contains amazing, well constructed and monstrously catchy songs. The Savage Poetry is …And Justice For All, the follow up to their best album and almost as good in its own right.

All of that brings me to what I’m trying to say here. Mandrake is their Black Album. After four albums in one particular style and tone, the band decide to mature off in a new direction and break out of the confines of their home genre. Like The Black Album still had some Thrash songs on it like ‘Struggle Within’ and ‘Through The Never,’ Mandrake has some pure Power Metal songs on it like ‘Painting On The Wall,’ ‘Golden Dawn’ and ‘Save Us Now.’ Even then, sometimes when it does do traditional Power Metal, its more of a Master Of The Rings vibe than a Keeper Of The Seven Keys vibe if you know what I mean. Just listen to the little skiffly drumstick solo and high pitched comedy vocal in the middle of ‘Save Us Now’ to see what I mean.

Largely however, Edguy find themselves testing the limitations of their German Melodic Power Metal roots. ‘Painting On The Wall’ and its more progressive big brother ‘Tears Of A Mandrake’ have some very Bon Jovi and Detonater-era Ratt sounding influences audible on them, its no the whole picture but it is one colour they’re painting with. ‘Jerusalem’ sees them blending their Power Metal stylings with a more commercial Hard Rock vibe foreshadowing where they’d go on their next album. ‘The Pharaoh’ is a ten minute epic with an eastern vibe that sounds like a mixture between Sabaton when they get slow and stompy and when Rainbow would go eastern sounding like on ‘Babylon’ and ‘Tarot Woman.’ ‘Nailed To The Wheel’ although opening up acoustically with some very different vocal melodies than Edguy usually go for, evolves into the fastest most pissed-off Thrash Metal like song the band had put out to date. If you get the version with bonus tracks, ‘The Devil & The Savant’ also has a touch of Glam to it. Not the whole picture again, but its there. Its the band testing their boundaries.

The production job also has a lot to do with it. This album has a much more full, bright, unmetallic sheen to it. Commercial is the word best to describe it really. Its good in its own way but it sounds quite different to where they’d been living in previously.

Like with Metallica, there are lots of fans who consider The Black Album the last of the classic-five and there are other purists who think there was only a classic four and this is the first one afterwards. Of course, there are also a large amount of fans I’ve discovered online who prefer the band in their more Hard Rock form and say things like ‘Yeah, they got good when they stopped trying to sound like Iron Maiden’ and even those guys are also split on this record, because its not quite the Pure Power Metal style and its not quite not either.

Overall; Mandrake is a very good album, and a very interesting album, but whether you’ll like it or not very much depends on what you wanted out of it in the first place. The production job may be off putting if you wanted a certain thing, as may be the songwriting for about half of it. The songwriting on the other half may be off putting if you wanted a different thing. Vocals, guitar solos, drum patterns and creativity are all above reproach, its just the sound and musical direction that people are divided over.

EDGUY The Savage Poetry

Album · 2000 · Power Metal
Cover art Buy this album from MMA partners
Kingcrimsonprog
Edguy were in an interesting position at the turn of the millennium. Starting the group as a bunch of wide-eyed teenagers in the early to mid ’90s, Tobias Samet and the rest of the boys who would go on to become legends of German Melodic Power Metal, were initially a rough an ready influences-worn-on-sleeves kinda band. They released a demo quality debut album called Savage Poetry in 1995 and then through years of practice and touring went on to become a leading force in Power Metal and one of the finest to be doing it at the time. After releasing their absolute magnum opus Theater Of Salvation in 1999 and being considerably more famous and beloved, fans kept asking if they would reissue Savage Poetry which had long since been out of print. Doing them one better, the band took all the talent, skills and confidence they’d been developing over the years and remade the album. No reissued, not re-recorded, but remade entirely.

Everything is different here, new artwork, new logo, new track order, new guitar solos, heck even the bassist and drummer are new when you think about it as neither were on the original version. They added a ‘The’ to the title as well, that’s new. Essentially, what happened was the band listened to these old songs and then wrote them again in 1999 as only the band who had released Theater Of Salvation could have. What resulted was a mix of old and new, that ticks all the right boxes to sound classic and modern, naive and accomplished, charming and sophisticated. There’s a duality to it that works as well as your go to metaphor (be that chocolate and peanut butter, tits and dragons or whatever people are saying these days, the point is the two compliment each-other despite seeming like different worlds).

For most people this is just some handy background information for a pub quiz however because unless you go out of your way, you aren’t hearing the 1995 version easily and the differences between the two versions are therefore largely academic. Regardless, because this is Edguy in 1999 we’re talking about here, this is an absolutely superb album not to be missed by Edguy fans, or indeed anyone with an interest in this style of music. If you listen to Gamma Ray, Helloween, Hammerfall, Blind Guardian, Freedom Call, Sonata Arctica, Stratovarius or anyone of that nature, you really want to get up on this album. I would be so bold as to say The Savage Poetry is either the band’s second best, or sometimes if I’m feeling generous, joint-first best studio album.

There are a lot of similarities between this and Theater Of Salvation. They were both recorded around the turn of the millennium at Rhoen Studios in Fulda, Germany, and were both self produced by the band, with the same line-up. They both feature a mixture of Maiden and Priest influenced speed metal sections, bombastic grandiose sections with pianos and choral singing, and then some occasional ballads, and happy Helloween-influenced melodies. They both come before the band went a bit more Hard Rock in direction and they both come before the band started letting their humour play a big part.

Highlights include the speedier more metallic tracks ‘Sacred Hell’ and ‘Misguiding Your Life’ as well as the slow stompy Hammerfall-esque opener ‘Hallowed’ and possibly best of all, the diverse multi-faceted ten-minute ‘Eyes Of The Tyrant.’

The album works really well from start to finish, the two ballads break things up (and are surprisngly tasteful), the longer tracks take you on a little journey and then the rest of the album gets its head down and delivers exactly what you love about the band perfectly, only with a little bit more of a NWOBHM gallop than usual.

Overall; be sure not to miss out on one of the band’s absolute finest hours. If you like the glorious melodic guitar lines, crunchy riffs and pounding drums of Edguy at their most metallic, this is seriously up there as one of the finest examples of that. If you like the band being adventurous and writing long complex stuff, that’s here too. If you like them when they drop some ballads, these are some of the band’s best. If you’re tempted by the band but scared off by the more commercial Hard Rock stuff or the comedy stuff there’s none of that here. This is the band at their best, with some damn fine songs and a sterling production job, updating some charming old songs into an absolute beast of an album. Highly recommended!

LOVEBITES Awakening from Abyss

Album · 2017 · Power Metal
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Pairing the phrases 'heavy metal' and 'fashion' invokes a certain kind of mental image. Denim and leather. Lots of black. Maybe some corpse paint and a lot of spikes if you're thinking of black metal. It's a stereotypical enough look that, much like with progressive death metallers Akercocke in their (now abandoned post-reunion) tweed suits, when you see a promo picture of new Japanese act Lovebites and try to put it in context with the above, the band can't help but seem out of place. This five-piece all female band presents themselves in near-matching white dresses, with what may just be the shortest skirts that an all female metal band has uniformly worn. They honestly look like they're more likely to be playing j-pop than metal. The band name doesn't do much to dispel that initial impression. Lovebites. Definitely not the most strikingly metal name going. They're not the first to use it (or Love Bites), as several other pop and rock bands have had it before them, likely more fittingly.

This is of course a preconception, which where music is concerned is never a good thing to form based on image (you listen to music with your ears and not your eyes, after all). Even when it's completely unintentional, long exposure to something, in this case metal music, can cause people to have them. I'd call it human nature. This one is possibly influenced by cultural differences, since Japan has quite a prevalent scene of all female acts, including but not limited to Mary's Blood, Aldious and Destrose (who Lovebites share members with), who regularly challenge the usual stereotype (even for all female acts) when it comes to image. But over here in the western hemisphere Lovebites' image seems to go just that bit further than most and speaks of sex appeal turned right up to the max, which popular culture over here has subconsciously instilled to associate with pop music. And since Japan's growing scene of all or near female acts does have an association with j-pop, it's maybe not too out of line to assume that Lovebites will fit into that niche as well.

Dead wrong. Despite the band name and image, it's an illusion Lovebites are quick to dispel. How they present themselves and how they actually sound may just be the most paradoxical thing in metal you'll encounter all year. Naturally, these five ladies just challenged all preconceptions and delivered what may be the heaviest and most aggressive power metal album of the year with Awakening from Abyss (2017). The album follows closely on the heels of The Lovebites EP (2017), all songs of which reappear here in re-recorded forms. It's an album that shows the band to have much more in common with the classic German scene that spawned the likes of Blind Guardian and Rage than anything else. Certainly there's nothing to do with j-pop here or heaven forbid, Japan's so called Kawaii (cute) metal scene (and yes, that term is a thing that someone's felt the need to coin) that's given the world the likes of Babymetal, Ladybaby and arguably even Aldious. Within Awakening from Abyss listeners will hear an hour's worth of power metal spread across twelve tracks, displaying a varied sound that can go from giving even the likes of Rage a run for their money for the year's most aggressive power metal album to epic symphonic backed parts which pack no less of a punch.

After the intro track The Awakening is out the way it only takes the first full song The Hammer of Wrath to be impressed by the band and hooked into the album until it closes with Bravehearted. The band rarely lets up the pace throughout that whole time. Liar and Inspire both start like they're going to be ballads, but the band are quick to kick things back into gear, firing on all cylinders. The album is very guitar based with the riffs also delving into speed metal as well as power metal. The Apocalypse, which is one of the re-recorded songs from the EP, has riffs that summon memories the first two Blind Guardian albums. The Hammer of Wrath even comes close to full-on thrash metal at times. The symphonic elements are used sparingly and are rarely dominating when they are present, Edge of the World towards the end of the album being the most overtly symphonic track, as well as the album's only actual (semi) ballad, which is still incredibly heavy once it gets going and has sped back up into power metal long before it's end. They're incredibly effective when they are used though. Take Shadowmaker as a key example. The symphonic part is audible, and would be missed if not there, but it's still really just for flavour, augmenting the aggression of the guitars. The song just oozes blazing riffs, incredible lead melodies and blistering soloing, just like a good power metal song should do. It may just be the best power metal song of 2017, it's that good.

Aside from having a powerful sound, what makes Awakening from Abyss a really special release is how strong the actual musicianship is. Those blazing riffs and incredible leads I mentioned in relation to Shadowmaker? Lovebites have those in every song here. If Shadowmaker isn't the best power metal song of 2017, then one of these others is, because there's never a moment where the quality of the record drops even a little, not even the half ballad Edge of the World or the intro track, which still manages to get some great riffs in despite only lasting a little over two minutes. Both the riffs and leads from the guitarists Midori and Mi-Ya (also keyboardist) are among the best the power metal genre has ever delivered. Destrose alumni Miho (bass) and Haruna (drums) provide a rock solid rhythm section. And then there's the vocals. Singer Asami certainly brings equal amounts of power to the mix as the instruments. Her tone is a bit deeper than most female vocalists in power metal bands, but she keeps her vocals completely melodic throughout and displays an impressive non-operatic range with plenty of wails that many a classic metal singer would be proud of.

As I count power metal among my favourite forms of metal, it isn't often that a new (or at least new to me) power metal band blows me away. In fact it's typically a once per year thing. Last year for instance it was Eternity's End who did it. The year before that, Unleash the Archers. This year, despite some strong efforts from bands familiar (MindMaze, Iced Earth) and new (Palantír), I had started to think that maybe it wasn't going to happen. Then Lovebites came along. I did not manage to pick up on The Lovebites EP earlier in the year; if I had then such thoughts would never have had time to form, since I went back and checked out the EP as well and it promised a lot for this debut full-length, which Awakening from Abyss absolutely delivers on and more.

Do not make the all too easy mistake of prejudging this band. They're the real deal. And Awakening from Abyss looks like an unbeatable record for the title of best power metal album of 2017. Maybe even best metal album period.

PALANTÍR Lost Between Dimensions

Album · 2017 · Power Metal
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adg211288
I think it's fair to say that 2017 hasn't been the best year for the power metal genre. Yes, there have been several good, great and even excellent albums: Iced Earth delivered their best in over ten years with Incorruptible. MindMaze currently sits at number two on my overall 2017 reviewed releases list with Resolve. Their labelmates Vandroya also delivered a good one with Beyond the Human Mind. Rage, of course, were reliable as ever with Seasons of the Black. But otherwise this year bands such as Unleash the Archers, Seven Kingdoms and Grave Digger all released solid, but not as good as their previous, albums. Further still some bands who have previously played power metal like Pyramaze and Xandria largely even dropped the element on their 2017 albums and I for one was definitely relying on the former to produce a genre highlight for the year.

One thing 2017 seems to have failed to serve up so far is an excellent power metal album that fits into the traditional melodic and/or symphonic European brand sound. While there's certainly an argument for records of that persuasion not being a necessity in 2017, after all it's a sound that has been done to death since really taking off in the nineties, such albums shouldn't be understated either. Enter Palantír and their debut record Lost Between Dimensions, a Swedish band who fly the flag for the traditional, highly melodic and symphonic, speedy European power metal sound, who seem tailored made to correct this oversight, something someone else definitely had to do this year what with Rhapsody of Fire regulating themselves to a re-recordings album, which I'm not sure anyone wanted even if the band does have a new vocalist.

Speaking of Rhapsody of Fire, they're the first band that springs to mind when Lost Between Dimensions starts up with opener To Valhalla. Palantír play about with a lot of the same ideas that the other band is known for, including neoclassical and progressive elements within their symphonic power metal sound, as well as touching on some medieval sounding melodies, which they really use to effect in some of the tracks here, including the opener. Lyrically Palantír throw more of a science fiction slant on this kind of sound, but they certainly seem to be cut from the same cloth. The band is maybe a bit less grandiose than later Rhapsody of Fire works especially, but that actually works in their favour to create a more accessible record: one that's epic but not so over the top that it becomes overwhelming.

Lost Between Dimensions is a record which is also packed full of quality power metal compositions that are sure to please any fan of the genre. All the boxes are ticked from speedy riffs to epic symphonic elements, progressive intricacies to strong melodies and good production to great vocals. Vocalist Marcus S. Olkerud brings a really pure and melodic voice to the album, which fits in perfectly with the instruments (all of which bar E-man Lindberg's drums are played by Fredrik Erixon-Enochson). The tone of his voice is quite different, but I'm certain a comparison to Falconer's Mathias Blad isn't inappropriate to make due to the crystal clear delivery he brings to Palantír's music, which certainly helps keep the choruses get stuck in your head long after the album has drawn to a close. To Valhalla, War of the Worlds, Warriors of the Sun, Tragicomedy and the ten minute closing title track are all key tracks to my ears.

While it's possible that there's a few gems out there that I haven't had the opportunity to hear yet and still over a whole month of the year to go, as things currently stand for me I reckon it would be a tough job to find a better 2017 melodic/symphonic power metal album than Lost Between Dimensions. With it Palantír have set the bar high for themselves early on, but I've no doubt we'll be hearing more quality work from this trio in the future. This record is packed full of the same kind of 'right stuff' that graced Rhapsody's debut Legendary Tales twenty years prior and the sound is no less valid today as it was then.

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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