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).

Neoclassical Metal is sometimes included under power metal dependent on the direction of the riffs in the music (see Neoclassical Power Metal description above). Neoclassical metal artists can also be commonly found under the Traditional Heavy Metal and Progressive Metal sections of the MMA.

- Written by adg211288 (April 2013)

Sub-genre collaborators:
  • DippoMagoo (leader)
  • adg211288
  • 666Sharon666

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power metal Music Reviews

SABATON The Last Stand

Album · 2016 · Power Metal
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DippoMagoo
With some bands, writing a review can be challenging, as you never know what to expect from them, except that they will never repeat themselves or do anything predictable. On the exact opposite end of the spectrum you have Swedish power metal band Sabaton, a band who nailed their sound down wonderfully on their full length debut Primo Victoria, and while they’ve made minor tweaks to their sound over the years, they’ve proven to be as reliable and consistent as a band could possibly be when it comes to sticking to their established sound and delivering a great album every time. Basically, every time Sabaton releases an albums their fans can expect epic heroic war anthems based on historical events, filled with epic vocal lines and ridiculously catchy choruses. This has been equally true on more straight-forward albums like the quick, to the point and absolutely addicting Heroes and more experimental works like the epic concept album The Art of War. Their previous album Heroes in particular has the special distinction of being my most played album of the last decade, if not longer, so I was excited as I could possibly be to hear what the band had in store with their seventh full length release The Last Stand. In short, the band didn’t quite match their best efforts this time, but they still delivered yet another excellent release,and one that I’d gladly take over the vast majority of melodic metal out there.

For the uninitiated, Sabaton is known for writing songs about historic battles, and while all their albums deal with similar themes, they tend to focus on different events or on different aspects of war each time. On the Last Stand, perhaps unsurprisingly, the songs all deal with countries fighting against insurmountable odds and struggling to hold out to the very end, some succeeding and some failing. As such, the lyrics are very epic even by this band’s standards. Musically, the band has changed very little over the years. This is still the same kind of ultra melodic power metal they’ve played since the beginning, with the occasional use of symphonic elements and occasional heavy sections, but it’s the hooks and huge vocal melodies that dominate the tracks. Recent albums Carolus Rex and Heroes saw the band dropping the tempo down a little bit in comparison to their earlier albums and this is true of The Last Stand as well. In fact, perhaps my only disappointment with the album is a lack of those blazing fast scorchers, like “Night Witches” from Heroes or “Ghost Division” from The Art of War There’s still some speed here, of course, but on most of the tracks the tempo feels a bit more restrained.

One element of the band that has never been restrained in the least is the voice of Joakim Brodén. He has a rather unique voice for the genre, as most power metal vocalists tend to have much higher main registers than him, and yet he also doesn’t fit in with the more raw, all out aggressive singers of the genre like Chris Boltendahl or Andy B. Franck. Instead, he has a very deep voice that instantly stands out, be he uses in it a very nice way, singing in a way that enhances the melodies greatly, and his style really lends itself well to the huge sing along choruses the band is known for. In short, he’s the perfect fit for the band, and one of my absolute favorite singers.

I already somewhat hinted at it earlier, but the first couple times I heard the opening track “Sparta”, I was a bit disappointed. Just looking at that name and knowing how the band usually opens their albums I had been expecting one of their fast paced, immediately gripping openers, and instead I got something that felt a bit toned down and lacking the energy I was expecting. Don’t get me wrong: It’s an excellent track, and after several listens it’s grown on me a lot, but it certainly isn’t the kind of song the band has opened all their other albums with. It’s a mid tempo track, driven by keyboards and it uses the synths in a pretty cool way, giving the track a symphonic feel, and this combined with the epic “oohh” “aahh” chants throughout certainly make for a great track. Likewise, on first listen “Last Dying Breath” didn’t do much for me, but over time it has become a favorite. It’s another mostly mid paced track, though it has more of a focus on guitar riffs, and it’s chorus is quite epic. It speeds up towards the end, and that section is fantastic.

Obviously, many fans have heard “Blood of Bannockburn” by now, and for me this is the track where the album officially kicks into high gear. It’s the first up tempo track of the album, though it still feels a little restrained, but what makes it work is the awesome marching drums at the beginning that keep building and building until the song takes off, plus the use of bagpipes throughout and the choir vocals all help give it a bit of a Scottish folk music vibe, which fits perfectly with the lyrics. The track had been an instant favorite since the first time I heard it, and it still is, though for some reason I keep thinking I’ll hear “In the name of God” at the end of it. For those who don’t get that comment, I’ll explain it in a bit.

Following a brief interlude track where a solider talks about his experiences, we get another early release track “The Lost Battalion”. This one is much slower paced and is very much dominated by the synths, which give it a bit of a retro feel. It’s a very laid back track, but man is that chorus ever something special! The chorus is repeated several times throughout the song, but it only gets better and more epic as it goes on, easily one of their catchiest and best choruses to date, which is saying a lot. Speaking of great choruses, I can’t possibly leave out the title track. It’s another mid paced track, but it feels special from the very beginning, as the verses do a great job of building up momentum, and then the chorus is just insanely good, and is in fact the best on the album. Later in the track, an amazing, breathless vocal section gives way to the highlight of the album, and something fans viewing the early release videos on Youtube would be familiar with: The absolutely glorious last 30 seconds of the track, where Joakim delivers some of the best vocals I’ve ever heard from him. And yes, this is what I was referring to earlier when I talked about “Blood of Bannockburn”.

Fans looking for pure speed can look forward to “Rorke’s Drift” and “Hill 3234”. Both of these are very fast paced tracks that are a bit heavier compared to the rest of the album, and they certainly would have fit in great on earlier Sabaton albums. Likewise, “Shiroyama” is an up tempo track that feels very similar to some of their past songs, but it’s the kind of song they do so well, I can’t possibly complain about it feeling too familiar. On a similar note, I was initially surprised by how similar “Winged Hussars” sounds to the title track of The Art of War, with its main synth line sounding very similar and its chorus also reminding me greatly of that track, but repeated listens have shown it to the kind of mid paced track the band has always been great at, so again, it’s familiarity doesn’t bother me in the least just because it’s so damn catchy and addictive. Lastly, we have the closing track “The Last Battle”. This track threw me at first, as that name and the fact that it’s the final track on the album had me thinking it would be blazing fast and full of killer riffs. Well, that isn’t the case. Instead, it’s another mid paced track, heavily dominated by synths which give it a bit of a pop feeling at points, but while I was initially unimpressed, once again it turned out to one of those super catchy tracks where the melodies won me over in the end.

At just under 37 minutes, The Last Stand is one of those albums that’s extremely easy to put on repeat and get lost in for a while, and it’s certainly a very addictive album full of catchy and heroic war anthems just like its immediate predecessor. It may not live up to that album or other Sabaton classics like The Art of War and Primo Victoria, but it’s still another fantastic album full of memorable choruses and huge vocal melodies that won’t be easy to forget. Obviously, it’s a must hear for longtime fans of the band, and it’s also highly recommended for all fans of melodic metal, especially those looking for some catchy choruses to go along with epic lyrics about historic battles. Sabaton is just one of those bands that never disappoints, and The Last Stand is no exception.

originally written for myglobalmind.com: http://myglobalmind.com/2016/08/20/sabaton-last-stand-review/

HELLOWEEN 7 Sinners

Album · 2010 · Power Metal
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Warthur
The true followup to Gambling With the Devil - the anniversary release Unarmed essentially being an acoustic and orchestral tangent - 7 Sinners finds Helloween playing in much the same style as they did on that album, with perhaps a bit more of a consistent atmosphere than that release, the music here being angled towards the darker end of that sound. "Going darker" usually a good way to make metal fans' ears prick up, at least momentarily, but to me 7 Sinners neither represents a solid step up over the somewhat lukewarm Gambling With the Devil nor one of Helloween's occasional serious missteps - it's one more acceptable but inessential album in their catalogue which fans will probably enjoy, but which won't trouble the likes of the Keeper of the Seven Keys albums when it comes to a place in the top tier of Helloween albums.

GRAVE DIGGER Knights of the Cross

Album · 1998 · Power Metal
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adg211288
German act Grave Digger are one of the leading groups of the niche of power metal that covers a harder, more traditional heavy metal influenced sound and Knights of the Cross (1998) is their seventh full-length album. This release is a part of the band's Middle Ages Trilogy which also includes Tunes of War (1996) and Excalibur (1999). The songs of the trilogy deal with true history, but also myths and legends. This particular album, as the title may have implied to you, is about the Knights Templar.

Grave Digger are a band I know well and like most they have their excellent albums as well as the ones that aren't so special. The Middle Ages Trilogy is usually considered to be some of their best work though. It was a surprise to me therefore how less immediate Knights of the Cross was for me compared to its companions Tunes of War and Excalibur, both of which quickly asserted themselves as two of Grave Digger's best albums. Persistent listens have proven rewarding though, to the point that I can consider Knights of the Cross to be almost on par with the other two albums of the trilogy. It's a great Grave Digger releases with many memorable tracks such as Monks of War, Fanatic Assassins, Lionheart and The Curse of Jacques.

However I also think that it doesn't stand out quite so well in their discography as the other two Middle Ages albums do. Tunes of War dealt with Scottish history, so they included Scottish bagpipes into their sound on it. Excalibur dealt with the legend of King Arthur and the Knights of the Round Table, so they included some medieval sounding folk parts into it (a massive factor in that being my favourite Grave Digger album). However in comparison there isn't really anything much on Knights of the Cross to give it that unique feel. There's a very brief folk part at the start of The Battle of Bannockburn but that's about it. It's a strong Grave Digger album, but it's also a very typical one, which means fast power metal riffs that aren't as squeaky clean on the production front as is typical for most brands of European power metal, strong traditional metal elements and of course the rather rough vocals of Chris Boltendahl who despite his vocal style still manages to make these songs pretty damn catchy in true power metal fashion. I might even rate it more than I do, did the group's two best albums not bookend it.

HELLOWEEN Gambling With the Devil

Album · 2007 · Power Metal
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Warthur
Helloween keep on pushing their matured power metal style on Gambling With the Devil, which is a perfectly competently presented album which doesn't quite work for me. Part of the issue I have with it is that they don't quite seem to know which way to go, muddling as randomly and arbitrarily as Satan's wheel o' misfortune on the (really appallingly ugly) front cover. (If I included front covers in ratings, I'd knock this one down to two stars for it. It's a perfect example of the really lazy CGI jobs bands tried to foist off on us back in the 2000s.)

Take, for instance, As Long as I Fall, which can't quite seem to decide whether it wants to be classic power metal, flirt with doing something a bit harder, or be easily digestible pop-metal of the sort which might adorn a movie trailer or a second-string WWE pay-per-view event. When the band get more focused, as on roaring album opener Kill It, this is a lot of fun, but there's a few too many clunkers on here for me to give it more than three stars.

FALCONER Falconer

Album · 2001 · Power Metal
Cover art Buy this album from MMA partners
Warthur
Falconer's debut album offers a mashup of comparatively traditional power metal with the occasional influence from folk and medieval music. The band clearly have a well-developed interest in history, with lyrics about kings and past times rooted mostly in realistic historical adventures rather than going full-on fantasy, and Andy LaRocque's production job is decent enough.

That said, part of me wonders whether a tweaked recording process which brought out more of the medieval and folk elements in the music would have worked better. As it stands, the power metal foundation of the band's sound dominates, and whilst the sound of the album would be fine for, say, a recent Gamma Ray or even Mercyful Fate release, it feels like it doesn't bring out the best in the more unusual elements of the group's sound.

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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