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
4.52 | 114 ratings
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JUDAS PRIEST Painkiller Album Cover Painkiller
JUDAS PRIEST
4.49 | 118 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
4.46 | 94 ratings
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BLIND GUARDIAN Somewhere Far Beyond Album Cover Somewhere Far Beyond
BLIND GUARDIAN
4.47 | 51 ratings
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LOVEBITES Awakening from Abyss Album Cover Awakening from Abyss
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4.61 | 11 ratings
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SEVEN KINGDOMS Brothers of the Night Album Cover Brothers of the Night
SEVEN KINGDOMS
4.72 | 7 ratings
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3 INCHES OF BLOOD Fire Up the Blades Album Cover Fire Up the Blades
3 INCHES OF BLOOD
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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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MINDMAZE Back from the Edge Album Cover Back from the Edge
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power metal Music Reviews

SHAMAN Ritual

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

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

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

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

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

KAMELOT Karma

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

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

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

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

DYNAZTY Firesign

Album · 2018 · Power Metal
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DippoMagoo
Sometimes a band will make an album that’s so game-changing, it can earn the band a ton of new fans who would have otherwise not been interested in their music. For me, one such album is Renatus, the fourth full-length album from Swedish melodic metal band Dynazty. The band had started out as a melodic hard rock band, which isn’t a genre I follow too much, but when Renatus came around I heard people talking about it being a change to a much more modernized power metal sound, mixed with some prog, which of course is right up my alley. I gave it a few listens, and the rest is history. The band immediately became one of my favorites, so much so that I went back to hear some of their previous releases and was surprisingly impressed by them, as well, with vocalist Nils Molin, in particular, proving to be equally amazing singing both power metal and hard rock. When their fifth release, Titanic Mass, came around, I was excited to see how the band would progress, and while that release wasn’t the revelation its predecessor was, it was instead a very fun album that kept the momentum going, simplifying their sound just a bit, while still keeping everything that had worked previously. More importantly, it proved the previous release wasn’t a fluke, and so it left me excited to hear any future releases from the band. The band is now set to release their sixth album, Firesign, later this month, and while at this point it feels like they’ve settled into following an established formula, they’re doing such a good job of it, I can’t help but enjoy every second of the new album, just like with the two previous releases.

The biggest difference between Renatus and Titanic Mass, was that the former felt a bit more complex, with one particular track being much longer and more advanced than anything else they’ve done in their career, while the latter felt more simplified, relying on super catchy choruses and pretty much following the same formula for every track, just with varied sounds and tempos. Firesign is somewhere in the middle, in that the songs are still very straight-forward and extremely catchy, but there are a couple of longer ones, and there are times where the band gets more epic than they’ve ever been before, with an increased use of symphonic elements. At the same time, this is very much a formulaic album in the same way its predecessor was, with the verses being simple and fun and the choruses having huge vocal melodies, with the last run through always being especially epic, giving Nils a chance to steal the show right at the end. Every song on the album does this to great effect, just like on the last album, and while on the one hand, I can see it getting a bit repetitive, the band does it so well, I really can’t help but enjoy it every time. One slight difference I’ve noticed going from album to album is that the previous two were a bit heavier than this one, with the guitars having a more dominant presence, especially on Renatus. There’s still some good riffs and nice melodic solos here, but none of the tracks are quite as rocking as the likes of “Starlight”, or “Divine Comedy”. Instead, there’s an increased use of keyboards, with the light trance elements of Renatus feeling much more prominent on this album, especially on the title track, which almost feels like it could have come from Amaranthe, who of course now have Nils Molin in their ranks. One last change I notice is while Titanic Mass, in particular, leaned heavily towards faster-paced tracks, Firesign goes completely the other way, with the majority of the tracks being more mid-paced. This combined with the reduced guitar work makes for a very relaxing, very melodic kind of metal album, where the melodies truly shine, and so anyone looking for a hard-hitting kind of power metal may be disappointed. Personally, I took some time to adjust to this album, but once I did, I found myself loving it about as much as its predecessor, and almost as much as Renatus. Obviously, the performances are amazing across the board, and the production is quite good, as expected.

The best thing about Dynazty through the years has always been vocalist Nils Molin. Whether he’s singing an aggressive, modern power metal track or a softer melodic hard rock track, his voice is absolutely amazing, striking a perfect balance between being intense and powerful, and soft and melodic. He sings very smoothly when needed, and can deliver a chorus as well as anyone, but at the same time, when the intensity picks up, he absolutely kills it with some extremely powerful vocals, and he puts an incredible amount of emotion into his performances, especially in the later parts of tracks, where he gets to go all out. All of this is as true as ever on Firesign, and he once again delivers an incredible performance, that helps make some already great songs even better. He may very well be my favorite singer in all of metal, right now. He’s certainly high up there.

Another area where the band tends to excel is in the songwriting. I was initially a bit disappointed by Firesign, as the band seemed to be losing a bit of their intensity, but over time the album has grown on me a lot, as I’ve realized it still hits hard in place, but it’s definitely more focused on being an extremely, fun catchy and melodic metal album. It’s almost relaxing, in a weird sort of way. The album gets off to a strong start, with lead single “Breathe With Me”, an energetic, up-tempo track which does a great job of indicating what to expect from the album on the whole. It has the speed of the previous album, as well as some good riffs, though it instantly shows a greater focus on keyboards and symphonic elements, which are especially prominent during the chorus, while Nils shines as always, getting particularly intense during the final run of the chorus. It’s not quite as intense as some of the faster songs on the two previous songs, but it’s definitely just as catchy and even more epic, so it makes for a great start to the album.

Next is one of the tracks that took some time to warm up to me, that being “The Grey”, the second single from the album. It’s a slower paced track, and is very heavily reliant on keyboards, especially during the verses. It’s a very melodic track, with some rather unique vocal lines during the verses, before opening up for the unsurprisingly epic chorus. There’s some nice guitar work hidden in there, especially during the guitar solo in the second half, but it’s definitely a softer track overall, and a great indicator of what the overall album sounds like. The pace picks up again with “In the Arms of a Devil”, one of my personal favorites. It’s a hard-hitting, super fast track, which still shows off some flashy keyboards in spots, while overall being one of the heavier and more explosive tracks on the album, with fun verses and a very powerful chorus, especially the last time through, where Nils delivers some of his best vocals I’ve ever heard. It’s a super addictive track overall, and one of my personal favorites from the band.

Once again, the pace drops off immediately afterward, and this time it doesn’t really pick up again for a while. Next is “My Darkest Hour”, a very slow paced and heavily keyboard driven track, with some nice beats to it. I initially wasn’t too thrilled with it, but the vocal melodies eventually won me over, and Nils is amazing as always, while the guitar solo is also very nice. The first longer track is next in the form of “Ascension”, a track I already liked on first listen, though it has grown on me quite a bit over time, as well. It’s faster than the previous track, moving at a nice gallop, without fully speeding up, and it is perhaps the most epic track on the album, with the symphonic elements being especially noticeable throughout, and it has one of the strongest choruses on the album, which of course only gets even better at the end. It’s a fairly straightforward track but has some complex symphonic arrangements, as well as an excellent solo in the middle. It manages to be one of the heavier tracks here, while still showcasing the more melodic and epic and slightly calmer sound the band has gone for on this album. Next is a track which took several listens to impress me, which is the title track. It opens up with some very bouncy keyboards, and it’s definitely a more playful, very accessible track where the keyboards are extremely dominant. It’s by far the most trance infused track here, and has a chorus and vocal melodies that would not feel out of place on an Amaranthe album at all. I initially thought it seemed out of place here, but over time the stupidly catchy chorus and fun keyboard leads have grown on me, and I now find it to be extremely fun and addictive.

There aren’t a ton of surprises in the back half of the album, though everything is excellent. One of my favorites is next in “Closing Doors”, a speedier track, which still stays fairly calm and melodic through, aside from an intense and powerful chorus, which stands out as the highlight of the song, along with the excellent guitar solo. The next three songs are all more mid-paced, with “Follow Me” being particularly heavy and having some great leads, as well as a fun and upbeat chorus, “Let Me Dream Forever” is one of the most melodic tracks on the album, with an extremely strong chorus, and “Starfall” is one of the more modern sounding tracks, having some very chunky guitar work in quick bursts, while having a nice melodic chorus and overall striking a nice balance between the band’s two extremes of super heavy and super melodic. I initially wasn’t impressed by the last of these, especially the very chunky instrumental section later on, but it has grown on me a lot over time. Closing out the album is “The Light Inside the Tunnel”, one track which certainly did not need to grow on me much. It opens up with some beautiful keyboards and symphonic elements, before settling into a nice groove. It strikes a nice balance between some heavy guitar work and very melodic keyboards while moving at a pretty nice pace, without fully speeding up. It has one of the most addictive choruses on the album and is certainly one of the most epic, as well as the longest by a couple of seconds. It was one of my favorites right away, and it’s certainly an excellent way to close out the album.

Overall, Firesign is another excellent album from Dynazty, which once again continues with the sound they began back in 2014 with their breakthrough release, Renatus. The pace is a bit slower than I expected, and many of the tracks don’t hit quite as hard as I expected, but it’s yet another very fun and catchy album, full of huge vocal melodies, excellent keyboards and one of the best vocal performances of the year, as expected from Nils Molin. Fans of the previous two releases are sure to enjoy this as well, while any fan of modern melodic metal or power metal is highly recommended to give this and its two predecessors a listen, as Dynazty has become one of the best in the game over the past half decade.

originally written for myglobalmind.com: https://myglobalmind.com/2018/09/08/dynazty-firesign-review/

GRAVE DIGGER The Living Dead

Album · 2018 · Power Metal
Cover art Buy this album from MMA partners
DippoMagoo
Few bands can claim to be either as prolific or as consistent as German heavy/power metal band Grave Digger. They’re up there with Rage as two of the most active and consistently great power metal bands, over an extremely long career. Celebrating their 38th anniversary earlier this year, Grave Digger has released 18 albums to date, managing to fit in at least once every two years since 1993’s The Reaper. They technically missed one in between 2014 and 2017 but did release a re-recordings compilation at that time, so one can hardly accuse the band of slacking off. Less than two years after the release of Healed By Metal, the band is back with their nineteenth full-length release, The Living Dead, set for release this week. Their past few releases have been very strong, with the band seemingly turning back the clock to produce music every bit on par with some of their best work in the 90’s and early 2000’s, so I was excited to hear what this new release would bring, and it’s safe to say: Grave Digger isn’t just surviving, they’re thriving, in a big way!

The band has developed their own signature sound over the past 38 years, playing one of the heaviest, most hard-hitting brands of power metal out there, with all their albums having some excellent guitar work and the ever rough and powerful vocals of Chris Boltendahl. Their past few releases, in particular, felt very similar to some of their classics from the 90’s, bringing back a lot of the raw intensity of those releases while adding in a bit more melody to make it just a bit more accessible and more modern sounding. All of this continues with The Living Dead, which once again contains a seamless blend between the band’s speedy power metal and slower heavy metal tracks, striking a perfect balance between the two, while also balancing nicely between heavy and melodic passages. I found Healed by Metal, in particular, had some huge choruses, and it generally felt like the band was making an effort to make their music just a bit more melodic, without sacrificing any of the riffs, and if anything The Living Dead has gone even further in that direction, featuring some of their biggest, most epic choruses ever, while still being as heavy and intense and fans of the band would expect. There’s certainly a ton of tracks here that will instantly remind fans of the band’s classic works while being just a bit more epic and catchy than usual. There are a few passages throughout the album that feel particularly fresh, and then there’s one specific track at the end that really takes things to a whole new level when it comes to surprising listeners, and I’ll get to that one in a while. Suffice to say, it surprised me in a great way. Performances are obviously strong across the board, and though longtime drummer Stefan Arnold parted ways with the band before the release of the album, he delivered one last great performance before doing so.

Obviously, one element of Grave Digger that will never change, because it just wouldn’t be Grave Digger without it at this point, is the voice of Chris Boltendahl. He has a very raw, raspy voice that sounds rather unique within power metal, and he brings a level of aggression and intensity not often found within the genre, yet he manages to make it work equally well on the faster, more power metal focused tracks, as well as the slower, more heavy metal tracks. His voice sounds as strong as ever on Fear of the Living Dead, and he does an amazing job on some of the bigger choruses, proving he still has what it takes to carry a band as well as anyone in the genre.

For a band that’s been around so long, you’d expect Grave Digger to struggle with songwriting at least a little bit, and yet that really isn’t the case. They had a bit of a rough stretch from 2005-2009 with a couple of slightly weaker albums, but they returned to form nicely in 2010 with The Clans Will Rise Again, and have been on another great run ever since. The streak continues with The Living Dead, which is consistently excellent from top to bottom, while still having a few particularly strong tracks that rank among my favorites by the band. First up is one such highlight, that being the title track. The track opens with a baby’s lullaby gone wrong before the riffs kick in and it turns into the kind of hard-hitting, speedy opener the band excels at. It slows down during the verses but still keeps the energy up with some great riffs, before speeding up again, for a huge, extremely epic chorus, which certainly stands among the band’s best in that department in quite some time. It manages to be equal parts, intense, epic, melodic and super catchy, and definitely gets the album off to an amazing start.

Next is “Blade of the Immortal”, a slower but equally hard-hitting track, with some very punishing riffs right off the bat, as well as another super epic and fun chorus, and an excellent instrumental section which has some rather unique melodies coming from Grave Digger. Overall, it’s an excellent track which blends classic Grave Digger with some fresh sounds in a great way. After that, the pace picks up again with “When Death Passes By”, another heavy track which stays pretty fast-paced throughout, delivering another fast and super fun chorus, as well as some excellent lead riffs and very fun verses. It’s certainly one of the more classic feeling songs on the album, in a great way. Some surprises come on “Shadow of the Warrior”, an epic track which starts out with a soft acoustic section, featuring some surprisingly calm vocals from Chris, before the riffs kick in and it starts moving at a nice pace, without going full speed. It has another very melodic, super catchy chorus, which ranks as one of the best on the album, and it has some more rather unique and awesome melodies during its solo section. Another excellent track.

There’s a couple tracks here will silly lyrics, as expected. The first of these is “The Power of Metal”, a fairly fast and hard-hitting track, which again mixes classic Grave Digger riffs with a big chorus. The lyrics get in the way slightly during the verses but are funnier than anything, and the chorus is amazing, so it’s still a great track overall. The other track with kinda silly lyrics is “Fist in Your Face”, which stays silly throughout, but thankfully it’s an excellent track musically, with some extremely powerful riffs and is an example of the band playing slow paced but energetic classic heavy metal at its best. In between those two are two more excellent tracks in “Hymn of the Damned”, another very classic sounding speedy power metal track with raw sounding riffs and a huge, epic chorus, and “What War Left Behind”, a very thrashy power metal track, which may be the most classic sounding track on the whole album It’s certainly very raw fast and energetic, in an awesome way.

Moving to the final stretch of the album, “Insane Pain” is another very raw and heavy track, which stays fairly fast during the verses, but slows down for a fun chorus. It’s not one of my favorite tracks here, but it’s still excellent and has some great riffs. There’s a very good bonus track called “Glory or Grave”, which is very speedy, hard-hitting and has an extremely epic and catchy chorus, so it definitely fits in perfectly with the rest of the album. One song that doesn’t quite fit in, but is a pleasant surprise, is the closing track “Zombie Dance”, released as the second single, after the title track. It’s a mid-paced, slightly upbeat heavy metal track with some heavy riffs during the verses, and a stupidly catchy chorus, but what really makes it stand out is the fact that the band called in Austrian Russkaja to provide some folk influences to the music, delivering some epic chants as well as some backing music that strikes a balance between folk and polka, giving the song its aforementioned “Dance”, which also factors into the lyrics during the chorus. It gets even weirder during the middle section, and overall it’s a very bizarre experiment, which somehow works out perfectly and is probably the most unique and surprising thing the band has done in at least 15 years.

Overall, The Living Dead is an amazing album from heavy/power metal veterans Grave Digger, which continues a big resurgence they started eight years ago, and if anything, takes things even further, thanks to a delightful mix of the kind of classic, hard-hitting power metal and heavy metal the band excels at with some of the more melodic tendencies the band has picked up on more recent albums, as well as one hell of an epic surprise in the closing track. Obviously, it’s a must buy for any existing fans of the band and in case there’s anyone looking for an aggressive mix heavy/power metal who hasn’t heard of Grave Digger yet, this would certainly be a great album to start with.

originally written for myglobalmind.com: https://myglobalmind.com/2018/09/22/grave-digger-the-living-dead-review/

BLACK MAJESTY Children of the Abyss

Album · 2018 · Power Metal
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Kev Rowland
I must say that the album cover looks better the smaller it is, as when it is a reasonable size it looks like a very poor cut and paste affair – just as well that the music more than makes up for it. Black Majesty have long been seen as one of Australia’s top power metal bands, and here on their seventh studio album they show exactly why they are regarded in that fashion. They have obviously been heavily influenced by the likes of Angra and Helloween, never a bad thing in my book, and musically the guys are hitting it out of the park. The rhythm section powers it along, which allows the twin guitarists to duet, solo or crunch as the need arises. Where it suffers for me is with the vocals. John "Gio" Cavaliere has been there since the very beginning, and has quite some reputation, but there is the impression that he is struggling here. There are times when he seems to be somewhat out of sync with the rest of the guys, and this isn’t helped by a production that has kept him towards the rear of the sound, which I don’t understand at all. That he can still hit the notes is never in doubt, it’s just that at times the band just doesn’t sound like a complete unit.

That isn’t always the case however, and songs such as “Hideaway” shows a band that is firing on all cylinders (although the vocals are still too low in the mix). All in all, this is a real hit and miss album, which isn’t what one would expect from a band that have been strutting their stuff on the world stage for as long as they have. This just isn’t consistent enough for me, although pure power metal fans may well disagree.

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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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