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IntroductionPower 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 MetalThough 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 MetalAside 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 GenresMelodic Metal is sometimes included under Power Metal but usually under
Traditional Heavy Metal. Melodic metal features a presence of melody akin to European power metal but lacks the focus on speed. Many melodic metal releases tend to use some actual power metal elements as well as hard rock and sometimes other genres. An example of a melodic metal release that is placed under power metal instead of traditional heavy metal is
Arven's Black is the Colour (2013).
- Written by adg211288 (April 2013)
Sub-genre collaborators (shared with US Power Metal & Neoclassical Metal): - DippoMagoo (leader)
- adg211288
- Sisslith
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Album · 2002 ·
Power Metal
lukretion
Keyboard wizard Richard Andersson founded Time Requiem after disbanding his previous neoclassical power metal project Majestic. The new band feature both former Majestic’s personnel (singer Apollo Papathanasio, guitarist Magnus Nordh and drummer Peter Wildoer) and new musicians (bassist Dick Lövgren, who will later play with Meshuggah), making for a highly technically proficient line-up. The band’s sound sits somewhere between the typical neoclassic flair of Yngwie Malmsteen and a slightly more symphonic and progressive approach that bring to mind acts such as Royal Hunt. The latter influence is accentuated by the fact that both the Danish band and Time Requiem have a keyboard player as their leader and main songwriter. This means that the keyboards often play lead instrument in the solos as well as in the construction of riffs and melodies. Additionally, there is a symphonic flair in the songs’ arrangements, with the guitars often playing the role that strings would take in an orchestra, offering rhythmic foundation to the music and countermelodies to the keyboards’ main melodic lines.
The symphonic approach is particularly evident in the mid-tempo tracks (“The Aphorism”, “Visions of New Dawn”), where there is more room to develop sophisticated and layered arrangements. Here, singer Apollo Papathanasio at times reminds me of Savatage’s Zak Stevens, with his dramatic tenor voice – adding one further theatrical element to the proceedings. Elsewhere, Time Requiem favour a more compact and speedier approach, more straightforwardly inspired by neoclassic power metal aesthetics (“Watching the Towers of Skies”, “Grand Opus”). Occasionally, subtle progressive ambitions emerge too, as in the opening song “Time Requiem”, with its complex, multi-part structure that allow for multiple recurring themes and tempo changes. This is a direction that I would have liked to see developed more often through the album, as it confers a distinctive identity to the band, setting them apart from other neoclassical power metal acts of the time.
In fact, general lack of originality is probably one thing that bogs this album down somewhat, as Time Requiem sound exactly as you would expect a neoclassical metal band circa 2000 to sound, with all whistles and bells. By 2002, the trick may have stated to become old, although it has to be said that this album offers one of the better examples of the genre overall. Considering the dismal state of affairs among other purveyors of this approach at that time (Yngwie Malmsteen in primis), this is no small feat.
The album’s most serious limitation lies however in the overall struggle to come up with truly memorable and impactful songs. “Milagros Charm” may be the one track that manages to sear itself into the brain of all who listen, by virtue of its irresistible refrain and the outstanding guitar riff that surfaces again and again throughout the song. As already mentioned, “Time Requiem” is also interesting for its richer structure, while the instrumental “Brutal Mentor” offers good thrills, with its full-on speed acrobatics. The other tracks are however much less memorable, humming pleasantly in the background but rarely compelling the listener to really pay attention.
Despite these limitations, Time Requiem’s debut is a strong example of neoclassical metal, well-constructed and smoothly delivered, with excellent performances and technical yet highly melodic playing. The title track’s subtle progressive inclinations are a particularly promising direction I hope the band will follow in subsequent releases, which I will definitely check out soon.
Album · 2002 ·
Power Metal
lukretion
Released in the early months of 2002, Of Human Bondage marks the final chapter in the second life of German power/thrash/progressive metal band Angel Dust. The band’s first incarnation, active in the 1980s, indulged in a fairly lackluster form of speed/thrash metal that resulted in two LPs. After a long hiatus, Angel Dust returned in the late 1990s with a revolutionized line-up where only drummer Dirk Assmuth and bass player Frank Banx were left from their 1980s incarnation. The new line-up embraced a different sound, retaining some of the ballsy, aggressive pacing and riffage of their speed/thrash days, but combining them with a wider array of influences, ranging from power metal to progressive metal. The end result, which can be appreciated also on Of Human Bondage, is a dark, heavy form of progressive/power metal that nods to bands like Nevermore and Grip Inc as frequently as to acts such as Evergrey, Vanden Plas and Rough Silk.
The album’s main strength lies in the shrewd combination of brutal sonic bludgeoning and majestic melodic openings. The trio of songs that start the album illustrate the approach well. These songs feature massive thrashy riffs, courtesy of the band’s new guitarist, US-born Ritchie Wilkison - clearly a disciple of the US thrash metal scene. The drums are tightly locked with the guitars and bass to form an impressive, fast-paced sonic barrage, on top of which singer Dirk Thurisch busts out his lungs with a voice that instantly brings to mind the immense Warrel Dane. The impact is devastating, taking no prisoners whatsoever. Suddenly, however, the songs veer into chorus sections that feature absolutely irresistible melodies, full of power and melancholy, masterfully interpreted by Dirk Thurisch - one of the most underrated singers in this genre. Steven Banx’s keyboards are also distinctive, with their 1980s retro-futuristic tones adding sudden bursts of colour and projecting the whole album into a different dimension. Truth be told, this overall approach is not radically different from what Nevermore themselves were doing in those years, for instance in their 2000 LP Dead Heart in a Dead World. However, Angel Dust retain a unique, distinctive sound, more germane to the Teutonic speed/power metal tradition.
The album is cleverly constructed, alternating songs that follow the brutal-then-melodic format described earlier, to others that explore slightly different directions, such as the dark, mournful ballads “Disbeliever”and “The Cultman”, cleverly placed at strategic points in the tracklist to provide some respite from the bludgeoning of the other tracks. The album mid-section veers into weirder directions, with “Forever” and “Got This Evil” featuring a certain 1980s hard rock / metal swagger as well as slightly over-the-top vocal melodies (which do not actually work so well in the case of “Got This Evil”).
The biggest surprise, however, is kept for last. The album closes with “Killer”, an unlikely cover of the 1990’s techno/R&B hit penned by DJ Adamski and Seal. This song is hands-down the best metal cover of a non-metal track I have ever heard. It takes Adamski’s iconic bassline and transforms it into a ferocious guitar riff that, combined with the fast-paced drumming and synth loops, inject a sense of urgency and peril to the whole song. Meanwhile, Seal’s enigmatic lyrics and vocal lines take new life through Dirk Thurisch’s menacing, slightly computerized voice. Dark, sinister and futuristic – “Killer” is an instant triumph that closes the album in the best possible way.
It’s hard to find weaknesses in this record, but I am not a big fan of its loud, brickwalled production. I feel that a tad more nuance in the sounds and in the mix, injecting a little bit more dynamics into the music, would have done more justice to the songs. Readers should also be warned that it may take a few listens to fully appreciate what Angel Dust have done here. On first impact, the album may come across as slightly raw and unpolished (perhaps another unfortunate consequence of the production). With time, the songs will unfold and reveal surprising details and nuances, so repeated listening is recommended.
In comparison with the band’s previous albums, Of Human Bondage may perhaps fall short of the grandeur and vision of Angel Dust’s masterpiece, 2000’s Enlighten the Darkness, but it comes off as a close second. It is unclear whether the Angel Dust story will have more chapters yet to be written (the band are currently active, but it has been years since a new album has been announced in the makings). But if Of Human Bondage were to be the final chapter in Angel Dust’s story, it is safe to say that it would have sealed their discography on a remarkably high note.
Movie · 2019 ·
Power Metal
Kingcrimsonprog
Imagine a Judas Priest show with both Tim Ripper Owens and Rob Halford singing together. No wait… Imagine a Sepultura show with both Max Cavelera and Derick Green singing. No wait, that’s not even it. I’ve got it… Imagine an Iron Maiden show with Paul Dianno, Bruce Dickinson and Blaze Bailey all singing. Well, maybe, if Dickinson had left after four albums and Blaze had been there ever since. Ok, Now swap out the zombie mascot for some comedy pumpkins and you’re approaching the situation here. Helloween, one of Germany’s biggest and most important bands, one of the most iconic Power Metal bands in history, with one of the most impressive family trees (Gamma Ray, Masterplan, Freedom Call, Unisonic, Iron Savior etc) make one of the most anticipated decisions in the history of the genre.
Who is your favourite Helloween singer? Is it Kai Hansen, the heaviest singer and the original? Is it Michael Kiske, the most technically accomplished and the one from their most iconic record? Or is it Andi Deris, their best frontman and the singer on the most albums? – Turns out, now you don’t have to choose. United Alive, the live video from the Pumpkins United tour sees all three join the stage together, cracking out a career spanning mixture of material from the earliest thrashiest material to the modern gems, with all the iconic genre defining masterpieces from the peerless Keepers’ era sprinkled in too.
There are over 20 tracks here (some are intros and solos, and some are medleys/combinations, but still…) that’s a lot of Helloween. All three singers take it turns to sing. Sometimes not even a song each, but rather dividing it up section by section inside each song, or all at once. It is very welcome to hear them back on some of their own tracks like ‘Heavy Metal Is The Law’ after not hearing it on the other live videos, or ‘Dr. Stein’ after having heard only Deri’s take on it previously. Conversely it is very interesting to see Kai or Kiske sing on some of the big commercial ‘90s/’00s hits like ‘Perfect Gentleman’ or ‘If I Could Fly.’
There are often 7 members on stage at the one time (or 8 if you count the keyboardist, Eddy Wrapiprou). There’s Weikath and Grosskopft on guitar and bass as always. Sascha Gerstner and Daniel Löble on guitar and drums like the last several albums. And the three aforementioned singers (with Kai also playing guitar).
There’s a mix of footage, ranging from headline shows in Madrid, Spain to festival appearances at Wacken and in Brazil. Sort of like they did already on their previous ‘Legacy World Tour 2005/2006 DVD.
Normally I really prefer a concert DVD to come from one single show, rather than complied from a series of different dates in different places with different lighting, sound and camera work, but given that the band itself is now a compilation of past and present members and some of the songs included are medleys, I don’t know why but it just works here.
The band put on a great show. There’s a lot going on. There’s video screens, a big pumpkin stage set piece around the drum kit (which has 4 kickdrums for some reason, just to add to the over-the-top feel of it all), a light show, and a few cheesy moments like members coming out dressed in a top hat and cane, or raining pumpkin balloons.
Deris, ever the consummate front man is great at revving up the crowd, and then the different members get spotlights for certain tunes and join up on others, there’s prolonged solo segments, a tribute to late drummer Ingo Schichtenberg, its all very diverse and entertaining. They even do a stripped-down bare bones version of the ballad ‘Forever And One’ straight after a super heavy Walls Of Jericho/EP medley, which pretty much shows both polar opposites of the band’s varied discography.
There’s multiple different ways you can buy it. DVD, Blu Ray, combinations thereof. Versions with CDs. The version I got it two Blu Rays. One with the concert and one with a load of extra footage. There’s a few extra songs (Including the underrated ‘Kids Of The Century’ from the oft maligned Pink Bubbles Go Ape album). There’s a bunch of behind the scenes footage looking at various aspects of the tour and production. It comes in a nice shiny digi-book with some brief liner notes and a glossy photo booklet. You know, just as if it wasn’t value for money enough already with an almost three-hour concert of a Helloween fan’s wildest fantasy line-up.
As a concept you really have to hand it to them; its quite a clever move to reuinite with past members without losing current members as some fans never got over Kiske leaving the band or only ever even tried the Keepers albums. Some fans really love the Kai era and you never get to see Helloween play much material from it anymore (you only really get the chance if he chucks one in to a Gamma Ray show some time). Its a great idea to reel them back in and show them how great the Deris era can be too. Come for ‘Halloween’ and ‘Future World’ but stay for ‘Sole Survivor’ and ‘Power’ then learn to love the Deris era if you don’t already.
Thankfully though, its not just the concept that’s good. The whole package is good. The sound, footage, editing and bonus material. Most importantly though, the performance. It doesn’t come across as a novelty cash grab, it really feels like a jubilant celebration. As they say in the opening track ‘Halloween’ ”There’s magic in the air.” This may be cheesy to say (but hey, if you like Helloween, you better be used to cheesy) but it really is a heavy metal dream come true. Buy it!
Movie · 1997 ·
Power Metal
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