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Power metal is a sub-genre of heavy metal music created during the 1980’s. The term refers to two related but distinctly different styles of metal, commonly known as US power metal (USPM) and European power metal, after the geographic regions in which they originated. The stylistic origins of the genre can be traced back to the 1970’s, where artists such as Ronnie James Dio and Judas Priest laid down the groundwork for what would become staples of the power metal sound, including the lyrical themes, vocal style and use of twin lead guitars. The New Wave of British Heavy Metal (NWoBHM) is considered to be an important influence on the European power metal sound in particular. The musical forerunners of power metal are considered to be traditional heavy metal and speed metal. As both USPM and European power metal refer to the regional origin of the styles it is perfectly possible for artists to come from one region and play the style of the other, such as Kamelot, a US band who plays European power metal, while artists from other regions such as Angra (Brazil) and Galneryus (Japan) also play power metal.
US power metal developed first, during the early 1980’s. It is much closer in sound to traditional heavy metal than the later European power metal, but typically played faster. High register vocals are common and artists put emphasis on melodic guitar leads, making it distinct from thrash metal, of which there can be some crossover with, such as Iced Earth. The music features a relative lack of keyboards compared to European power metal. USPM bands can be categorised into two groups, known as blue collar USPM and white collar USPM. Blue collar features a harder hitting thrashy sound while white collar is more melodic and progressive. Popular USPM bands include Jag Panzer, Vicious Rumors, Helstar and Virgin Steele.
European power metal (also known as melodic power metal) developed a bit later and was pioneered by the German band Helloween, who started as a speed metal band. The turning point for Helloween from speed metal to power metal is considered to be between their first two full-lengths, Walls of Jericho (1985) and Keeper of the Seven Keys Part I (1987) and so 1987 is considered to be the starting point of the European power metal genre. The style is much more distinct from its roots than USPM, drawing much more on speed metal, and is perhaps the sound most people think of when presented with the term power metal. European power metal is characterised by fast percussive like guitar riffs, and strong focus on melody, with artist line-ups often including a full time keyboardist. The sound is regarded as more uplifting compared to the many other sub-genres of metal music. Popular European power metal bands also include Gamma Ray, Blind Guardian (both German), Stratovarius (from Finland). Rhapsody of Fire (from Italy) and Sabaton (from Sweden).
Power metal has developed several different variations in addition to the USPM and European standards, mostly in the form of hybrid genres: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. Most such acts are usually placed under power metal on MMA, although a few are also placed under symphonic metal on account of those artists being more widely associated as a symphonic metal act over a power metal one. Nightwish are an example of this. Heavy Power Metal
: Not to be confused with USPM, which is close to traditional heavy metal to begin with, this is 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, have utilised folk influences in their music without ever truly becoming folk metal acts.Power-Thrash
: A hybrid of power metal and thrash metal, which can be considered sister genres due to both coming 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.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. Anubis Gate is an example of such a progressive power metal act, one whose power metal elements have receded on more recent releases. Kamelot also adopted a less power metal orientated sound on Ghost Opera (2007) but returned to playing power metal with Silverthorn (2012). Almah 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 neo-classical acts are typically placed under traditional heavy metal. Power-Death
: A less common hybrid style with no currently widely accepted term; MMA has adopted power-death (similar to the common use of power-thrash) to describe this particular sound. This particular sub-genre combines power metal with death metal (typically 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. Power-death 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 on MMA.
- Written by adg211288 (April 2013)Sub-genre collaborators:
Album · 2013 ·
Signum Regis was formed in 2007 by bass player Ronnie König, along with guitarists Ado Kaláber and Filip Koluš, keyboard player Ján Tupý and drummer Luděk Struhař. They were soon joined by singer Göran Edman (Yngwie Malmsteen, John Norum) and started work on their debut album, which was released during 2008 through Locomotive. In January 2009 Luděk was replaced by Adrian Ciel, and they started the recording of the second album which was released in 2010 via Inner Wound Recordings. By this time they had decided to become a gigging outfit which led to Adrian leaving and recommending Jaro Jančula as his replacement. But, when they started writing songs for the third album, a concept album about the Israelites who were enslaved in ancient Egypt, they realised that they were going to need more than one singer.
This led to a change in approach, and when Ado Kaláber left to move to England they decided not to replace him, and instead work in the studio as a trio of Ronnie, Flip and Jaro (Ján only joins them for live work). The album kept growing in terms of content and involvement, and while Göranstill played a vocal role, he was now joined by Lance King (Pyramaze, Balance of Power), Michael Vescera (Obsession, Animetal USA), Matt Smith (Theocracy), Daísa Munhoz (Vandroya, Soulspell), Eli Prinsen (Sacred Warrior, The Sacrificed), Samuel Nyman (Manimal), Thomas L. Winkler (Gloryhammer, Emerald) and Mayo Petranin (Castaway). But that’s not all, as Ronnie also brought in some additional musicians in the form of Libor Krivák (lead guitar, Symphonity), Ado Kaláber (lead guitar), Ján Tupý (keyboards) Ivo Hofmann (keyboards, Symphonity). The more astute of you will have noticed that both Ado and Ján are listed as guests – I presume that Ado is listed as such because he left to go to the UK, but have no idea why Ján is listed just as a live member when he played on the album.
When the album started it is with a gentle instrumental, and I found myself hoping that the whole album was going to be like that as it was so emotional, simple and effective. But, I was of course very wrong indeed and soon we were in the world of power metal, with loads of symphonic elements that almost take it into the neo-classical world. It is an incredibly multi-layered album, with a great deal of guitars. Although there are many singers, they do not actually sing with each other, but although that can sometimes lead to a lack of continuity with some albums, that is actually not much of an issue here. The overall result is something that is clean, polished, with loads of melody and finesse. It is an album that I enjoyed immensely the very first time I played it, and it has grown on me more over time as well. This is definitely worth seeking out for fans of melodic, symphonic, neo-classical metal.